Imo em
Edit: OutKast come close af with, Atliens, Aquemini and Stankonia
Not sure the ages of most of you, but I grew up (high school) during the 90s "golden era", listening to all of the main people of the period; Nas, Biggie, Wu Tang, Big L, Redman, Gang Starr, Dre, Cube, etc... and even acts like Il Al Skratch, Boogie Monsters, MOP, E-Rule etc.. I'm a 42 year old father now and the music just doesn't seem to have aged well. I cringe when I listen to Ready to Die, and all of the gun/homicide references, even MOP and all of the references to violence. I didn't even notice any of that stuff, listening to it as a teenager and even in my 20s, but now I'm hyper aware of it.
Definitely not into hiphop as much as I was when younger and it definitely feels like I've outgrown it.
I think there's something really fascinating in how different people engage with Kpop in terms of stannings vs. multi vs. casual listeners but also to extend that to how people engage with the entertainment industry as a whole. For context the sectors of the industry I engage with are Kpop, Variety shows, Kdramas and also the solo scene at times (the overlap between Korean R&B and Kpop).
Since I kind of explored the industry by myself when I was 14 I didn't know that people just stuck to music or some people just stuck to watching Kdramas - I was under the impression for the longest time that people just engaged with all of it. I did have a lot of time on my hands and the people around me were also actively engaging with the whole industry as opposed to just the music so that kind of just made sense to me. Like there was so much overlap between all three industries for me (K-variety, Kdramas and Kpop) that it felt wrong to only get to know one.
So it took me a little adjusting when I jumped on Reddit to see people who were 1) fans for a much shorter time than I was, 2) only listened to groups they stanned and 3) have never engaged with anything Korean barring Kpop.
I found that the opinions I have and my perspectives on certain situations are very much shaped by the other aspects of the industry that I choose to engage with. To summarise and provide some points:
- I don't care how any songs do on the charts inspired by literally never checking any stats for solo Korean acts
- I have an unfortunate higher standard when it comes to variety shows and wish there was more creativity in idol shows
- Watching representations of idols as a side-plot in dramas (e.g. Extracurricular) further contextualises how the idol industry is viewed by the GP and how it looks like on the ground as opposed to the end result
- It's clearer which groups are actually popular with the GP based on whether they're mentioned on variety shows or dramas (bonus points if they're mentioned on a variety show with an older cast)
- I have a lot of respect for the variety idols in groups because I see them promote in several shows, often having to work overdrive to get enough screentime + promote their group, whilst also keeping up with intense rookie schedules (thinking of GOT7s Jackson and Seventeens Seungkwan)
- Most discussions about which idols will do well in dramas seem really inconsequential as usually fans boil it down to visuals, which when you actually look at idol actor
Whether you're just starting out or are an established musician, everyone could use some constructive criticism of their work.
Not just generic "good job!" or "meh" comments, actual feedback on the music and production elements themselves
On top of being a producer myself, I've spent hundreds of hours organizing animated, full length Lo-Fi mixes of all kinds in the past, and in that time listening to thousands of tracks, its safe to say I've learned a thing or two about what makes a good track
So, drop your most recent, and or your all time favorite track you've made. I'll give it a listen and give honest feedback.
This community could use a bit more active communication and, well, community instead of just sharing OC all the time, so heres the chance for a constructive conversation -Sage
#Edit: I gotta tap out!
Thanks for so much activity on the thread all, but after whats going on 60+ reviews, I gotta call it quits for the day! Things shouldn't end here though:
First and foremost, I'd like to encourage you, or whoever reading's this, to check out a track that doesn't have a reply/feedback and share your thoughts! Especially if you share your own track, review some of your colleague's work and maybe they'll pass it along!
Second, if any producers need a place for feedback, or finding other artists to collab with, or even just joining new full length animated projects to get your work shown off to the world, then we have a lil place called the Collab Cafe. Its just a few musicians in a Discord getting better and working on stuff, but our doors are always open if youre looking for a place to learn more about music from other musicians an join some new projects to boot: https://discord.gg/grBApwfF (and while youre at it, join the r/lfhh discord too!)
Thanks all, happy to do these and would love to do more in the future
For me its "all eyez on me". It has alot of filler with some boring features and mediocre production, id give it a 7/10 at best
This post is inspired by recent comments I read about 127s musical identity and I was shook to see how many people think of 127 as primarily an hip hop based group.
First of all like 80 percent of 127s b-sides are rnb songs or rnb ballads with only a small section of their discography being rap focused songs. 127s vocal line is a lot more utilized then people are let to believe.
But even when it comes to their title tracks I wouldn't call them rap focused by any means at least not since 2018. Yes older title tracks like cherry bomb, Regular, chain or simon says can be categorized as rap heavy but every title track from 2019 onwards has been either vocal heavy or experimental.
Wakey wakey and especially Superhuman and highway to heaven were all on the vocal heavier side. Even in 2020 I wouldn't call kick it or punch rap based songs but rather experimental. Kick it only has a rap section in the second verse unlike tracks like regular or cherry bomb where you have rap sections in the 1st verse, 2nd verse and bridge. The chanty chorus doesn't count as rap for me as it isn't a real verse nor real bars but if you consider it as such I can at least understand why.
Punch also only has two short whisper rap segments but that barely counts when the majority of the song including the bridge, chorus and also half the verses were sung. Gimme Gimme in 2021 is also more of an edm song than rap song.
In conclusion since the start of 2019 we had only one title track (kick it) that can possibly considered hip hop/rap based out of 6 title tracks (korean + japanese) + the majority of their bsides are RnB heavy which just doesn't support the image of NCT 127 being still an hip hop based unit!
It's time to move on from 2018s outdated perceptions of NCT
EDIT: also NCT 127s line distribution is not just Taeyong and Mark feat the rest. Quite in the contrary for most songs these two and especially taeyong have been on the lower side in terms of lines since 2019
https://youtu.be/NsAfwgAEBq4
Ek baar toh sunna hi padega
You know what to do.
https://open.spotify.com/playlist/5VFFQQge94tOU0xVx37ct2?si=7M_38mjrQvK9GPtDR_pQeA
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Hi I'm a guitarist new to lofi and I love when a song has that hiphop feel.
If I make my own lofihiphop, what elements should I make sure and incorporate to get the genre correct?
Thanks, Taylor
