Really Obscure Music / Poetry / Art Thread:

[SophiaHaven]

This is a casual, low-effort (but hopefully high-value) thread in-between the writing of my more philosophical or artistic thoughts.

Post songs, verses, images, or upload pdfs of media that are so obscure you're 100% sure not even fellow Agoranons have seen them! I'll start:

Kanuraichik: This is a young girl living in the Turkic portion of the Russkiy Mir -- I believe perhaps a Kazakh? -- who makes music in the international style, with a decidedly rhythmic and harmony-oriented bent. It's nothing quite so deep, but her voice is lovely and the rhymes are pleasing to my Anglophone ear. On that one common video hosting site, her piece Образ, has some 2000 views, of which I probably constitute somewhere in the vicinity of 500. I've never shared the piece with anyone else, but the rhythmic organization of the song is so delightful to my ear that I can't quite seem to get away from it for any long period of time.


View: https://www.youtube.com/watch?v=qdviQdPLkyM
(2.2K Views; a good portion of those are myself)

Cicada: No, not the /x/ phenomenon (though that one is incredible as well). I mean the pseudonymous Taiwanese group making neoclassical music (of the intimate piano + strings variety). The style of it is somehow similar to much else I've known, but somehow more human, more delicate, more sublime and beautiful than most of what I've known. It's perhaps the music that makes the intellectual half of myself feel most understood, though I tend to be more emotionally moved by pieces with heavy usage of harmony.


View: https://www.youtube.com/watch?v=0-s1gZRjnvs
(110k views, a bit more mainstream than the other entries on here, though this is over 8 years and I suspect mostly from Taiwanese listeners).

Unrelated and honorable mention:
View: https://www.youtube.com/watch?v=kyVWT4w-DnI
(19k views over 10 years, I discovered this one not long after it was published)

Adelaide Crapsey: The present reader will forgive the long explanation; it is unfortunately so niche that it as part of its nature requires a lengthy elucidation. I've put it in quote blocks for organizational cohesion. Adelaide Crapsey was an American woman of the socialite class in NYC during the late 19th and early 20th centuries. She invented a way of composing Imagist poetry in English that, in my belief, is unparalleled (and much superior to the likes of Pound). There has been speculation she developed her cinquain form -- a five line stanza of 1, 2, 3, 4, and then finally 1 iamb(s) -- after contact with the 百人一首 of the Japanese. Whether or not that may be the case -- and whether even if we grant that it be so, that she understood the underlying prosodic principles of the Oriental language to sufficient degree as to imitate its expression in the English -- the actual prosody of her poetry is unmistakably Imagist and Tanka/Haiku-esque in nature.

Many believe that to write a haiku, one need merely divide a prose sentence into parts of 5, 7, and 5 syllables -- this is incorrect on two levels: the linguistic and the poetic. On a linguistic level, we recognize that the Japanese language operates primarily on the notion of the mora, a syllabic subunit in most languages, but in Japanese having almost a one-to-one correspondence with syllables due to the extremely simple rules of Japanese phonotactics. In particular, we note that the only multimoraic syllables in the language are those with long vowels ("Ka-a", i.e. "Mother"), Diphthongs ("Ai", i.e. "Love), or that terminate with the codal nasal ("So-n", i.e. "Loss"). All other syllables are strictly mono-moraic in the CV or V setup. As such, Japanese prosody is properly made up of lines of 5 and 7 morae and not syllables (and even this is incorrect, since it has been proven that the true meter of Japanese is exclusively that of eight-mora lines once metrical pauses are considered), so that attempting to imitate the form in English (where mora are not of particular importance to the phonotactic system), is simply meaningless. In terms of sheer length, one would better approximate the Japonic forms with 3 and 5 English syllables, respectively.

On another, and more important level, we have the poetic considerations: Japanese poetry operates via a fundamentally different mechanism than most poetic traditions, including the English. Whereas in the Anglo-Saxon or Latin or Greek or Chinese we have primarily rhythmic effects meant to stimulate the physiology of the reciter (and secondarily that of the listener) as a piece of Music or of Dance might do, and any visual or symbolic elements are secondary in importance -- this dynamic is reversed in Japanese. Rhythmic effects (primarily determined through grammatical boundaries and the position of the aforementioned metrical pauses) are present, but not of prime importance; the true beauty of Japanese verse is found in how it manages visual imagery.

Evidence from the Reizei Aristocracy of Kyoto and from the Karuta tradition shows that Japanese poetry would traditionally have been recited very, very slowly and with pauses bringing each and every line to the same eight-beat/morae length. When coupled with the common techniques of double entendres and grammatical ambiguity (an adjective on one line that one might initially think attaches to a prior noun, for example, being revealed to potentially attach equally as well to a noun in a subsequent line, both grammatically and thematically), this means that the act of reciting a Japanese verse is primarily one of imagining images as one slowly proceeds through the lines, and giving these images sufficient time in the mind to overlap, superimpose on each other, and evolve into another.

There is no parallel for this in English verse; the closest thing one can use to explain the idea is to point to surrealist/"psychedelic" videos (not in visual style or message, but in how images evolve into each other and how different images and ideas can exist in superposition at the same time, not unlike Schrodinger's Cat). The one and only good example of this Imagist Verse, in the English, are the cinquains of Adelaide Crapsey. Similar to the Japanese waka, if one chooses to recite each line as being composed of precisely five rhythmic beats (five iambs, or the temporal space of roughly ten syllables), then something very interesting indeed occurs:

ROMA AETERNA

The Sun -- -- -- --
Is warm today, -- -- --
O Romulus, -- and on --
Thine olden Palatine -- the birds
Still sing.

We might quibble about the precise placement of the pause in the fourth line (perhaps it is not after "Palatine", with a strong enjambment from "birds" to "still sing"), and instead at the end of the line, but the broad overtures are clear:

On pausing for four further beats on the recitation of "The Sun", we are allowed to truly expand and savor the image of the eye of heaven in our minds. Not merely its color or shape, but the associations we know it to possess -- beauty, immortality, power. Yet it is as of yet but a visual image, distant and cold and pure. Upon moving into the subsequent line we are given "Is warm today" which adds in the element of homeliness and comfort and transforms the image from one of distant perfection to one of close and personal appreciation, and adds in the physical sensation of embrace. One means this literally and not figuratively; from the mere impetus of memory reacting to the word "warmth", the blood rushes and imitates the sensation.

Moving forward, we have "O Romulus" with a slight subsequent pause at the grammatical boundary, which allows us the image of the sun to evolve and affect the new image of a noble and powerful man. Yet when we hear "Romulus", we do not only -- or even mostly -- imagine the mythical man of flesh and blood, but the Roman Empire and civilization more broadly, and its associations of unparalleled glory and splendor.

Here comes the point of superposition: the images do not replace each other chronologically as they would in canonical English verse; it is not a film that plays from start to end, but rather a series of impressions whose boundaries are not clearly demarcated and whose presence does not imply the casting out of the others. In introducing the image of Romulus and, through it, the Roman Empire, we do not merely modify the image of the Sun, but the image of the Sun itself also modifies Romulus. The memories of glory and splendor are given immortality and celestial perfection, and so is the immortal and celestial Sun given glory and splendor in turn. We imagine in our minds Romulus the man, the nation, and the Sun all at the same time -- both apart and together.

After the slight pause following "O, Romulus", we are given "and on --" which, in consideration of the prior elements we take to mean extension -- id est, "and on and on". This gives us the sense of perpetuity, and of unceasing growth (and it is important to note that this sense can only exist because there is a pause after "and on"; it would not at all work if the line was enjambed for phonological reasons we don't have the time to get into here). Here, interpretations will diverge, but one having read some of the classical canon cannot help but conjure associations of the old Hellenic notion of "immortality" (in that sense of unending fame through inclusion in poems and songs), and the images and sensations grow yet still to include a physical sense of anticipation, and desire, and awe at the grand and the unending, all of which coexist and modify the prior three images and sensations.

Yet upon reaching the fourth line the grammar reveals its sleight of hand, and we realize that "and on" also means "and physically on top of" the "olden Palatine [statue]" which finally collapses all senses, sensations, and emotions arising from semantic and pragmatic associations into one sole experience and image: That of a statue of Romulus on a brilliant summer day, warm in companionship and glorious in memory, unchanging at the zenith of the year's power, with all the resplendent ornaments of history and legend and myth adorning his marbled figure. With the concluding "The birds still sing", we see the birds resting on, or perhaps flying off from, that idealized statue, showcasing both its everlasting constancy in the everyday experience of modern men, as well the sense of forward motion echoing the prior "and on" -- with at last, the sensation of sound added to the symphony. One is enticed to imagine the image of flying birds around the statue -- not too far a stretch, logically -- due to the fact that they are singing. They are alive, in motion, living out their purpose. Here, the very concept of "aeterna" is transformed from something abstract and lifeless and pure to something natural and growing and living. Rome lives on, not only in dead memory, but in living acts and living experience.

These effects are not possible to accomplish in traditional rhythmic verse -- at least not easily and certainly not to the same extent. It demands an Imagist style, one dependent on slow recitation and strategic employment of long pauses, along with singularly dense usage of language: double, triple, or quadruple entendres, epithets, symbolisms, historical and mythological allusions, words with fixed meaning (so-called "codifications" or "pillow-words" or even "kata" in the dramatic tradition). No one before or since Crapsey has done this well in the English and her work is not only unknown, but very poorly understood.

The Epic of Sunjata: This is the national epic of the Bambara/Mandinke of Mali, passed down as an oral tradition for the last one thousand years. There are no poetic translations of it, since the French and English only began to bother with documenting the local cultures of Subsaharan Africa in the early 1900's, when the cancerous poison of Vers Libre had already killed off nearly all European poetic tradition. Only awful prosaic renditions or short sung excerpts in translation exist, but I will here put two videos to watch which inspired me to write the below introduction to the epic in verse:


View: https://www.youtube.com/watch?v=IzZmg9p-DQY
(4.5K views; you should listen as a podcast as the original version was before the reupload with stock footage. Unfortunately the original upload is gone and I had not the foresight to preserve it, this appears to be an expanded version, the original was about half this length.)


View: https://www.youtube.com/watch?v=yOS78ul1_rA
(136k views; female griot singing in modern Bambara, Malian-American professor of the Keita lineage translating into pseudorhythmic English prose)

We are the Griots. Our tales of days of yore,
Forever etched in our memory's store,
Passed down through generations, shall live on
Till Men no longer wake to see the dawn.
From Alexander's rise and Egypt's fall,
To Songhai's birth and death, we've seen it all.
We are the memory of all mankind,
In verse, in song and string, our truth we bind.
We are the guardians of ancient lore,
Eternal as the sands on our north shore.
From ages old, we've held our post,
And shared our tales, from coast to coast.

Come! Come, you travelers, from lands afar,
To the Bright Nation of the Malian star,
Come and hear of the seven conquerors,
Of Lands of Gold, and wicked conjurers;
Come and hear of the twelve nations twain,
The thirty-two peoples, of their proud domain,
The birth of Mali, born of magic and of might,
Of tyrants slain, and kings in flight.
Hear of the Soldier-Sorceror, the tyrant-slayer,
A King of Kings, in justice and in prayer,
Of fallen Ghana's ashes, and of Sosso's fire,
Of mages' clashes and Niani's ire!

Come and hear of truth and of tradition,
Of courage, honour, and of ambition;
Of love and hate, of virtue and of vice,
Of promised fate and of self sacrifice.

Come and hear of Sunjata's story,
That of Mali's greatest glory!

Come here! And learn! For know the world is old –
The future springs but from the past untold.
We are the griots, whose songs and tales,
Preserve the memories, the trials and the wails,
The triumphs and the cheers, and all the rest,
Secrets of kings and queens, of slaves and of th'oppressed.

So come and hear! For we're the keepers of the flame,
The knowledge of the past, the glory of the same.
So come and learn! For we're the griots, the guides and sages,
The living word and burning fir`e of life's many stages.

You! Traveller! Who come to us and speak of truth,
Purporting to be a word-keeper – White Man's sayer-sooth –
Lover of books stone-dead and their unchanging pages,
Know that before you stands a wisdom of the ages,
That Truth is Power through a people's blood rages,
Not those mere numbers that your science cages.

Immortal as the deserts of the north,
Resonant as the sea whence th'western winds spring forth,
Mysterious as the forests of the south,
Cardinal as the plains – hark to Mali's mouth.
We, Griots, Djeli of Old Mali, Wielders of the Nyama,
Gift you one piece of Hist'ry's greatest drama.
For a good griot, though never deceiving,
Seldom unravels all of Hist'ry's weaving.

So come and hear of Sunjata's glory,
And learn of Mali's greatest story!

The Soldier-Sorcerer of the Bright Nation,
The Tyrant-Slayer, Bringer of Salvation,
King Among Kings, Sov'reign of the Black Peoples,
Uniter of Twelve Nations and the Thirty Two Peoples,
Last of the Seven Conquerors, Bow-Master,
Ruler of the Mandingo, Arrow-Caster,
Hero of Many Names – of whom the many sing.
This is Sunjata's tale – the tale of the Lion-King.

S.H.'s Thread Ratios: 1 / 0 / 3
2024/08/25

 

[Ultrifecta]

not one for necro-threads but this is indeed, high value.

View: https://www.youtube.com/watch?v=ovDgbIoBDnE

genuinely obscure. appears a compilation of selected works. not sure from where.
licensed under hypertonia world enterprises from the 1990's. i know as much info about this as there is on the youtube page.

lest you pay attention all songs can sound the same.
i love this.

 

[Arcensyl]

I don't have much poems or art to share, but I do have some obscure song artists for you all. Most of the music I like tends to be electronic and breakcore-type stuff, so that'll be reflected here.

---

Millennium Strike
Millennium Strike is a international group of independent artists. They put out music, mostly techno, from a bunch of artists under them into large albums or collections. My favorite albums are Demo Disc 4 and the Linked EP. My favorite song is Release by Violet Angel and YAN; you can find it on the aforementioned EP. They are extremely obscure; the uploads of their live performances are pulling in like 20 views on average.

caffeinecrvsh
Another indie artist I enjoy is caffeinecrvsh, who makes breakcore music. My favorite song is Why Are We Still Here?, which is part of their first album Caffeine Crash. They are a bit less obscure than Millennium Strike; the YT upload of their first album is currently sitting at 6k views.

Lasah
I also enjoy Lasah's music, though it is pretty tonally different from the other two. Lasah is Tokyo vocalist and lyricist who can sing in both Japanese and English. My favorite song she has sung is probably BEAUTIFUL WORLD. She is the least obscure of my list though, since one of her songs has 600k views.

 

[Alix]

View: https://youtu.be/2YbkW6Qm5Tw

A random radio station in North Canada was left completely empty after all of its CBC staff left due to a strike, except for the Eskimo janitors, who kept playing music. No one knows their real identities. There isn't a lot more to it, just some random Eskimo workers having fun during their free time, but that personally makes it all better.

 

[Arcensyl]

Образ

Thanks for sharing this piece, I enjoyed listening to it. I had to use machine translation for the only lyrics I could find, but I enjoy how it seems to be about the disconnect between a person and the mental image of them. Its a good reminder of how our perception of things can be very different from how things really are. The brain has a tendency to idealize things, ignoring nuance and complexity in favor of fantasy. The song is also pretty catchy; it made be realize that I need to listen to more Russian music.

The Epic of Sunjata

This was cool to hear about, thank you. I don't really research history as much as I should, especially when it comes to history out the Anglosphere. I do love to hear about these old stories of people larger than life, there's something fun about trying to untangle the story and find the truth within the myth. Its interesting coming to this after Образ, since I feel that stories like this tend to show idealization on a historical scale.

---

FFFFF Compliation

Its funny to me how, out of everything else here, this is the music that sounds the most 'obscure' to me. There's something about the general sound and the audio quality, caused by it being from a cassette, that feels lonely and intimate to me. Its like I'm the only person in a world frozen in time, and the only thing to keep me company is this music. My favorite track is the last one, Turtle Goes Crazy, since it really sells that vibe. Thanks for sharing.

---

Eskimo Radio

This was a fun rabbit hole to explore. I read the blog post linked by the video you shared; its a pretty funny story. There's something entertaining about imagining the Eskimo janitors watching the others leave, and then taking over the radio equipment. You mentioned this somewhat, but its always nice to hear a historical story that just involves some guys having fun in their free time. Its a good reminder of how similar humanity is, no matter the place or time. Thanks for this.

 

[Lamp Fool]

There was some Norwegian (or Swedish?) synthpop band in the 80s called Moss Garten/Vildsvanen. Somehow the YouTube Algorithm showed them to me back in 2017. I like their instrumentation but no upload of their stuff has more than a few thousand views and I can't find lyrics anywhere (I can't speak Norwegian either)

 

[灰の男性]

Hmph, yes low quallity love contributing to those.


View: https://www.youtube.com/watch?v=ZIbfr6euNPw



View: https://www.youtube.com/watch?v=-MjUFiIi8rM



View: https://www.youtube.com/watch?v=DpQY2UWrxxs



View: https://www.youtube.com/watch?v=t_o9iBaRl2U



View: https://www.youtube.com/watch?v=50WVDR1OhmI


https://www.youtube.com/watch?v=-3GQ0AtXNdc

 

[mesaprotector]

I checked out everything in the OP and especially liked the second Sunjata video; forgive me for being impatient and posting before catching up with the rest, but I definitely will.

Makibefo
A rough adaptation of the story of Macbeth by people from a village in Madagascar. None of them were actors; most had never seen a TV before, and only the narrator speaks English. I lived in Madagascar for quite a while, but the dialect these people speak is difficult even for the native speakers I watched the movie with. The core of the story is still recognizable, even without understanding any of the words. The full-length movie is on Youtube, but with 2k views over two years.


The two songs I'm posting are not on Youtube, and if they exist online I no longer remember how to find them. So instead I will attach them as a .zip (for some reason .mp3 is not allowed here); for those who don't want to download a random attachment I'll describe them here:

I Love The Phillippines - my friend and I like using Rateyourmusic's hidden "random" feature to find obscure music to play. Most often it's either mediocre or just not something we can appreciate (so many Dutch songs from the 50s!). And usually all music is findable on Youtube, even with 10 views. This wasn't. Took me twenty minutes to eventually find it on a Chinese-language site that didn't even support HTTPS. It's catchy, but the instrumentation also feels really strange to me, like you're listening to half the musicians playing in the other room.

Koa - take a seasonal anime few people watched, which had a mobile game played by even fewer. The game's .apk is fairly easy to find online (and still runs on Android), but half its music is strangely corrupted, replaced by copies of the same track. The only reason I was able to find this is because someone on 4chan uploaded the entire uncorrupted soundtrack in early 2019, via a Mediafire link that still functioned when I found it on the Wayback Machine. This track in particular is nothing extraordinary, but a nice, mellow, mystery-vibe of a song. The game's soundtrack actually had a physical single, available only at a special fan event in Japan, which I found years later on a reseller website and obtained, but that song is fairly generic anime music despite being so hard to find.

 

[budbud]

View: https://www.youtube.com/watch?v=V_kbUMLSVO0&ab_channel=ALaRechercheDeL%27UltimateMix


this song is decently well known because it was on an acid jazz compilation. theres another upload with 100K+ views.
but everything else from this band is highly obscure. there are only two other songs from them i can find on youtube, both with less than 500 views
they have one album listed on discogs, but no upload of it anywhere. just those 3 songs.
i know probably hundreds of songs with less than 10K views, but this is the only band i know of where most of their stuff straight up hasn't been uploaded. which is a shame because i think theyre very good

related, i may as well mention this

View: https://youtu.be/sKEefEng_WY

they're by no means obscure, at least in prog rock circles, but they're criminally underrated i think. they're a canadian band that are for some reason ubiquitous in puerto rico, have an audience in germany and their home country, but are practically unheard of everywhere else. its a lot more poppy than its contemporaries, and they don't hit any crazy emotional highs, but its very inventive and pleasant music that makes for easy but nuanced listening. one of my personal favourite bands

 

[Alkaid]

Fantastic thread. I look forward to exploring all of these.

One of my favourite obscure bands is Ruins. They're a strange, noisy prog rock band from Japan consisting of only a drummer and a bass player. All the vocals are based on Kobaïan, a fictional language made up by the French prog rock band Magma (this genre is sometimes referred to as Zeuhl). Kobaïan is not a language per se, more like impressionistic babbling with probably a very loose set of phonetic rules. Lots of grungy bass riffs, frenetic drumming and insane screaming. Has a strong improvisational character to it.

They had a few different bass players over the years, but the drummer and driving force behind the outfit is Tatsuya Yoshida. Really great drummer, one of my all time favourites. He actually went solo for a few years and toured as Ruins Alone, using a synthesizer to replace the basist. I have no idea why he did this, maybe he's difficult to work with.

Ruins - Burning Stone

View: https://www.youtube.com/watch?v=viGEhEvbVCk

Favourites:
Zasca Cosca
Goldstone
Real Jam
Praha in Spring
Grubandgo

Ruins - Stonehenge

View: https://www.youtube.com/watch?v=8m9wFAwR_Qs

Favourites:
Big Head
Holebones
October

It's been a while since I've listened to these, but I think they hold up pretty well.

Additionally, this isn't a Ruins album, but it's an album Tatsuya Yoshida did with Eiko Ishibashi that I really adore. Yoshida's insanity pairs surprisingly well with Ishibashi's much more seren and melodic composition style.

Eiko Ishibashi and Tatsuya Yoshi - Slip Beneath the Distant Tree

View: https://www.youtube.com/watch?v=V-Jhl-3Obf0

Favourites:
I kind of adore this whole album.



As a bonus:

View: https://www.youtube.com/watch?v=CamFcWHTOzs

Yoshida has at various points toured with KK Null and Zeni Geva. Zeni Geva is cool as hell, and if you like noise and odd time signatures they're definitely worth checking out. I admitedly haven't listened to a lot of the live sets with Yoshida in them, because the audio quality various a lot.


*edit* I have met maybe one other person in my entire life who knew about Ruins, and they are the most musically invested person I know. Most streaming services are missing good chunks of their catalogue, and views generally hover 20k-40k for their absolute most viewed content that's been up forever.

 

[SophiaHaven]

Found another channel: Eufonia.

About 3.5k subscribers on Youtube, 900 monthly listeners on Spotify. They're currently active and a lot of their more recent uploads have listen-counts in the triple or even just double digits.

I Guess That I Forgot Your Name is a good example, with 50 views. It has this very sweet harmony and satisfying, simple rhythm. Vaguely dreamy, vaguely happy, shy and bashful, like a young girl only beginning to come to terms with her new-found affection for another. It'll probably appeal to the dream-pop and lo-fi crowds most, but it was too lovely for me not to post it here.


View: https://www.youtube.com/watch?v=cQAH_sxqcJc&ab_channel=Eufonia-Topic

 

[Lamp Fool]

Looking through Google Images one day, I chanced across the drawings of some Irishman named Peadar Sheerin. He mostly does deranged tableaux of these crumpled looking cat creatures. Despite producing these for a long time he does not have a large audience. Probably would not have found his work at all if it weren't for his rather prolific marketing on sites like Fineartamerica and LinkedIn. Idk, I think they have a certain whimsical charm.

 

[Alix]

View: https://youtu.be/t7Mzd0XwaLU


View: https://youtu.be/VsH7tzsIBl8


View: https://youtu.be/JhZeR1P8o2o


Their biggest songs only have around 30k views and they aren't even that liked in places like RYM.

 

[Alix]

View: https://youtu.be/0S3owK3pN64

Chill cold 90s ambient dub with penguins. One of the tracks was used in Gemini Home Entertainment.


View: https://youtu.be/-QuzcApPAPE

RIP Bryn. He's the perfect soundtrack for all that's happening in the Middle East.


View: https://youtu.be/UJk-Eo7fsDk



View: https://youtu.be/-ufQKDEkgrQ

 

[internet_userr1]

Strangest music I've heard is phonk x classical music. Worst part is that it actually sounded pretty good...

 

[Dead Star]

Is this the thread where I can drop weird stuff in hopes of introducing it to someone looking for some odd music?

During the pandemic I read 'Swim Through The Darkness' by Mike Stax. It was about forgotten 60s era musician Craig Smith and how he became an acid causality.

Craig Smith lost his mind on the hippie trail in the middle east. The book is worth reading and is quite a trip. Long story short is that when he returned to the US, he was mentally deranged and became a completely different person.

He recorded 2 albums under the name Maitreya Kali. The album Apache is truly scizophrenic from start to finish, yet there's still some semblance of a working mind in these songs. The talent was there, and he could've probably become something if he didn't travel half way across the world.


View: https://www.youtube.com/watch?v=c5oGT8CXaW0

 

[Creechan12]

View: https://www.youtube.com/watch?v=mUIFCOnPK-o&t=0s
I quite like this cover, it's far better than the original The Kinks version.

View: https://www.youtube.com/watch?v=fDwtXq9sSGg
This entire band is entirely underrated.

 

[Deerhunter]

weed420 (yes really)

View: https://youtu.be/ZzTbwapAdtU


View: https://youtu.be/WBECQ8PinTU

Wouldn't call these trippy to be honest. they more or less have enough noise going on for me to turn my brain off but just enough melody to get me interested. kind of a shot in the dark here since i figured at least a few here know this group.

 

[Steingar]

A lot of people are covering music so let me cover one of my favourite poets: Edmund Jabes.

He was an atheistic French-speaking Jew from Egypt, who was exiled from his homeland after the creation of Israel led to the expulsion of Jews across the Middle East. Much of his poetry deals with ideas of exile, the power of reading and "The Book", strangers, mysticism, and enlightenment. His poetry, expressed in various books including "The Book of Shares" and "A Foreigner Carrying in the Crook of His Arm a Tiny Book", is mostly free-verse and carries an extremely subtle coherent story throughout the length of the work.

Here's some choice quotes:

There is, on the one side, the innocent reality of dream and, on the other, hard reality into which the dream empties.

But between the two? What if every stone's vow of purity were only a haunting memory of crystals, an obsession with what is beyond reach? And if that which is beyond reach is all we have ever hoped to seize through the things we could approach, brush against, touch? And if of all our shipwrecked words only one, the toughest, had survived, lucidity of the Void which rivets us?

Do not be surprised that you have sometimes gone bleeding along the road. The universe is glass. Your path is strewn with shards which the light kindles into a hundred borrowed colors. Transparency is light's fortune. But we cannot leave out the night. Night denies all differentiation.

Never, ah never, will you have been so alone.

Some claim that the first word was all the Hebrew people understood of the divine Book; others that it was only the first letter.

Moses alone could reveal whole sentences, whole pages. The Hebrew people read the book of Moses as we would read a book of which we only have extracts. The entire book once transmitted, Moses fell silent. In this silence, the Jews recognized their God.

The foreigner allows you to be yourself by making a foreigner out of you.

 

[kimn]

Found another channel: Eufonia.

About 3.5k subscribers on Youtube, 900 monthly listeners on Spotify. They're currently active and a lot of their more recent uploads have listen-counts in the triple or even just double digits.

I Guess That I Forgot Your Name is a good example, with 50 views. It has this very sweet harmony and satisfying, simple rhythm. Vaguely dreamy, vaguely happy, shy and bashful, like a young girl only beginning to come to terms with her new-found affection for another. It'll probably appeal to the dream-pop and lo-fi crowds most, but it was too lovely for me not to post it here.


View: https://www.youtube.com/watch?v=cQAH_sxqcJc&ab_channel=Eufonia-Topic

I'm no expert on these sorts of things, and I've not looked for very long at all, but something's telling me Eufonia is simply AI music.
1) Absolutely insane rate of music production
2) All the tracks kinda sound the same - no real creativity
3) Artist started out with very strange lofi videos that just reek of AI.

Don't get me wrong, I'm not going to stop people from listening to AI music, and this might not even be, but if you didn't realize it is then I'll let you know of my suspicions.