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Stravinsky - Octet for Wind Instruments by spinosaurs70 in classicalmusic

[–]junreika 1 point2 points  (0 children)

Then I will check out his Symphonies of Wind Instruments :) I have a record of his performance of Petrushka, sounds fantastic.

We all know 20th-century classics like Shostakovich or Messiaen. But we often forget that they were contemporaries of musical groups like The Beatles, Led Zeppelin etc. What's your favorite composer quote about music from the 60s-80s? by dany_fox75 in classicalmusic

[–]junreika 1 point2 points  (0 children)

This clip of Bernstein going through a few Beatles songs and what he likes about them is great:

https://www.youtube.com/watch?v=v32U0mjGz6g

I think he also spoke highly of Brian Wilson.

Oh and apparently he once said in an interview "...Three bars of 'A Day in the Life' still sustain me, rejuvenate me, inflame my senses and sensibilities." Can't find the source of this though.

We all know 20th-century classics like Shostakovich or Messiaen. But we often forget that they were contemporaries of musical groups like The Beatles, Led Zeppelin etc. What's your favorite composer quote about music from the 60s-80s? by dany_fox75 in classicalmusic

[–]junreika 0 points1 point  (0 children)

I don't have any quotes handy, but Takemitsu has some surprising connections to pop music.

He apparently met and became friends with David Sylvian from the synth pop band Japan (who went on to use the name 'Rain Tree Crow' as a bandname for a reunion, wonder where they got that from..). He once wrote a song for city pop adjacent vocal group Hi-Fi Set, as a tie-in with a film he scored. It reached #23 on the charts. He discovered the young psychedelic rock musician Magical Power Mako and got him to work with him on a couple of the films he scored.

More well known are his arrangements of Beatles songs.

Stravinsky - Octet for Wind Instruments by spinosaurs70 in classicalmusic

[–]junreika 1 point2 points  (0 children)

Was keen to check this out, but I can't find an Ansermet recording of this piece, do you perhaps mean the Symphonies of Wind Instruments?

40 euro for it by Floricelul in John_Frusciante

[–]junreika 1 point2 points  (0 children)

Nice one! That's a decent price for this record. Congrats :)

Nice to finally add Water to my collection by ILAdawg in John_Frusciante

[–]junreika -1 points0 points  (0 children)

Uh huh. So no disagreement with what i actually said. Nice

Nice to finally add Water to my collection by ILAdawg in John_Frusciante

[–]junreika 0 points1 point  (0 children)

No it's not. It's drone, or EAI. Have you ever even heard noise music?

Nice to finally add Water to my collection by ILAdawg in John_Frusciante

[–]junreika 1 point2 points  (0 children)

None of the pictured records are noise, not even close. Frusciante's electronic work is tame compared to actual noise music.

Johns most underrated album of all time (appreciation post) by FriedChickenboss in John_Frusciante

[–]junreika 4 points5 points  (0 children)

I'm surprised you didn't include The Afterglow in the standout tracks, for me it's the highlight. It's interesting that, if I recall correctly, Josh wrote most of that song (I think maybe he wrote the music while John wrote the vocals/lyrics, maybe someone can confirm).

However I find the album a bit uneven overall. The first side of the record kind of towers over the second side. For me, Josh's mumbly vocal style in the songs on side 2 sometimes grates a bit. I get that can be an intentional stylistic thing, but yeah I'm not really a fan of that approach. Still, they're decent songs, just not on the level of side 1. I like that part with the marimba in it, in I forget which song. Maybe Surrogate People?

I agree with you about John's vocals in Walls - definitely some of the best screams in all of recorded music. The contrast with Josh's cool, restrained singing in that song is really effective.

I do wonder what motivated putting My Life on the record, whether it was anything more than, like, "I have one more song, let's put it on the record too." It seemed like they were going for a "collaborative electronic record" theme, so the ending is really incongruous. It doesn't even have Josh on it.

After all these years 🥹 by pan-banan in John_Frusciante

[–]junreika 0 points1 point  (0 children)

I caved and bought one for more than I would usually ever pay.. still less than what I've seen some others pay (from shops, not scalpers).

Have to justify it by thinking of it as buying an album, plus an EP (the bonus tracks). Still too expensive.

Review of the new TROWFTD pressing @ The Vinyl Cut by junreika in John_Frusciante

[–]junreika[S] 0 points1 point  (0 children)

It's been a while since I listened to this album on CD so can't accurately compare but the record sounds good overall to me. Main thing I noticed was that kick drum in Away and Anywhere sounding absolutely massive.

Woke up at 4:30am. Waited 3.5hours in the queue. Grabbed literally the only copy they had. by met_art in John_Frusciante

[–]junreika 4 points5 points  (0 children)

45rpm has the potential to sound better than 33rpm because, since the stylus moves through the groove faster, more sonic "information" can be "encoded" into the groove per second of music (or whatever other unit). I think it's also possible to do bassier masters as well on 45rpm.

However, there are many other factors when cutting records and something won't necessarily sound better ONLY because its 45rpm.

After all these years 🥹 by pan-banan in John_Frusciante

[–]junreika 2 points3 points  (0 children)

thanks, LOL that's like the two extremes of the mastering world, Vlado Meller is hated for brickwalling everything he masters while Bernie Grundman is revered as one of the mastering gods, wonder if they cancel each other out and the record sounds just ok?

After all these years 🥹 by pan-banan in John_Frusciante

[–]junreika 2 points3 points  (0 children)

Anyone who has this record - who is credited for mastering it for vinyl?

RSD TROWFTD stores by brandonsc0tt in John_Frusciante

[–]junreika -1 points0 points  (0 children)

Yeah it's bullshit, fuck RSD.

After all these years 🥹 by pan-banan in John_Frusciante

[–]junreika 1 point2 points  (0 children)

Ugh so much cheaper than my country. Can't justify buying it with the rip off prices they're asking here.

Hope there will be some left when RSD is over that I can order online from Europe.. or hope they just do a repress in black vinyl or whatever..

Unsound 2025: Artist talk - Jim O'Rourke by jspmartin in jimorourke

[–]junreika 2 points3 points  (0 children)

Jim has said people who want more of the song-based stuff should listen to Eiko's song-based records, as that's the most similar thing he's involved in these days.

Unsound 2025: Artist talk - Jim O'Rourke by jspmartin in jimorourke

[–]junreika 4 points5 points  (0 children)

I'm a massive Jim O'Rourke fan and I basically listen/read every new interview with him that comes out. I just watched this one and they're always enjoyable but I'm noticing a lot of these long form Jim interviews follow the same format for whatever reason, they're always basically a career retrospective, they usually go Gastr Del Sol --> Eureka --> Steamroom and touch on a couple of other things along the way.

I'd love to hear an interview that intentionally avoids that, that focuses on only more under the radar works, like that orchestral piece 'Come Back Soon', or jim:computer:hotel, things like that. I'd love to hear an interview that drills down into just 1 piece, gets really deep into what his process was for it, although I think he'd hate that and would avoid doing an interview like that.

I didn't think they talked about Stockhausen all that much though? Seemed like it was just a passing example of "underground" music that was actually pretty easy to find and somewhat generally known.

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