Is there a more cringeworthy and affected """aesthetic""" than zoomers making muffled electronic music with japanese...

bluepilled

It's the truth
Saint Pepsi was the Rockstar of Vaporwave. Now that he's moved on, the genre is effectively dead. I don't think there will ever be another one like him

worst swans album, its spooky and bad, the field recordings add to the atmosphere very poorly. jarboe adds an element that i do miss, therefore their new stuff really needs jarboe

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i dont know much about him, but didnt he also just sample 80s songs? he didnt even pitch them down lmao

how many threads are you gonna post this in man

The only vaporwave album worth listening to.

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ah yes it's true, sampling aside, this is an exceptionally enjoyable record.

Any sub genre of vaporwave

Not going to lie, this is a pretty good one.

Luxury elite is the worst. Absolute trash.

Yeah, cuz he wasn't a hack
He actually made unique music instead of just adjusting the speed and reverb in audacity
His best album is hand down World Tour, Hit Vibes is highly overrated in my opinion, though Empire Building and Studio 54 are also great

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What's more embarassing is it took white people almost 60 years to start ripping off bog standard Japanese packaging

The only one still kinda making waves in the scene is the Label 100% Electronica, they actually create original music and don't just slow down old 80's songs, plus I gotta respect a guy who remixes his whole previous album live and then releleases it as a separate album which is almost unrecognizable from the first

Alright I finally got some free time to write this so I'm going to tell you fools why this is the best Vaporwave album of all time.
To imply that this album is simply poorly made incoherent loops is such a major discredit that I'm surprised most of you felt that you'd listened enough to give an actual review on the album. The cuts in this album are weird, disorienting, and rhythmically dense on almost every track. There's shit written in weird time signatures, almost every BPM has a decimal to it, it's all indicative of someone who is obviously very well versed in theory and music production. The sample choice is ridiculous; Every track has a sample which not only sounds great in the context of the album, but makes you think "How the hell did they think to sample this?" Possibly the most impressive part of the album is that today, 6 years after release, nobody knows where the majority of these samples are from. That's unprecedented, for such a popular album to survive years of listening and dissection while still remaining a mostly unknown entity.
The most impressive aspect of this album is its structure. There are songs on here that are less than a minute long, and songs that are up to four and a half minutes long, with no rhyme or reason to the specific lengths. Some songs sample other songs on the album (あなたの人生を更新「新しいデラックスライフ」 vs PRIMETIME今日のプログラミングLATENIGHT ). The cover is a completely arbitrary frame from episode 31 of Mobile Suit Gundam. All of this is to say, the album as a whole comes off as exceedingly fake. It feels like something a computer generated, moreso than any other album I've ever heard. It makes you question whether there was any intention behind anything present in the final product.

During my first listen, I was initially disturbed by the exceedingly inhuman nature of the album, but I figured if anything this may have just been a randomly generated selection of loops and that was that. I'm sure everybody who first listened to this album has felt the initial shock of the first track coming on, thinking "What the fuck? It's supposed to be like this?" No matter how many times I listen, the final track of this album completely tears that facade and is possibly the most horrifying song of all time. There's literally nothing to it, it's simply a repeat of the first track - but it shows intention, it answers the question of whether there's sentience behind the album with a resounding "YES", and just when you think you understand the trick of the final track, it starts convulsing as if the very system that created it is dying. Spastic, hyper-aggressive repeats and loops of the initial sample; New elements that were never present in the original track; Grinding, higher pitched variants burst into the track. This album actually feels haunted, more than any album ever made, and it's insane. It feels like an independent entity that's attempting to break out of it's own looping, fake, arbitrary hell, and the final track is its last breaths.

HKE is a pussy and didn't understand this album, so in his own self-congratulatory manner attempted to parody it with the album "FLORAL SHOPPE 2". The question of that album was if context matters in determining the enjoyability of an album, and whether people will enjoy something specifically because of the context surrounding it. I'll answer the question for you: Yes, context is important, and Floral Shoppe 2 failed as an album because the context for it was "Look at my biting social commentary, my album is SUPPOSED to be bad." What makes ▣世界から解放され▣ succeed compared to similar "horrorish" albums like "Replica" by OPN and "I'll Try Living Like This" by DDS is that there is literally no context to the album. Replica is scary and all, but the atmosphere is undeniably diminished when the context to it is "Hey guys make sure to listen to the new album by experimental electronic producer Oneohtrix Point Never, releasing on Mexican Summer Records, and purchase the vinyl on Amazon! It's a spooky album, just look at the cover art!" There's nothing inherently scary about ▣世界から解放され▣; in fact, there's nothing inherently anything about it. The intentions behind this album are completely shrouded in mystery, which is what makes it genuinely terrifying. What was the person who made this thinking when they made it? What was their goal in making it? We have no answers, leaving this album a true mystery in an age where any morsel of success inevitably leads to physical copies out the ass and an annoying social media presence.

I think many people misinterpret the message of this album in comparing it to noise music. I think the general question with noise is "What is the boundary to music? When does something become not music?", and while that's all fine and dandy, this album is not asking you whether it's music or not. If it isn't or is music, that's besides the point. Rather, to me, this album is specifically asking "What makes art human?" The truth is, I don't know. Nobody has ever posed this question so eloquently before. I can't tell what gives this album a soul, nor do I even really know if it has one. For everyone years ago saying that this album may be looked back on as a masterpiece for reasons they couldn't determine yet, this is my answer.
This album is a masterpiece because it poses questions rarely asked, in an extremely succinct and genius method, with such basic tools that it's actually ridiculous that it could convey so much with so little. It's easy to say that people who enjoy this album are reading too much into it; on the contrary, I think those who dismiss it with little reasoning other than "It sounds bad" are not reading into it enough. Stating that the album sounds pointless is correct, but you're not paying attention if you don't realize that it's intentionally pointless. In general I'm not a fan of experimental music because I find that too often it says nothing while being overly pretentious and self-congratulatory; This album cannot be either of these things, because it literally does not speak for itself or say anything about how it's meant to be taken. If it explicitly wanted to be dissected, it would reveal its intentions like every other experimental release - but ▣世界から解放され▣ is too good for that: It incites a deep interest in its intricacies entirely though its own creation.

Saint Pespi isn't vaporwave.

Cool post

Shrouded in dog shit

i genuinely enjoy vaporwave, especially mallsoft and future funk.

one of the best

This reminds me of growing up in aurora watching the weather network before school in the 90s

Hell yeah, Clanton is the best thing to come out of the scene. He even admitted in an interview he doesn't really consider his music to be vaporwave but is fine with people discovering his music through the label and saying to themselves "I like THIS kind of vaporwave"

He's also a fucking cutie and he let me kiss him on the mouth at one of his shows

vaporwave is megalopolitan rootlessness the art form, nothing could be more degenerate than uglifying classical art out of context and hedonistically dosing up on opiates or other narcotics while you sit in your shipping crate cuck apt with your two faggot xanax addicted roommates listening to macintosh plus. /pol/ is enamored with it for the same reason they love robocop and 80s bully movies, they’re vapid fantasia obsessed niggers of the Kwa like every other insect that crawls across the rotting Irminsul trunk of the ancient world. Everything about /pol/ is decadent, the manic thread speed, the indiscriminate propagandizing with no standards for recruitment, the massive number of pedophiles and moe anime fans brought into their fold, the opportunistic prison sexuality which encourages homosexuality and traps, the tribal coalescing around RNC and Fox news totally memory holing Murdoch and the Adelson-Bechtel-Koch-Coors controlled RNC leadership. fucking animals is all they’ll ever be and vaporwave is the schizogenic nigger ensemble of the pre-death vision stream our culture is facing. its the dreg heap, the great garvage patch at the end of the subconscious, nothing pure, nothing holy, nothing that transcends itself, there is no natural innocence (in the most violent sense of that word) in remixing dead aesthetics with stillborn art (corporate). Its fascist because fascists are debased husks. People who listen to vaporwave are addicts, they are emulsified in Soma, in narcissistic social media experiences. they are blurry eyed barely sentient pussy entrained, brain entrained, totally submissive zoo animals. Chad is just another color to fly when you’re hiding in the rubble of your bombed out necropolis, Berlin is YouTube is Twitter is the election and we’re all crawling across the rubble, little beetles and cockroaches come to devour lichen, the bacterial colonies that spring up after calamities. 2012 really did happen and Trump is the beginning of the End.

Mostly agree but I prefer the post vaporwave stylings of ferraro, blank banshee and OPN. All this looped 80s gab is a flash in the pan.

>Saint Pepsi

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Vaporwave has evolved beyond that and there's actually a few alright albums in the style you're talking about but whatever let's just be dismissive of it because it's music that doesn't take itself seriously so it must be bad. For art to be good it has to be serious 100% of the time.

Well, zoomers make it too but yeah it's primarily made by millennials.

Not really when half the people making and listening to it are in there late 20s which is outside the range of zoomer. With most genres the primary (vocal) fanbase is made up of kids and teens.

Nmesh and Dynamic Shroud are pretty good even though they're not 'pure' vaporwave. As far as that goes I guess Telepath and early HKE are pretty nice.

fp;bp

witchhouse

Retard

rap

Yes, it is called steampunk

fuck you and your spare time lol
ill try living like this is vastly superior in all musical aspects

holy based

Yeah, whatever trash you listen to.

Funny how White people think that people like J Dilla and Madlib aren't artists because they "steal" samples, but at the same time they think Vaporwave is high art.

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Funny how you're a retard because I'm white and Dilla and Madlib are my favorite artists OF ALL TIME

>t. doesn't understand averages

There is no one who likes vaporwave who isn't ok with sampling.

>Funny how White people think that people like J Dilla and Madlib aren't artists because they "steal" samples
funny how nobody says that at all, you race baiting/racist fucking moron.

Vaporwave is just chop n screw for white people, but with less creativity.