I’ve been on a vaporwave tear for a good amount of time now, and I’ve yet to drain it of its lifeblood. This is a very somber, beautiful, yet grooving track that I think fits under the vaporwave umbrella — Japanese characters in the title and distant muted synths with reverb that sounds like they’re being played in a massive cavern a half mile away from you. Was DJ Shadow’s Endtroducing….. a proto-vaporwave record? Or is vaporwave post-trip hop? Did I just rail a massive line of purple stardust in an alternate reality? Dunno brah.
It’s funny that there are only so many ways you can have a ‘kick’ or ‘thud’ or ‘bassdrum’-esque sound on every downbeat, and then have the hihats do that swingy “tst-tst-tssss” thing, and then have some sort of snappy / clappy / upper frequency range sound on the twos and fours, and wind up with a house beat.
When it comes to digital music, you are limited to a finite number of different sequences of ones and zeroes; granted, when recording in a purely analog environment, I suppose you’re only limited by the resolution of the universe, but when it comes to a standard compact disc, there is in fact a finite number of ~80 minute compact discs that can be created. Blu-Ray and DVD discs are the same form factor and can hold a much longer sequence of ones and zeroes than now-old-school CDs, but still, there is a finite number of different sequences that can be held on these discs.
It doesn’t matter a whole lot. The actual number of individual CDs that can be created is some astronomically huge number, but it is indeed finite; I suppose my fatigue with music, which set in one night in October 2012 when I walked into my apartment after getting home from work, is ultimately a product of having heard so much music in my life that suddenly I passed the threshold of novelty, where I’d heard enough that suddenly hearing music I’d never heard was not a strange or jarring experience, but instead had lost its “newness” in a way.
If none of this makes sense to you, reader, worry not — I’m not writing this for anyone’s eyes besides my own and Logan Bean’s when he visits this website once every ~16 months. What I’m really trying to get at here is, I don’t really have any major point, but this song is really enjoyable, and it’s raining outside, and it’s unclear whether there is a finite or infinite amount of matter in our universe. However, even if there’s a finite amount of matter, I suppose there is an infinite number of ways of positioning and arranging that matter.
I guess you could say in a sense that allows for an infinite number of realities within our own known universe, but now I’m really starting to flex my head and it’s starting to get sore, so instead I’ll wrap this up by saying that hardcore punk is a style of music that typically involves a drum kit (kick drum, snare drum, hihats, cymbal, floor tom), a 4-string electric bass guitar tuned to EADG (lowest to highest string), a bass guitar amplifier, a 6-string electric guitar tuned to EADGBE (lowest to highest), an electric guitar amplifier featuring some method of “overdriving” the amplified signal coming in from the guitar, 1/4″ cables connecting the guitars to the amps, electricity, wood and metal (the guitars and drums are typically manufactured out of wood and metal), fast tempos — like drums being played as rapidly as if you were frantically masturbating and about to jizz, so upwards of 140bpm, repetitive and often simple chord progressions featuring “power chords” on the guitar (the root, the 5th, and the octave, played simultaneously), the bass generally following the guitar’s lead, a microphone plugged into a microphone amplifier, and some person yelling into a microphone, with syncopated lyrics typically about how they’re pissed off about something, or maybe they’re stoked on friendship and good vibes but they still yell/scream the lyrics into the microphone. Also hardcore punk songs usually are almost always under 10 minutes in length, in fact the average length of a hardcore punk song is probably around the 2 minute, 30 second range, if not shorter. Also all the instruments are played really loudly and aggressively, so you aren’t just gently fingerpicking the guitar, you’re usually using a guitar pick and “strumming” the strings so violently that it’s not a great stretch of the imagination to call it “shredding,” since you’re really attacking those strings — in keeping within the confines of the ‘hardcore punk’ musical style — to the point that you might cut your finger(s) and bleed all over your guitar/drums and or break the strings on the guitar or snap a drumstick in half or on rare occasions stab your drumstick directly through the drum head. So yeah, that’s my definition of hardcore punk. It’s funny because it’s such an extremely specific configuration of elements, but so many bands have adhered to that formula but changed the formula in tiny little ways, and thus created a new artistic expression that adheres mostly to the formula for “hardcore punk,” but perhaps expresses something you have not heard or seen or experienced before. But it’s all still mostly generic, predictable, and boring. Late!!!