MOMENTS of 2012

titchyschneiderMk2 in "a very hardman christmas"

6. Made more than I ever made on DTP this year

Sorry I meant that in case people get the wrong impression the thread is not just about particular experiences of music - it seemed to me that the thread title is ambiguous, which hadn't occurred to me due to the historical precedent. Please everyone post either type of "moment".

Also if someone can explain how nilmar's jokes work I'd be most appreciative.

Regardless of how previous threads were done, it's nice to hear about live shows and stuff like that. At least it made me check out the Morton Feldman piece.

precious and few are the moments we two can share

both live and on record, my moment of the year was:

"Dick in your face. Put my dick in your face." - Nicki Minaj, Come On A Cone

the first time i played the album it was an INSTANT REWIND accompanied by irl shrieks of glee
live, you haven't lived til you've heard the entire shepherds bush empire sing that line in unison as loud as possible. the 10-yr-old girl sitting near us and wearing a tutu stood on her seat and punctuated each word by pumping the pink-and-gold wand she was carrying, and her dad looked a bit embarrassed

synth guitar solo in this song is my favorite musical moment of 2012.

https://www.youtube.com/watch?v=60-BN9KMc_E

but its from 1979. god i suck at this thread.

i don't really believe in time anymore. i've given it up for good.

years are so dumb. i mean, pope gregory? for real? fuck that guy.

Heemann Fest this summer at my store was the big highlight for me. idea fire company (with matt krefting)/liz tonne/matt weston/chris cooper & jess goddard/son of earth/noise nomads/in camera (christoph heemann and his pal tiimo)/graham stewart (viosac)...uh i might be forgetting someone. just such a wonderful day of strange and wonderful music in greenfield, ma.

It was one of my favorite moments as well. You and your store rule.

the 10-yr-old girl sitting near us and wearing a tutu stood on her seat and punctuated each word by pumping the pink-and-gold wand she was carrying, and her dad looked a bit embarrassed

Alas that Jimmy Savile couldn't be there for it.

thank you so much for being a part of it tarfumes! for real you are forever a part of one of my favorite memories. i'm so lucky to know so many awesome people. and jeremy! he was there. red favorite. so good.

Watching Feldman's Patterns of a Chromatic Field in the hottest day of the year in London's stuffiest venue with the creakiest chairs that a venue can offer (that forced you to contort your body in various creative ways), with sirens blaring every 15 mins or so outside and yet the work still managing to transmit excitement and ideas at you every 30 secs or so for about 80 mins straight.

― xyzzzz__, Tuesday, December 25, 2012 7:51 AM (13 hours ago) Bookmark Flag Post Permalink

this happened to me in Atlanta too, only it was For Philip Guston so it was four hours. but it was REALLY hot and humid and trains would go by constantly. great performance either way.

and fyi, tarfumes: i'm gonna talk to matt k. at some point about possibly having a lambkin-fest if we can get him to come up here. will definitely let you know. and i would love to have century plants come play too at some point. maybe you guys could do the trio thing! would kill to see that. and my brother. and whoever else wants to play. and maybe we can get adris out of retirement...

i wish i had the concentration to listen to listen to music for four hours

when i went to george crumb's 80's birthday party it was george and others playing prepared piano and other stuff for hours on end in an uncomfortable church and i didn't want it to ever end. i was so THERE it was scary. i didn't want to miss one bent note.

^wish i had been at both. i've had similar experiences with feldman performances which seem to gain focus from the environmental circumstances which, superficially, would tend to destroy them.

xposts to crut and xyzzzz

Off the top of my head...

Personal: watching Oneohtrix Point Never play with visuals from Joshua Light Show in Berlin (and then eating late night sandwiches with Dan afterwards).

"Non-personal" and a guilty pleasure of sorts: from 2:30 'til the end of The Cataracs, Cantaloupe. Cascades of trance-riffs take the pop-electro party-jam into unexpected uplifting finale: "I'm that shitty motherfucker, you hate him but you love him..."

and fyi, tarfumes: i'm gonna talk to matt k. at some point about possibly having a lambkin-fest if we can get him to come up here. will definitely let you know. and i would love to have century plants come play too at some point. maybe you guys could do the trio thing! would kill to see that. and my brother. and whoever else wants to play. and maybe we can get adris out of retirement...

Ooh, that'd rock. I'm in, and Century Plants would likely be, too.

4:14 - 5:00 of this track

http://youtu.be/kXCS81o0VMs

grr

https://www.youtube.com/watch?v=kXCS81o0VMs&feature=youtu.be

OK Tim - I wouldn't remember the history of these threads.

I think in that partic recital there was a moment where the music was played 'loud' that - as jed suggests - just gained in resonance from where it was taking place. Often in modern classical you get a play with extremes of volume but because Feldman plays with Gargantuan lenght too these moments of loudness (where the music tens to be at quiet to medium most of the time) can create shock but can be also swiftly forgotten once its over and a smirk has been induced just after the loud moment took place. But in an environment that seemed inhospitable to that performance (not yer classical recital room) it seemed as if my nervous system received the shock in a completely novel way.

crut - For Philip Guston was my first Feldman perf at a gallery many years ago.

I don't have the concentration either (we were all encouraged to have a look at Guston's paintings while the music was played in the room) but you pick what you can while drifting in and out.

- Before the second chorus of Carly Rae Jepsen's "Curiosity": you expect her to just drop into the oh-oh-oh-ohs as she did the first time round, but instead it all pauses at the crest of the rollercoaster for a few glorious extra seconds, her voice getting stuck in a groove on the line "never let me go" - it's like your heart was ready for the drop into your stomach but she's HOLDING IT UP

'so why do I care, I care AT AAAAAAALLLL (aaat aaaall) AT AAAAALLLL (aaat aaaall)' etc.

From Climax, obvously.

each time they brought in the katz

otm

that one time when they faked out the katz

Hearing the tuning drift on some of the synths on the John Talabot record was weirdly one of the moments of the year for me.

Not that I particularly enjoy imagining him in the studio or w/e desperately trying to keep everything in tune. Just think it works, brings a bit of chaos which is always good in my books.

when i went to george crumb's 80's birthday party it was george and others playing prepared piano and other stuff for hours on end in an uncomfortable church and i didn't want it to ever end. i was so THERE it was scary. i didn't want to miss one bent note.

― scott seward, Tuesday, December 25, 2012 8:25 PM (5 days ago) Bookmark

oh my GOD how cool is that?!

i've had some moments this year, most of them are not things i want to share, but this year marks the first time i entered and failed* to win an erotic fiction writing contest that included reading on a stage in front of people. i didn't even place, but i am confident that my entry was not only the best, but took the most care and tender consideration. don't think i'll do that again, but it was a fun experiment and i feel good for having done it.

* the judges were anonymous, assessment procedures were unannounced and completely unknown to contestants, and the whole thing was a complete farce but i still gave it my all and therefore i feel good about it.

pls share your work with us

So you've entered before, but this is the first time you've failed to win? (genuine question)

Sorry, the asterisk made me read the word "failed" as if it were emphasized.

I just wanted to explain why I failed -- the contest was stupid and the anonymous judges did not properly appreciate my multimedia presentation, but whatever. Anyway I already did this once, but if you insist. I've removed the images, but if you're dying to see them that can happen I guess. Not here. Invent interesting metaphors and similies for women's romantic novels.

cake cake cake cake cake cake cake cake cake cake cake cake

^otm

fall into forever / just forgive me i was faithless / danger in your eyes
BABY YOU CAN DEVOUUUUUUUUUUUR ME, DEFIIIIIIIIIIIIIIILE ME

i just realized that this was on ilm
my post was not music related at all
sorry!

the breakdown in "feel the love" by rudimental, clearly!

- pretty much all the ad libs (or "ad libs") on the dirty projectors album
- the moment on the swans live album where "beautiful child" shifts from melodramatic beautiful intro to kill-everyone death-stomp
- when the big synths swell up on the title track on the killer mike album during the intro
- a bunch of little moments on the lone album where he references (consciously or unconsciously) like the actual sounds of the shitty recording of old rave tunes (i swear there's a dead rip of the woozy tape warp thing from "secret summer fantasy" on there)

1) the reverb on the snare when the drums snap back in
2) the bassline modulation
3) "look up, sugar"
4) the way he leans into the word "world"
5) the "just let" that really soars
6) the "you got to know" that he really bites down on
7) the falsetto, yeah
8) the emphasis on "looked" on "love ain't never looked so good"
9) the way he drifts just behind the beat on "oh put it on, baby," which is highlighted really well in that Bad Boy remix where the beat keeps going
10) the echo that envelops that final sublime "let my love adorn..."
11) that tiny, perfect spoken "you" that most radio stations cut off or start another song over

― some dude, Tuesday, October 9, 2012 2:21 PM Bookmark

XD