Thank you for this comprehensive guide on the early days of a genre I haven’t really delved into yet. Perhaps unjustifiably, I’ve often felt that much of the music was a bit sloppily arranged or overly plasticky in its production (I get it that this might be intentional and part of the appeal of the genre). I’ve long had the sense that BSBD (e.g. see the screwed version of their 2008 album Late Night Cinema) were operating at a technically higher level, both in arrangement and engineering, years before the term “vaporwave” even existed. In fact, very few productions within the genre seem to have reached that standard.
I’m curious how you see BSBD’s potential influence, along with that of other ambient- or soundscape-leaning beatmakers from the 2000s, on the development of the genre. Or perhaps, given my limited experience with the genre, I’m simply drawing connections where none really exist.
Hey Carsten, thanks for your thoughts! So I have a bit of a problem with the idea of judging music by the level of technical advancement in arrangement or engineeriing or the fulfillment of certain 'standards' (whoever gets to define these). That's probably due to the fact that I am not a musician or a producer myself but just a writer and curious listener, and in that role I go mainly by the emotional resonance of the music, which might be more of a subjective take but the only one that is truly valuable to me, and one that has led me to a deep appreciation of many vaporwave releases (not all of them of course, there's a lot of generic, boring stuff as well).
That being said, I haven't heard BSBD in a very long time and never associated any of their music with vaporwave but will check the album you mentioned!
Great essay and project! I've really enjoyed your latest posts about vaporwave, they've introduced me to artists I wasn't aware of. Looking forward to the rest of the series!
great post x
Thank you for this comprehensive guide on the early days of a genre I haven’t really delved into yet. Perhaps unjustifiably, I’ve often felt that much of the music was a bit sloppily arranged or overly plasticky in its production (I get it that this might be intentional and part of the appeal of the genre). I’ve long had the sense that BSBD (e.g. see the screwed version of their 2008 album Late Night Cinema) were operating at a technically higher level, both in arrangement and engineering, years before the term “vaporwave” even existed. In fact, very few productions within the genre seem to have reached that standard.
I’m curious how you see BSBD’s potential influence, along with that of other ambient- or soundscape-leaning beatmakers from the 2000s, on the development of the genre. Or perhaps, given my limited experience with the genre, I’m simply drawing connections where none really exist.
Hey Carsten, thanks for your thoughts! So I have a bit of a problem with the idea of judging music by the level of technical advancement in arrangement or engineeriing or the fulfillment of certain 'standards' (whoever gets to define these). That's probably due to the fact that I am not a musician or a producer myself but just a writer and curious listener, and in that role I go mainly by the emotional resonance of the music, which might be more of a subjective take but the only one that is truly valuable to me, and one that has led me to a deep appreciation of many vaporwave releases (not all of them of course, there's a lot of generic, boring stuff as well).
That being said, I haven't heard BSBD in a very long time and never associated any of their music with vaporwave but will check the album you mentioned!
Thank you for your reply, Stephan. While your at it, I highly recommend checking Mike Boo's Dunhill Drone Committee (2004) as a potential predecessor.
Great essay and project! I've really enjoyed your latest posts about vaporwave, they've introduced me to artists I wasn't aware of. Looking forward to the rest of the series!
What a great read. I’m looking forward to the continuation.
fantastic essay