[embed]http://www.youtube.com/watch?v=2Wy3iCGi7u8[/embed]
Let's for a moment psychanalyze; what sort of person would create something like this? Who would take the theme music from a loading screen, something innocent and ubiquitous, made for children, suitable for all ages, animated and mass-marketed, unable to offend, unable to communicate, the musical equivalent of the smiley face icon; who would listen to this and think: "Y'know what'd be dope? Let's chop this up and put Tipsy over it."
Tipsy is nearly ten years old, for Christ's sake. This is brilliant.
Showing posts with label Mashups. Show all posts
Showing posts with label Mashups. Show all posts
Friday, April 12, 2013
Monday, April 1, 2013
Testify — Xaphoon Jones (Radiohead X Kanye West)
http://www.youtube.com/watch?v=Mz-8B6pl19g
These are figureheads, Kanye West and Thom Yorke; men revered for their outward appearance, a carefully cultivated pop-culture balancing act between not caring how one is perceived and very, very much caring. Kanye is more braggadocio, and Thom is more punk-rocker in attitude, but together they complement each other; the fierce, unrepentant timbre of Kanye West and the smooth-at-first but abrasive, jangly ballads of Radiohead; they build a complete, cohesive world where the two have always coexisted together. And Kanye's Touch The Sky is about death and achievement and human ambition, and Radiohead's Reckoner is about death and some of these same things; they're sister works, both products of the same mindset in modern society, written by famous, wealthy men who feel some factor of discontent.
These are figureheads, Kanye West and Thom Yorke; men revered for their outward appearance, a carefully cultivated pop-culture balancing act between not caring how one is perceived and very, very much caring. Kanye is more braggadocio, and Thom is more punk-rocker in attitude, but together they complement each other; the fierce, unrepentant timbre of Kanye West and the smooth-at-first but abrasive, jangly ballads of Radiohead; they build a complete, cohesive world where the two have always coexisted together. And Kanye's Touch The Sky is about death and achievement and human ambition, and Radiohead's Reckoner is about death and some of these same things; they're sister works, both products of the same mindset in modern society, written by famous, wealthy men who feel some factor of discontent.
King of Assmilk Flowers — Gnarlo (Tyler the Creator X Neutral Milk Hotel)
http://www.youtube.com/watch?v=Ul6jekqd6nA
A gnarlo mashup of Neutral Milk Hotel's King of Carrot Flowers with Tyler the Creator's Assmilk. Like all good mashups, it adds much-needed context to both songs. They are seemingly unrelated; King is about Anne Frank and her explorations of love and prepubescent sexuality; it's taboo and sweet and slightly uncomfortable, but also terribly sentimental. Assmilk is classic OFWGKTA, vulgar and violent and stunningly clever; its trespasses of good taste, its homophobia and misogyny and horrible violent imagery must be forgiven as part of its camp, its self-awareness, its intentions to shock; underneath all this it's a fucked-up exploration of sex and sexuality, and so the two songs do go together. Assmilk gains far better backing instrumentation; King gains an edge. Together they are magical — who thought to combine these, but also functional, wow, this works!
A gnarlo mashup of Neutral Milk Hotel's King of Carrot Flowers with Tyler the Creator's Assmilk. Like all good mashups, it adds much-needed context to both songs. They are seemingly unrelated; King is about Anne Frank and her explorations of love and prepubescent sexuality; it's taboo and sweet and slightly uncomfortable, but also terribly sentimental. Assmilk is classic OFWGKTA, vulgar and violent and stunningly clever; its trespasses of good taste, its homophobia and misogyny and horrible violent imagery must be forgiven as part of its camp, its self-awareness, its intentions to shock; underneath all this it's a fucked-up exploration of sex and sexuality, and so the two songs do go together. Assmilk gains far better backing instrumentation; King gains an edge. Together they are magical — who thought to combine these, but also functional, wow, this works!
Wednesday, March 27, 2013
Ecstasy of Gold (DJ Erb) — Ennio Morricone FT. Nas
http://www.youtube.com/watch?v=FB8xxh7H_hw
A wonderful mashup of Nas' One Mic with Ennio Morricone's Ecstasy of Gold, from the soundtrack for The Good, The Bad, and The Ugly, mixed by DJ Erb. It gives One Mic a proper sense of grandeur it so desperately needs (sorry, whoever thought it would be a good idea to sample Phil Collins), and it gives Ecstasy of Gold a fresh look: a movie I recognize as important but still have never seen, from a genre only now making a second (or is it third?) wave, by a composer whose decades of fame have passed. The idea to create this, let alone the skill involved in actually doing so, is staggering.
A wonderful mashup of Nas' One Mic with Ennio Morricone's Ecstasy of Gold, from the soundtrack for The Good, The Bad, and The Ugly, mixed by DJ Erb. It gives One Mic a proper sense of grandeur it so desperately needs (sorry, whoever thought it would be a good idea to sample Phil Collins), and it gives Ecstasy of Gold a fresh look: a movie I recognize as important but still have never seen, from a genre only now making a second (or is it third?) wave, by a composer whose decades of fame have passed. The idea to create this, let alone the skill involved in actually doing so, is staggering.
Sunday, March 3, 2013
This Bitter Earth — Dinah Washington / Max Richter
http://www.youtube.com/watch?v=jXHGoaEtmFM
A professional mashup by Robbie Robertson (of The Band) of Max Richter's On the Nature of Daylight and Clyde Otis' This Bitter Earth as performed by Dinah Washington, produced as part of the soundtrack for Martin Scorsese's Shutter Island, and played over the closing credits. A complex, melancholy, and very beautiful song, I think. Dinah Washington was a '50s and '60s American blues singer, best known for What a Difference a Day Makes. Max Richter is a modern British classical musician, nearly ambient in his style.
Rarely have I heard a more devastating piece of music — let alone a mash-up. Washington's original, done as a blues single with schmaltzy backing strings, evokes sadness, certainly, but in a cinematic way, a temporary cliffhanger, designed for suspense and drama. But somehow Richter's replacement strings add a finality to the song, I think — studied in the context of the film, Shutter Island, (especially as a commentary on its ending), it delivers not a temptation for melancholy, but a definitive statement — this is the way life is. It's engrossing and repulsive in its sadness, but it's such a completely immersive sound.
A professional mashup by Robbie Robertson (of The Band) of Max Richter's On the Nature of Daylight and Clyde Otis' This Bitter Earth as performed by Dinah Washington, produced as part of the soundtrack for Martin Scorsese's Shutter Island, and played over the closing credits. A complex, melancholy, and very beautiful song, I think. Dinah Washington was a '50s and '60s American blues singer, best known for What a Difference a Day Makes. Max Richter is a modern British classical musician, nearly ambient in his style.
Rarely have I heard a more devastating piece of music — let alone a mash-up. Washington's original, done as a blues single with schmaltzy backing strings, evokes sadness, certainly, but in a cinematic way, a temporary cliffhanger, designed for suspense and drama. But somehow Richter's replacement strings add a finality to the song, I think — studied in the context of the film, Shutter Island, (especially as a commentary on its ending), it delivers not a temptation for melancholy, but a definitive statement — this is the way life is. It's engrossing and repulsive in its sadness, but it's such a completely immersive sound.
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