old as ballslmao
>>66506064
I'm back to bring light
>>66506079
then make a new one niggerfaggot
>>66506096
My tastes are eternal
>>66506105
rofl
>>66506079
This newfag poseur was exposed as fake when he tried to shit on The Smile Sessions, an album which you can clearly see on the chart OP posted. Fuck off, kiddo.
>>66506033
>nmh
>patrician
literally how?
>>66506033
welp now that patriciancore exists it's officially plebcore
well done CLITripfag
>>66506597
>implying a CLT fake is worse than CLT
no one, NO ONE, is worse than CLT
The list is pretty good but I still don't understand what the FUCK is NMH doing in there? Especially at the top...
>>66506917
It was made many years ago. The newer versions CLT made are mostly classical and jazz.
>>66506033
lol i forgot how outdated this is
>>66506769
>>66506917
You know how when a singer is singing popular music he or she usually isn't directly on the beat but is slightly out of step with the accompaniment's rhythm? In OAI, if I remember accurately, Mangum tends to hang a little behind the beat on many of the songs ("Blistering pree..." and so on). Contrast with much of ITAOTS, where on the fast-paced numbers like "Two Headed Boy" he's bearing down so heavily that he's almost outrunning his own accompanying, and even on slow tunes like "Oh Comely" the tenseness of the delivery is unwavering and he's hitting the rhythms with militant precision.
In "Two Headed Boy", for instance, he makes extensive use of blues turnarounds and other methods to prolong the resolution so that the first time we hear an authentic V-I cadence isn't until the end of the B section, which is something like 2 full minutes into the song! The effect of such a harmonic structure is to make this resolution uncommonly satisfying and cathartic, since we as listeners to tonal music aren't accustomed to waiting that long, and certainly not in a pop song. This is to say nothing of the modal mixture (a B major chord in a G major key being an example) and other points of interest.
The B chord in "Two Headed Boy" isn't native to the song's key of G major, but that sense of wrongness or strangeness we get upon hearing the non-diatonic chord is part of what makes the harmony expressive and distinctive. Songwriters/composers do that kind of thing all the time; what makes "Oh Comely" worth noting is the decision to begin the song not on the tonic chord, but in the midst of an extended prolongation of the predominant C major, and to top it all off, on a non-diatonic chord. That's the reason "Oh Comely" sounds so anxious and tense, and why the D-G cadence is like a weight off our shoulders when we eventually hear it, because this harmonic framework is incredibly unstable.
>>66507060
>You know how when a singer is singing popular music he or she usually isn't directly on the beat but is slightly out of step with the accompaniment's rhythm?
no?
>>66507060
An E major chord opens the song, strummed on acoustic guitar in 3/4 with a vaguely menacing swing. E major will become the dominant key for much of the rest of the album. The song is mostly a single-take guitar and vocal performance, with the exception of some doubled vocals and horns that enter later on. In fact, the recording on the album preserves what was meant to be only a test of microphone levels with a few bars (ibid). Instead, Mangum, apparently swept up with the power of the song, plows through its entire duration with a remarkable, emotionally-wrought performance. His voice assumes the timbre of a sorrowful, pained moan. The chord progression consists of E major alternating with C major, but the melody of the first section superimposes E natural minor over the E major chord. Here Mangum’s loud, deep voice dominates the guitar’s tonality, which buries its major thirds by emphasizing the low fifth. Though the major tonality is clear during the instrumental breaks, as he sings the minor vocal melody all but obliterates the major key. This domination reflects the song’s subject matter, which laments the imposition of one force upon another, the invasion of suffering where it does not belong.
At the outset, the speaker seems to be anticipating the death of a loved one: “Oh comely / I will be with you when you lose your breath.” This foreboding is akin to the feelings Mangum experienced as he read Anne Frank’s diary. In an interview shortly after the album’s release, he recalled, “I pretty much knew what was going to happen. But that’s the thing: you love people because you know their story” (McGonigal, 1998, pp. 21-22). He expressed frustration that he could feel so close to someone who eventually “gets disposed of like a piece of trash” (ibid). Here, the word “comely” is surrounded by ugliness and decay, just as Anne was a beautiful presence amidst an abhorrent tragedy.
>>66507152
Next, the key shifts to G major as the speaker briefly reflects on the contentment of the past: “Chasing the only meaningful memory you thought you had left / [...] It isn’t as pretty as you’d like to guess / In your memory.” The G major key is reminiscent of the relative happiness of the previous few songs—the joy of the title track, the comforting pathos of “Two-Headed Boy,” the celebration of “Holland, 1945,” and the explorative, escapist fantasy of “Communist Daughter”—which are themselves already fading into vaguely pleasant memories under the weight of “Oh Comely.” Likewise, Anne often used nostalgia as a crutch, but her memories only produced temporary relief, which in turn quickly subsided into melancholy. As the key shifts back to the E major/minor hybrid, Mangum proclaims, “It doesn’t mean anything at all,” as if to say that the unrequited longing Anne endured as she suffered to prolong her life was pointless since she died before it could be satisfied.
It's the flowering of a truly original artist's voice, with Mangum's text, composition, and performances surpassing all preceding efforts; it is the first true rock "concept album" to succeed holistically - and not merely succeed, but flourish - prompting a reexamination of that idiom by many; it's one of the rock music's most artistically significant statements from the 1990s, perhaps even ever.
>>66507152
>>66507187
NMH is literally decemberists/death cab for cutie-core. explaining the theory behind it doesn't make it any better than it is
>>66506033
>nmh
>not babby's first /mu/core
>>66507254
>NMH is literally decemberists/death cab for cutie-core.
Sounds like they're just 2deep4u
>>66507276
no, I listen to a song like "two headed boy" and its nothing but grating sound. monotonous strumming. the melody isn't nearly as interesting as the "patrician" makes it out to be. very repetitive and I could care less about the lyrics. musically uninteresting to me and very little depth or layering, or change, progression in the song
>>66507306
Oh, so you just don't understand what's happening in the music then. That's fine too.
90% of these albums are entry level music listener stuff
>>66507340
you think because an artist can paint something like this they are a good artist? that's like saying, YOU DON'T KNOW WHAT'S HAPPENING IN THAT PAINTING, WHAT'S INVOLVED, ITS AMAZING
doesn't make it good art
>>66507382
I'm saying if you think their music is the same as boring indie bands like death cab you don't know what you're hearing, and are very likely musically ignorant.
>>66507427
https://www.youtube.com/watch?v=uizQVriWp8M
the typical death cab for song I like better than anything I've heard from NMH
to me it sounds more tangibly haunting/sublimely beautiful. not even a fan of the band in general, just that song
>>66507551
That just tells me you have bad taste. I don't know what you want me or anyone else to say to you.
>>66507573
show me a song more tangibly melodically beautiful that NMH has done
>>66507625
https://www.youtube.com/watch?v=Z-fjyEIgWik
guys this list is from 2011 why are you discussing it today
>>66507653
to me it seems this song could follow that and no one would blink twice
https://www.youtube.com/watch?v=cLY0HNds_tE
>>66507625
https://www.youtube.com/watch?v=9Ooj6pEd6YM
>>66506064
>everyone ITT complaining that this list is outdated
You mean, it's what he actually listened to instead of pretending to be into """art""" music?
>>66507837
iirc CLT did have Bernstein on his last.fm.
His taste isn't great but he was honest enough.
>>66506033
I mean....every patrician should enjoy these...but many of these are very common and accesable. I do wish more people would listen to Camembert Electrique though
>>66507133
>someone who doesn't play an instrument
Often a lead line is sung/played slightly ahead or slightly behind to beat in order to create some sort of effect.
>>66507306
>monotonous strumming
>grating sound
from acoustic guitar and vocals? lol
>very repetitive
>i could care less about the lyrics
these sound like very pleb things to say quite honestly
>>66506033
Some of the stuff on this chart was never patriciancore to begin with while the rest is now pleb as fuck. How new are you to post what is basically a relic to /mu/ today in some shit attempt to fit in?
>>66506033
Not really patrician, I'm basic /mu/bitch, and I've enjoyed most of these album
>>66506033
>wurdah itah over MDK
Finally, someone gets it
Reminder that patriciancore is nothing but a list of albums CLT got stoned to.
