Throughout the late ’90s and early 2000s, the Neptunes made a barrage of hits out of twangy/plinky synth hooks that pinged somewhere between guitar and harpsichord, rhythmic programming so crisp and tight and frictionless that their low-reverb impacts hit like a one-inch punch, and melodies that simultaneously vibed off celebratory invincibility and unresolved tension. In part it’s because their musical components were so counterintuitively weird, building off the simplicity of the Korg Triton synthesizer and finding all the off-kilter ways they could break its limitations. (One month after that album dropped, the Riley-produced Wreckx-n-Effect hip-hop crossover classic “ Rump Shaker” gave Pharrell his first big-hit writing credit on a major hit record, though his contributions were strictly lyrical.)īut it was the Neptunes’ ’98 breakout, riding off a two-fer of hip-hop crossover hits for Ma$e (“ Lookin’ At Me”) and Noreaga (“ Superthug”), that made their trademark musical identity both immediately identifiable and provably successful. Blige’s What’s the 411? popularized hip-hop production tropes for mainstream R&B. He’d started working with Chad Hugo by the time the Neptunes-to-be found themselves under the aegis of Teddy Riley, right about the same time that Mary J. Turns out he’d surrounded himself with geniuses. Why build a wall of sound when a patio door makes for more light and easier accessibility? And so they took over the world, at least for an unrelentingly transformative half-decade on the charts (and a fair amount of time afterwards), with their choppy-rolling symphonies to negative space sounding more punk-funk - or at least new wavy - than Rick James’s wildest dreams.īack in MC Hammer times, Pharrell Williams used to hang out with Virginia Beach buddies Timbaland and Magoo making boom-bap-goes-pop beats under the snarkily named collective Surrounded By Idiots. Consider the precedents and successors in their lineage, the digital-minded producers who wrung maximalist depth out of simplicity: compared to the cyberfunk Roland/Ensoniq gearheadedness of the Jam/Lewis ’80s and the Nicktoonish full-spectrum glitch overload of recent SOPHIE-and-scions hyperpop, Chad and Pharrell’s jams sound borderline austere.īut that’s one of the rare examples of austerity actually working for the masses, the simplicity of the idea that you need a Beat and you need a Hook and everything else is an asterisk. Due to potential scammers, ticket sales, ticket trades, merch sales, etc are not permitted.Here’s a funny thing about the Neptunes: for a group who ushered synthesized future-funk production through the last days of the recording industry’s bottomless-budget era, they sound remarkably minimalist. If posting your own band, please read this note in the wiki first.ħ. Posting your own band is allowed, but please read our self-promotion post first. Try not to repost anything that has been posted within the last 4 months.Ħ. Discussing, announcing and/or asking for leaks is also forbidden. Illegal downloads and leaks are forbidden, posting these will result in a 2 week ban. Instead, put the image inside of a self post in order to inspire as much discussion as possible.ĭelete the "m." or "mobile." in the link and then resubmit. Direct links to images are not permitted in /r/PostHardcore. If you are submitting a song include the artist and song name in the title.įormat: Artist - Song Title (Optional text over here somewhere)Ģ. Post-Hardcore is a genre of music that developed from Hardcore Punk, itself an offshoot of the broader punk rock movement.
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