____twoism

The first BOC track I ever heard was Music is Math, my thought process was basically "the hell is this" to "the drums are nice" to "when do I get to hear this again why am I not listening to this right now"

Rodheh wrote:

re-phaelam-ed wrote:

Lens Larque wrote:Heard The Color of the Fire on a *Amazon* sound clip and was blown away (was high). Was looking for music similar to Daft Punk.

Bought the record along with Pole, Aphex 85-92 and Orbital and EP7 on CD at the local CD STORE (special order--was called when they arrived)

Listened to all the CDs--favored Pole and EP7.

6 months later: listening to Telephasic Workshop pressing headphones deeply into my ears unbelieving the production quality of the rhythm tracks.

ya what happened...they were the kings of sick percussion.
then...it went away.

Gotta be one of the biggest complaints I have about TH and one complaint I have about some of the slower tracks on TCH (though that doesn't suffer so badly).

this is about to sound condescending but I am saying because a lot of rhythm revealed itself to me that didn't initially in Tomorrow's Harvest

if you aren't hearing the complex percussion and rhythmic figures in TH then keep listening more deeply

Reach for the Dead is one of the most complex beats they've done IMO...

"Whoa, that's some trippy-assed music that fits Brenda about to have a 3 way with 2 random dudes…!"

To be perfectly honest, I didn't like it much at first - bought MHTRTC on a whim back in '98 and shelved it for about 3 years, silly me.

Everything You Do Is A Balloon was on a mix tape a friend gave me. I fell in love pretty much instantly, to find out they were fellow Scots was an added bonus. I've been obsessed ever since really.

My first impression was 'What the fuck is this', when me and my friend were between buzzed and high (call it what you want), listening to her playlist. I wish I remembered which song. The first time I heard it, and I didn't like it. I gave it another try though (again - don't remember when) and just fell in love.

"Wow, there's actually a reason to not end my life."

12 year old me.

"Wow, this is a beautiful melody, and, hey, it reminds me of...[insert flood of childhood memories here]"

d e n wrote:

Rodheh wrote:

re-phaelam-ed wrote: ya what happened...they were the kings of sick percussion.
then...it went away.

Gotta be one of the biggest complaints I have about TH and one complaint I have about some of the slower tracks on TCH (though that doesn't suffer so badly).

this is about to sound condescending but I am saying because a lot of rhythm revealed itself to me that didn't initially in Tomorrow's Harvest

if you aren't hearing the complex percussion and rhythmic figures in TH then keep listening more deeply

I've given it enough tries. Take the most complex percussion track on the album and even still, it's not the sick percussion I knew. It's less about however complex it is and more about the sound of it all. Songs like Julie and Candy, An Eagle In Your Mind, You Could Feel The Sky...when I hear things like Reach For The Dead and the majority of that album, it just doesn't compare. TCH suffers with some tracks in the same regard, with some really "stock" sounding kicks and claps at times. However you've got tracks like Chromakey Dreamcoat that really impress with percussion when they get going. The closest in TH for me is probably New Seeds because the textures behind the relatively simple beat work in unison with that first sound that comes in on the track.