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found the album for cheap half a year ago. this tracks mixes well with Chemical Brothers' "Denmark" |
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Song For Lindy = Love Island Fucking Fatboy Slim is amazing. Was underground as anyone else, yet able to crossover and play beach parties with 200,000+ attending. That is some amazing shit. I can't even imagine what it's like to play for 200,000+ people. You've Come A Long Way, Baby is still in my top favorite albums. |
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next day, and i don't regret this thread at all (haven't we all gone nuts over a track for a night, then been less enthused next morning?). i've always been more about Halfway Between The Gutter along with You've Come A Long Way, yeah -- better living through chemistry didn't grab me until now. fatboy slim was honestly the first electronic i got into in more than a casual sense, and i really didn't "get" acid house until a few years later. last night, though, shuffle served up BLTC, and i realized i'd totally fucking missed the brilliance of Next To Nothing. needed older ears, i guess -- the brain/device drivers for acid house, a more nuanced sense of production, etc. BLTC still has a lot of skippers (never liked Song For Lindy much; still don't!) but Next To Nothing is absolutely brilliant. it literally has me tearing up with joy by the end, if i let myself go enough. pure love. it's also just amazingly, brilliantly constructed, in the same sort of way Daft Punk's Voyager is... but mostly it's just... yeah. |
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same with me, fatboy slim was the first electronic music artist that caught me. mmm and maybe Moby was even before... chemical brothers and prodigy came along.. that was times! |
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Fatboy Slim's older tracks are much more raw. You've Come A Long Way, Baby, is like his high production and magic release. That is the release where he solidified his big beat sound, especially the very stylistically specific type of putting bass drum every other beat. Mad shuffle, mad house influences, kept acid in heart. His older output was more influenced by the breakbeat vibe of MBM, The Crystal Method et al. Stylistically, The Chemical Brothers and Fatboy Slim used to be really similar. But it's like ze Brothers were injected with psychedelics and Fatboy with house. Even Moby used to be post-rave breakbeats a bit, but then it's like he was injected with pop and depression. Thinking about all that shit, it's somewhat inspirational that actual underground artists can "make it" in the bigger picture, even if they do sell out or whatever. Fuck, it'd be pretty badass to sell out with electronic music. |
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i actually would say Hackers is what tipped it off. i saw that in the theater when i was 9 or so, and that was the first time i can recall electronic music really grabbing me. i completely agree on YCALWB being his magic resonance moment -- it's what snagged me. i heard rockafeller skank on the radio. it was funny, because i decided, in my sort of usually amusingly over-serious autistic manner, to start listening to the radio as a social homework thing. like, people were talking about some shit, and i needed to tune in to participate in the lunchtime convo; u noe. the radio listening only lasted a few weeks, but that it was right when rockafeller skank was all over. simultaneously, mp3s happened. one of the first mp3s i pirated was rockafeller skank. then i remembered hackers and got the prodigy albums.... zow. |
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also, i really hate moby's depression trax. porcelain is the only one i can sorta get along with. much prefer Honey etc. i remember reading moby's blog in like 2004 when he blogged about Teany and how he'd only had a single one-night stand ever with a fan but he still cries himself to sleep approximately 10.4 nights a month over the all-consuming guilt stemming from his penile actions |
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I really enjoyed Fatboy Slim when I was ten or twelve, though it all sounds like kids music to me now. So repetitive and gimmicky all round. Acid 8000 is still an ok song, but even in that one he uses basically the same lead line the whole way through it and has a really corny sample plastered all over it. His stuff is such white music, in the bad sense. Kinda makes me think of Tim Westwood |
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weren't you talking about revolutionizing things back in 2012 or so? any progress on that yet? i'm eager to hear the adult stuff from a real adult. |
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i think what your trying to say in a nice way is that fat boy slim, et al, is straight up PUSSY SHIT FOR FAGGOTS! ya know what i was listening to when i was 10? prince, mc hammer, and vanilla ice. and you know what i think about them now? shit. well, except for maybe prince. anyways, when i was 15 my new step mom introduced me straight into the heaviest of the heavies. kraftwerk, throbbing gristle, panasonic, scorn, experimental audio research, main, pgr, lab report, psychic tv, legendary pink dots, tangerine dream, lustmord, godflesh, etc... i never got into any of the ecstacy rave happy hardcore house or trance crap that kids my age were fucking with. the softest i go is crystal method vegas or chem bros surrender. moby can suck a fat dick. fbs can suck a fat dick. |
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Don't worry dude, I've got the best album of music ever made, electronic or otherwise, in the works. I just don't know if I'll ever release it, if I ever finish it, because it's nobody elses business and I'll probably be too busy making a better album. |
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When I was ten, my pop told me of the years he spent living+working in Germany in the late 70s. He said, "Someone played me this band called POWER HOUSE and it was awful, so repetitive." It wasn't until a good ten or so years later that I realized POWER HOUSE was the English translation for Kraftwerk. Fatboy Slim is not as simple as people think. Every little thing is fucking perfection; sculpted for maximum hooky-ness. He's an absolute genius at picking samples. He's amazingly good writing music using resonant filters -- reminds me of href="https://en.wikipedia.org/wiki/Tarashikomi" target=_blankjapanese ink paintings where you create the illusion of color through the precision use of grayscale. Stack it all together, and you get this incredibly trippy, hooky, brilliant sample that evolves through four or five distinct loop phases depending on where he is with the cutoff... We all get lucky with that shit, sometimes, but he does it all day long. I'm still trying to figure out the trick to how he does it. There might be none; perhaps it's all in the ears. My hunch is that it's a very deliberate thing he figured out from actually living the life -- going to raves and doing a boatload of acid. This, I think, is why he pisses some people off: He's for real, he gets it, and he writes music that's pure pop instead of some fuckoff industrial acidhead spaz-out. 'tis what I believe jnasato was getting at -- he's so "underground" because, well, he was really in the trenches as much as anyone else. EVOL, you seem like a young lad, so i'll give you some advice: your stepmom does not know everything. just because your real mom can dance to it, does not mean it's dreck. you mistake elegance for simplicity in your rush to be cool |
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Haft -- Try to think of it like air travel. You can't take your whole wardrobe with you, just a suitcase. When you pack, you just go right to the best bits, and stuff that you can double-purpose. A single lead loop can become a multi-purpose part with a little filter use. Listen to the way he does those next-valence-shell breakdowns... once he gets into that, it all goes to goulash and suddenly your ear doesn't give a shit that it's already heard that noise. Meanwhile, since it's very loopy in a macroscopic sense, it's easy to license for Office Space (1999). To compare: Aphex's drill tracks are stunningly complex, marvelous beasts, but I don't really listen to the much anymore. Fatboy Slim's tracks are casual and fun with a deep brilliance you can either ignore or appreciate at your leisure, and I put them on all the time. It's like re-reading books, I guess: Aphex is Wolfram's "A New Kind of Science" and Fatboy Slim is the I Ching. |
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p.s. before anyone takes time out of their busy schedule to clue me in: yes, i know no one reads my long-ass posts. thanks. have a nice day |
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lol. this board is truly awful. |
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and yet, you're still here. don't you have some pants to sniff, somewhere? |
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i read them, don't worry. |
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appreciated. don't mean to make a fuss so much as i felt another round of "Shut Up EpicMegaTrax Noone Cares" coming on, and i figured i could save people the trouble |
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I love it how when something gets too big, enjoyed by a wide audience, the cool kid's pride takes a hit. "what? i can't like what everyone else likes! The mass? I hate the mass, i'm not the mass! How on earth did i like this shit?". And often basically they will censor their taste. I know plenty of people who will hate anything that becomes hugely popular and i can't stand that. I remember being like that with the fugees when they suddenly became massive. It's like i wanted to disown them. And i did. ;) |
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Yeah Russell. This and the dl;tr pseudo-intellectual crap people writing here. Anyway Big Beat kicks ass, Fatboy Slim too, his music and videos are fun and he doesn't takes himself too serious as today electronic musicians do. |
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dl;tr = tl;dr boy, i really shouldn't write while being drunk |
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years and years ago, i played a MIDI file someone had left on the desktop of a school PC and saying, "hey, what song is this? it's pretty good." it was "enter sandman" by metallica. at the time, i hated metallica, purely because some guys i hated listened to it, and so everything i'd heard before then started with that mindset. once i heard it without context or bias, though, i was able to get into it. i suppose it's like that exercise in art class where the teacher has you draw an upside-down photo of a face, and it winds up more accurate than if you'd tried to draw it rightside up. bottom line is that listening (and perception in general) is an active process.... |
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Oh btw. THE FUGEES SUCKS!!! I hate this do-gooder conscious bullshit! Wyclef Jean can suck a big fat diiiick! |
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i still laugh that he tried to be the president of Haiti... hahahahaha... the new Papa Doc bahahaha! |
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I usually read your posts too, though the last few in this thread were shite. There's not a lot more polish on Fatboy Slim's stuff, if any, than there is on a lot of manufactured pop music. I find his tracks to be empty of intelligence, ingenuity and heart. I went back to his tracks hoping to still enjoy them but found they came up short. Some tings hold up, some tings don't. You surely have some vague clue of my taste in music, and you're telling me to listen out for his filter modulation? *beltjch* |
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PRETENTIOUS FAGGOTS |
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maybe i could've just said something more along the lines of i was already past that phase when it gained mass appeal. i was 15 in 1995. think about it. i was happy at the time, however, when funk soul brutha hit, for the simple fact that it opened up 'electronic' music to be more accessible and taken a little more seriously than just a passing trend or a poor man's excuse for pop music. alright so i came off the handle a little bit too eagerly, i actually don't mind big beat. it's just not my favorite. but it's definitely not horrible, either. i'm just more inclined to darker, harder, more abstract... challenging sounds. i understand a lot of you have that nostalgia feeling from the artists mentioned, because you were too young to know any better, and that's ok. because my real mom listened to jimmy buffet and fleetwood mac, while my dad listened to elton john and genesis, when i didn't know any better (that they're softcore), but i also get that warm feeling when i hear those artists now. i was lucky they didn't listen to schlock rock, otherwise i'd probably believe that bands like r.a.t.t. and quiet riot are cool too! fbs and his ilk, weren't my starting point into electronica. so yeah, i can observe objectively, w/o an emotional bias. that's all i'm sayin. and i understand their place in the echelon of electro. they made money. they reached kids who otherwise probably wouldn't have been exposed to those sounds/scene. hence, EDC and the farce that passes as rave culture these days. GET OFF MY LAWN! |
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Interesting contribution you wretch. I bet you have bags under your eyes |
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Wretch? Haha. You suck pretentious hipster douche!!! |
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GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! GOD DAMN, SON OF A BITCH!!! |
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Edit (to remain within the theme): I've never been a fan of fatboy slim. Never owned an album. I did like that one with the spike jonze clip and oddly i sort of like that one with the jim morrison sample. It's has those pads i enjoy at time. Someone mentioned moby sucking a dick in this thread. No one with a right mind can diss Go. I mean coooome ooooon! ;) |
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did u hear mobys ambient cd of hotel russeldust or the other moby fans out there? |
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Again, i'm not a moby fan and it pisses me off to have to say so. No i haven't heard it. Should i? |
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only if u like 2 chill |
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Who on earth likes to chill? I hear soon the mod nominations are up, and i'm right here holding my nuts. |
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Yah- the "complexity" in Fatboy Slim, is in his seeming simplicity. His use of putting elements slightly off the grid in a calculated manner, makes his simple beats actually do something very emotionally expressive. DJ Shadow was a master of sample finding, as well, but his style of funk was more in the complexity, than in the simplicity. iiiif that even makes sense. Fatboy Slim was pretty revolutionary in the use of bass drum on beats 1 and 3, and taken further, this boxy style was further elaborated on by artists such as Timbaland (who also understood the groove and sonic-emotional potential of intentionally EQ'ing shit to have a boxy tone). This groove+funk+midtoneyboxy, is what I think was lost on Fatboy Slim releases after YCALWB. Anyway, Fatboy Slim wasn't just about pop (at his peak)-- he was about groove and intentional sonics. Whatever hardware he was using, and his personal vibe of the time, and the vibe of the world at the time, that made You've Come A Long Way, Baby a truly solid release. If it came out now, it wouldn't make much sense. And to those talkin' shite 'bout ze Fatboy...: |
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that sounds like chilling |
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Haft, I made this thread about a FBS track I didn't like back in the ol' nostalgia daze, and only just got into a couple days ago. In any case, I don't even know why I argue this shit. I suppose it's because I think it's cool, I appreciate it, and I want to share that. It's very hard to be positive on this forum, and that makes me post less, despite my inexplicably resilient fondness for the place. |
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Fatboy Slim wrote all that good shit on an Atari ST -- classic acid machine, really... I'm sure that helped a lot, but I also figure his extensive experience playing in live bands (bass, drums, vocals, all of it) is also key. My hunch is a lot of it is rooted in production tricks, though -- carefully controlling the frequencies, keeping it in distinct layers, and then very accomplished sense of breakdowns. In conclusion, of a band Fatboy Slim was in. I think this wins the argument |
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Fatboy Slim runs deep, mang. |
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ok so what did i just spend 30 mins of my life listening to? |
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you just listened to fatboy slim, dawg. this must be how the french feel when they trick WASP-y americans into eating horsemeat. |
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and in that vein, it was just alright. |
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Plebs. |
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So, EVOL -- Where's your stepmom side on the whole nite vs. heat fing? |
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