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| quote: | Originally posted by zyklon-jay
I guess i would ask Eddie to chime in as he seems to have listened to them and can give a completely unbiased opinion. |
If I were going to point to a part with a clear example of what I think is under discussion, here, it would be from 52:20 to around the 57 minute marks. There, rather distinctly, can be heard three different tracks which are mixed in key and with a distinct intent, in-so-far as melodic phrasing is concerned. What's more is that this occurs throughout the course of three tracks with a second phrase, completing as it's taking over, for one that's losing prominence in the first track to feed into the last track this stretch of time pertains to.
Perhaps it could have been finessed a little more but it wasn't executed with a semantic discussion concerning harmonic mixing, in mind. They don't necessarily mesh together, perfectly, but they don't necessarily need to in order to have a desirable effect. From 1:16:25 (careful - there is clipping around that point) to the end is perhaps a more tangible, if not meaningful, example where I think Jay's done a good job fitting an acapella into the song that follows it.
At first, it seems as though he's playing two separate tracks that have nothing to do with one another - that it is just a spurious decision, on his part, to include an acapella; for the sake of playing an acapella. What he's done with a sort of fluid precision, however, is set up an algorithmic riddle. Prior to the introduction of the final song, one is left wondering, what the fuck is he up to?. Somewhat deftly, he pulls off the reveal in such a way that I had to check the track-list to make sure that it wasn't just him flipping the record over from the acapella version to a remix with an established rhythm section.
I'm not trying to blow smoke up Jay's ass with this post. While I'm impressed with his handy-work and think it relevant to the discussion, I'm wondering if it's qualitatively finessed enough to be a "solid" example of this topic's ideal. The examples I'm citing are rough around the edges. Irrespective of the clipping issues, the acapella could have been shortened in its length while still achieving the same effect. There isn't necessarily a "lockstep" precision to it that would help to ensure its poignancy. In terms of melodic and harmonic complexity, however, I still think both cited examples surpass Clooney's "Chords-out-of-Context" metaphor by displaying a rather clear execution of an intention that is apparent, as such.
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my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012
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