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Posted on 20th Aug at 11:38 PM, with 5 notes

Anonymous said: most underrated and most overrated vaporwave releases??

Underrated:

Amun Dragoon’s Unlimited Dream Company - Can’t vouch for this enough. At least it got attention initially. Nowadays it’s hardly talked about. Deserves a spot as one of the best vaporwave releases honestly.

Sacred Tapestry’s Shader - Didn’t benefit from exposure because it got quickly pulled by Vektroid. Still one of the most stand out vaporwave releases.

クリスタル Crystal’s RPG Love Erotix - Pretty lowkey release this year, and doesn’t deserve as much attention as those above, but it sounds fantastic and surprisingly fresh. Relatively speaking, deserves a look, beats done right.

Hayao Yamaneko’s Shattered Memories - I feel an Internet Club sound with this. He releases his sample information with the release and it sounds forward thinking. Wish there was more from him.

General Translator/Dystopian Chic’s Audio不埒 - I’m not calling it underrated for my side, but for Dystopian Chic’s side. She seriously has the demented sleaze dance vibe on lock. Her work is wholly underrated and her side of the split demonstrates that; I wish she was back in the game.

Overrated:

Nmesh’s Dream Sequins - Should probably be accepted as average vaporwave. I don’t hear anything that warrants the acclaim it receives, like “the best thing vaporwave has produced”. Other producers do the whole slopped media thing better.

Macross 82-99’s Sailorwave - Although opinion is shifting, the initial acclaim this release gets is unreal. I almost don’t think I should mention it since it’s not really vaporwave. There’s even better “future funk” out there.

Eco Virtual’s Virtual 大気中分析 - A lot of people are really entranced by this. I don’t hear it, and I’ve really tried. Probably listened to this twelve times and it still doesn’t stand out. Overrated for sure.

Luxury Elite in general - I don’t fault LE for her curatorial stuff, she doesn’t operate under the pretenses that her work is landmark. But I find little spectacular with all her releases. Overrated in the exposure.

Both PrismCorp releases - I may be going against the current when I say these are definitely the weakest Vektroid releases and I’m not a fan. The squeaky midi muzak vibe was cool at first but there’s little redeeming listening to be had. Not sure why it’s as well-received as it is.

Posted on 19th Aug at 9:20 PM, with 383 notes
tombraiderclassic:

Every Level in Screen-caps (Tomb Raider III, 1999)

tombraiderclassic:

Every Level in Screen-caps (Tomb Raider III, 1999)

Posted on 19th Aug at 6:45 PM, with 1 note

oscob said: Thank you so much for taking the time to answer my questions. I agree with you 100%

thanks for creating the dialogue, I would invite others to be a part of it as well,

from this vaporwave fan

Posted on 19th Aug at 6:33 PM, with 18 notes

oscob said: What do you think is hurting the scene worse? The same trite tropes being used over and over again with the newer album releases? Or this hackneyed idea that you can throw some kanji, lean cups, and roman busts on windows 98 era web browser and call it "vaporwave art" (which I hate saying.) I know one involves the actual musical output, but the other just perpetuates this stale thought that something is magically "vaporwave" when you use objects that are memes at this point.

I don’t think vaporwave production is inherently flawed. A lot of people don’t realize that vaporwave is definitely not the first microgenre that has been bandwagoned. Witch house has an eerily similar level of producers that sample and slow down tracks.

So the people that argue vaporwave is just “slowed down 80s music” are off-base, it’s not an inherent truth nor is it the norm.

The seapunkish aesthetic that is being enforced on vaporwave is dumb but I don’t feel it’s a reason, rather it’s more of a symptom.

It’s definitely the memetic “culture” of vaporwave that hurts it the most. The intense criticism of the genre is memetic. The nauseating praise and perpetuation of pseudo-vaporwave stuff is memetic. Both the positive and the negative image of the genre don’t help it.

That’s what happens when music discussion gets stuck in a loop too long, whether it’s because the discussion is limited to certain circles or sites or whether people keeping arguing what is vaporwave and what isn’t vaporwave. This goes back to my point about the problem of being an aesthetic-heavy genre: the enthusiasts are more interested in discussing aesthetics and cordoning off “authentic vaporwave” and the critics are restricting the topic of production to “stolen 80s music”. Flip-flopping those would be a good start.

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