295:"When you really start to dissect samples — when you don’t just let a minute sample play — a different kind of compositional style emerges, as if you’re using that layer of culture itself as an instrument. That idea was cool to me. Also, mixing that with original compositional fragments that I did… I’d record something at night, like a melody on a keyboard, and I’d have it mixed in with these samples, and when I’d listen back, I’d ask myself, “was this thing I played a sample? Which was which?” The fact that I was confusing myself was interesting, too."
520:
515:
510:
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451:"was a formal deconstruction, Giant Claw’s approach is perhaps more confrontational in its pace, its insanity, its sheer relentlessness in giving in to far-out impulses and emotional indulgence." Writer Samuel Diamond stated the samples vary in quality to disabuse "imposed distinctions between “high” and “low” art."
421:, a sound he heard on several SoundCloud tracks. He described obtaining popular musical elements that weren't a part of his normal style as "freeing:" "When you’re trying to imitate a sound or play into a cultural style, it can loosen you up and make you go to new places that apart from your influences."
395:
before cutting less than half of a second from all of them to combine and perform original riffs. He added, "The takeaway from that is that the sample doesn’t matter, whether you’re sampling or composing something yourself. The end result is the significant statement. I think that goes against a lot
390:
the samples is the third layer, and he intended to make this the clearest one to the listener: "my creative intention was to make the listener subconsciously realize that the historical sample was being manipulated, that the culture is being used as a new compositional tool." For every track, Rankin
548:, Drew Millard opined, "this song is difficult, but this song is also great. It's not like some crazy sonic puzzle or anything, but it's definitely one of those songs you have to listen to a few times intently and think about it for a few minutes before you "get" it."
541:
writer Chris DeVille opined the album works because it "welcomes you into its oddity." He elaborated, "Even as it refuses to settle into a steady groove, its freakish flights of fancy never come across as antisocial." In writing about the track "Dark Web 005" for
325:, the idea of parts of existing cultures and records being used to combine together "new compositional tools," as the press release by Orange Milk Records puts it. The album is meant to portray "late night browsing sessions gone wrong, when
29:
409:, uses "common-denominator images and sounds: romanesque statue, 808 kick-and-snare, stock-MIDI hoopla, R&B voice samples, etc. to compartmentalize the aesthetic eclecticism of 2014 into digestible, cellular tracks soaked in empathy."
244:
depicts the idea of existing cultures and music coming together to form, in the words of Orange Milk, "new compositional tools." As such, its melodies are executed from a combination of half-second-length snippets of vocal samples from
1072:
439:(2013), in that the album has "a hundred miniature movements within it, each presented in a linear fashion." As journalist Lizzie Plaugic analyzed, the album has an "atmosphere of horny apocalyptic
358:
based on three factors, what he described as the "layers of reality." The first layer was the primary compositional elements, "things people are used to picking up on instantly," including
1241:
382:, and, as Rankin stated, the time of the source material is indicated by the "extra-musical layer" of the "tiny affectations in the original vocals." How he
351:
magazine analyzed, "It’s hard to tell what’s authentic and what’s appropriated on 'Dark Web': it’s both strikingly unique, yet made of familiar sounds."
576:
it ranked 27. On the list, writer Lizzie
Plaugic honored it as "a whole new thing, and for my money, it’s something 2015 will have to get used to."
396:
of reactions to sampling itself that I’ve seen in the past few years: “it’s not music, it’s not original because it’s been sampled,” and so on."
554:
called the LP the most "interesting" in Rankin's discography, reasoning that its "rife with incongruence, yet somehow it works so very well."
374:. The second factor is the signals of the culture or time period affiliation of the samples. The album's vocals are sampled from 1990s
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443:" that derives from its mixture of "effortless sensuality and battery-charged electronics." Scavp also compared the LP to
562:
over the next few months," praising the album's "playful" sample editing and "legitimately emotive harmonic expression."
240:, released in September 2014 worldwide by the labels Orange Milk Records, Noumenal Loom, and in Japan by Virgin Babylon.
347:
is based on the idea of humans unknowingly becoming parts of bigger trends than their actual "individual instincts." As
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when Rankin recorded the album, than Giant Claw's previous records. For example, the album uses several trap
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537:, "If you try to follow Rankin's skewed beat logic, you might get lost, and yet it's oddly comforting."
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employed more musical influences, more specifically of music that was popular on services like
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976:"Giant Claw's "DARK WEB 005" Will Challenge Your Brain and Ears and Sense of Self Probably"
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tracks melt together in an amalgam of cultural signposts and musical signifiers," stated
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compositions but with more influences of modern music than Rankin's previous records.
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at number seven on its list of 2014's best release, while on a year-end list by
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for its odd tone and landed in the year-end lists of publications such as
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1130:
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479:
440:
367:
326:
1208:. Virgin Babylon Records Official Bandcamp. Retrieved January 1, 2018.
980:
544:
418:
371:
363:
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1005:. Orange Milk Records Official Website. Retrieved December 31, 2017.
1220:. Orange Milk Records Official Bandcamp. Retrieved January 1, 2018.
1168:. Orange Milk Records Official Bandcamp. Retrieved January 1, 2018.
558:
magazine claimed that "there’ll still be plenty to come back to on
1077:: a conversation about Internet Age culture and layers of reality"
730:
Mastering and 3D image on artwork by YouTube hacking James
Webster
36:
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262:
904:
572:
281:
236:
by
American producer Keith Rankin, known by his stage name
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Visual art on the artwork by Rankin and Ellen
Thomasand
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883:. December 15, 2014. p. 5. Retrieved January 1, 2018.
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594:
184:
139:
129:
105:
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56:
48:
35:
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912:on December 27, 2014. Retrieved January 1, 2018.
293:
584:Derived from the official Orange Milk Records
497:
1112:. October 1, 2014. Retrieved January 6, 2018.
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996:
994:
8:
1106:"Album of the Week: Giant Claw – ‘Dark Web’"
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875:"2014: Favorite 50 Music Releases of 2014"
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458:
27:
18:
321:riffs. The album follows a concept about
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1180:(2014). Giant Claw. Orange Milk. OM045.
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908:. December 15, 2014. Archive from the
257:follows Giant Claw's typical style of
1242:Electronic albums by American artists
1019:DeVille, Chris (September 24, 2014).
895:
893:
891:
889:
812:
755:
721:Composed and produced by Keith Rankin
695:
464:
7:
974:Millard, Drew (September 12, 2014).
1124:Hayes, Bryon (September 26, 2014).
499:
391:first gathered the vocal stems for
309:As with other works by Giant Claw,
16:2014 studio album by Giant Claw
954:"Giant Claw explores the Dark Web"
14:
1143:Gotrich, Lars (October 8, 2014).
1071:Kelly, Chris (October 14, 2014).
317:and originally-composed, complex
952:Ryce, Andrew (August 13, 2014).
713:Derived from the liner notes of
518:
513:
508:
503:
498:
1089:. Retrieved December 31, 2017.
595:
1:
1196:. Retrieved January 1, 2018.
1153:. Retrieved January 1, 2018.
1145:"Giant Claw, 'DARK WEB 003'"
1134:. Retrieved January 6, 2018.
1037:. Retrieved January 1, 2018.
988:. Retrieved January 6, 2018.
962:. Retrieved January 3, 2018.
940:. Retrieved January 2, 2018.
900:"The 30 Best Albums Of 2014"
213:Released: September 12, 2014
1278:
932:James Scavo, Nick (2014).
1192:. Noumenal Loom Official
838:
823:
750:
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684:
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651:
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629:
618:
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472:
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221:
204:Released: August 13, 2014
195:
180:
147:
26:
724:Mixed by Andrew Humphrey
1257:Footwork (genre) albums
1247:Trap music (EDM) albums
1190:"Giant Claw ~ Dark Web"
1073:"Giant Claw enters the
1003:"Giant Claw – Dark Web"
934:"Giant Claw – Dark Web"
533:described the charm of
289:Composition and concept
169:22M Never Felt So Alone
297:
1262:Plunderphonics albums
1126:"Giant Claw Dark Web"
1025:(Stereogum Premiere)"
447:but wrote that while
431:Oneohtrix Point Never
313:employs a mixture of
269:garnered a favorable
460:Professional ratings
399:Nick James Scavo of
1218:"Dark Web Cassette"
1021:"Stream Giant Claw
789:September 30, 2014
776:September 26, 2014
759:September 24, 2014
461:
304:'s production style
115:Orange Milk Records
842:February 13, 2015
459:
368:harmonic structure
52:September 24, 2014
1087:The Vinyl Factory
854:
853:
829:December 7, 2014
816:October 25, 2014
705:
704:
527:
526:
271:critical response
225:
224:
176:
175:
1269:
1252:Vaporwave albums
1221:
1215:
1209:
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1187:
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959:Resident Advisor
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820:Digital download
780:Digital download
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824:Virgin Babylon
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735:Release history
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938:Tiny Mix Tapes
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880:Tiny Mix Tapes
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784:Noumenal Loom
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693:
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688:"DARK WEB 008"
686:
682:
681:
678:
677:"DARK WEB 007"
675:
671:
670:
667:
666:"DARK WEB 006"
664:
660:
659:
656:
655:"DARK WEB 005"
653:
649:
648:
645:
644:"DARK WEB 004"
642:
638:
637:
634:
633:"DARK WEB 003"
631:
627:
626:
623:
622:"DARK WEB 002"
620:
616:
615:
612:
611:"DARK WEB 001"
609:
605:
604:
601:
598:
590:
581:
578:
564:Tiny Mix Tapes
525:
524:
495:
492:Tiny Mix Tapes
487:
486:
483:
475:
474:
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467:
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456:
453:
402:Tiny Mix Tapes
292:
290:
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276:Tiny Mix Tapes
223:
222:
219:
218:
216:
215:
210:"Dark Web 005"
206:
201:"Dark Web 002"
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122:Virgin Babylon
120:
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66:Plunderphonics
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10:
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697:Total length:
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580:Track listing
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465:Review scores
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119:Noumenal Loom
118:
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92:
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1139:
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1080:
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1028:
1022:
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937:
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850:Orange Milk
808:Orange Milk
767:
714:
712:
583:
571:
567:
563:
559:
555:
549:
543:
538:
534:
528:
490:
478:
449:R Plus Seven
448:
445:R Plus Seven
444:
436:R Plus Seven
434:
426:
422:
410:
406:
400:
398:
392:
355:
353:
348:
344:
338:
323:hyperrealism
310:
308:
301:
300:— Rankin on
298:
294:
280:
274:
266:
254:
241:
234:studio album
228:
227:
226:
189:
168:
160:
159:
152:
37:Studio album
1237:2014 albums
1231:Categories
1206:"Dark Web"
1166:"Dark Web"
986:Vice Media
857:References
839:Worldwide
756:Worldwide
748:Format(s)
568:Giant Claw
415:SoundCloud
343:magazine.
333:links and
331:SoundCloud
329:clips and
238:Giant Claw
153:Max Mutant
143:chronology
141:Giant Claw
135:Giant Claw
42:Giant Claw
1150:NPR Music
1035:SpinMedia
1030:Stereogum
769:Stereogum
763:Streaming
709:Personnel
539:Stereogum
531:NPR Music
455:Reception
425:compared
388:processed
190:Dark Web
76:vaporwave
1194:Bandcamp
1178:Dark Web
1131:Exclaim!
1075:Dark Web
1023:Dark Web
910:original
846:Cassette
715:Dark Web
586:Bandcamp
560:Dark Web
551:Exclaim!
535:Dark Web
480:Exclaim!
441:nihilism
427:Dark Web
411:Dark Web
407:Dark Web
393:Dark Web
356:Dark Web
345:Dark Web
311:Dark Web
302:Dark Web
267:Dark Web
255:Dark Web
242:Dark Web
229:Dark Web
161:Dark Web
131:Producer
81:footwork
49:Released
39: by
22:Dark Web
742:Region
566:placed
429:to the
419:hi-hats
376:R&B
327:YouTube
315:samples
259:samples
253:songs.
251:R&B
186:Singles
172:(2014)
165:(2014)
156:(2013)
981:Noisey
813:Japan
751:Label
603:Length
588:page.
545:Noisey
473:Rating
470:Source
433:album
384:edited
372:timbre
370:, and
364:melody
360:rhythm
335:iTunes
90:Length
1110:Dummy
801:vinyl
745:Date
701:41:10
600:Title
556:Dummy
423:Dummy
349:Dummy
232:is a
188:from
107:Label
58:Genre
1082:Fact
691:7:59
680:5:37
669:5:38
658:5:17
647:3:13
636:5:00
625:4:14
614:4:12
485:9/10
386:and
378:and
340:Fact
319:MIDI
279:and
263:MIDI
261:and
249:and
71:trap
905:CMJ
596:No.
573:CMJ
529:As
380:pop
282:CMJ
247:pop
1233::
1158:^
1147:.
1128:.
1117:^
1108:.
1094:^
1085:.
1079:.
1042:^
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993:^
984:.
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956:.
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902:.
888:^
877:.
865:^
833:CD
796:CD
717:.
685:8.
674:7.
663:6.
652:5.
641:4.
630:3.
619:2.
608:1.
366:,
362:,
285:.
99:10
95:41
97::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
