Agreed. Did you feel like him collaborating with Steve Albini and mixing without headphones hurt the album? I can't help but feel something is off with the mixing. It seems like this album should be as good as his previous but it's like there is no floor beneath it or something, or like I'm hearing it from around the corner. Aurora sounded like you were being burst into atoms from the inside of a molten star. Can't help but feel something is amiss on this one. Still wonderful stuff. Love the use of synths, gives some tracks a very Blade Runner 2049 sense of scope and dystopia.
Most likely four notes in a scale are not that hard to accidentally "discover" twice over. I also agree that more than a melody, this feels like a harmonic progression. SHXCXCHCXSH's notes are G-D-F-E, which are all white keys on the piano (e.g. also if played by a synthesizer, as I assume it was produced). Frost uses Bb-F-Ab-G, which is a transposed version of SHXCXCHCXSH, if you want. To me, they operate in Dorian mode, making the first note the tonic (G and Bb respectively). Going down a fourth from the tonic (I) first puts you on the dominant (V, D and F respectively), which is very common in popular progressions. Then I would see the step from the VII (F and Ab respectively) to the VI (E and G respectively) a common intermediate "slide". Thing is, returning to the I (tonic) would resolve the progression, but were dealing in "direction-less", "sort-of-ambient" music here, so we need to keep it open. Hence the "conclusion" on the VI, which doesn't have the clearest of directions harmonically speaking. You could jump from V to VI directly, but this would not be very logical and abrupt, harmonically speaking. Using the VII eases our ears into the VI from V. So, without any added context (i.e. might be Frost is a huge fan of SHXCXCHCXSH, or what do I know...) I think this is simply a common progression that many may use in their music. But this are just my two cents listening to the track by SHXCXCHCXSH you linked.
@@notimput To tell you the truth, I was just wondering if there was any behind the scenes collaboration of sorts I didn't know of. Brilliant musical analysis though! To the point!
Esto es arte postmoderno y es majestuoso.
Heart of darkness.
prob my fave off of The Centre Cannot Hold
and the title fits eerily well!
Agreed. Did you feel like him collaborating with Steve Albini and mixing without headphones hurt the album? I can't help but feel something is off with the mixing. It seems like this album should be as good as his previous but it's like there is no floor beneath it or something, or like I'm hearing it from around the corner. Aurora sounded like you were being burst into atoms from the inside of a molten star. Can't help but feel something is amiss on this one. Still wonderful stuff. Love the use of synths, gives some tracks a very Blade Runner 2049 sense of scope and dystopia.
majestic
Let's goooo
Anyone knows how come the melody of the track is the same as SHXCXCHCXSH's track Ss? And the same as a game my son plays on his tablet?
this melody is so non melodic that it's hard to call it melody. probably your brain pattern recognition abilities are tricking you.
@@VM-hl8ms V M could be! However compare 1:40 of entropy in blue with 0:48 of this th-cam.com/play/OLAK5uy_m0HTKOJ1ctMoJTaycE0DHOxk22Z5_sY5c.html
Most likely four notes in a scale are not that hard to accidentally "discover" twice over. I also agree that more than a melody, this feels like a harmonic progression. SHXCXCHCXSH's notes are G-D-F-E, which are all white keys on the piano (e.g. also if played by a synthesizer, as I assume it was produced). Frost uses Bb-F-Ab-G, which is a transposed version of SHXCXCHCXSH, if you want. To me, they operate in Dorian mode, making the first note the tonic (G and Bb respectively). Going down a fourth from the tonic (I) first puts you on the dominant (V, D and F respectively), which is very common in popular progressions. Then I would see the step from the VII (F and Ab respectively) to the VI (E and G respectively) a common intermediate "slide". Thing is, returning to the I (tonic) would resolve the progression, but were dealing in "direction-less", "sort-of-ambient" music here, so we need to keep it open. Hence the "conclusion" on the VI, which doesn't have the clearest of directions harmonically speaking. You could jump from V to VI directly, but this would not be very logical and abrupt, harmonically speaking. Using the VII eases our ears into the VI from V. So, without any added context (i.e. might be Frost is a huge fan of SHXCXCHCXSH, or what do I know...) I think this is simply a common progression that many may use in their music. But this are just my two cents listening to the track by SHXCXCHCXSH you linked.
@@notimput To tell you the truth, I was just wondering if there was any behind the scenes collaboration of sorts I didn't know of. Brilliant musical analysis though! To the point!