Find Me On:
I hope Peter Katis not being behind the boards for most of these mixes doesn’t work to the album’s detriment. He’s got a phenomenal sound that has worked really well with that band for the last 3 albums. High Violet is such a dark mix, with almost no high end, and it sounds all the more fantastic for the lack of treble. Those mixes served those songs perfectly. And there’s certainly nothing negative anyone can say about the sound of Boxer either…
I have some reservations about the change in production duties, but I’m still psyched for a new National album. They’ve been one of my favorite bands of the last several years.
In Rainbows doesn’t have a bad track on it, and features some of Radiohead’s best songwriting, best performances, and best engineering (it’s a great sounding record). Can’t understand how anyone would rate that so low. Meanwhile, Hail To The Thief has great moments, but sounds disjointed on the whole, and like a band not knowing what to do with itself. That one would definitely have benefited from fewer tracks and a shorter running time.
1. Kid A
2. In Rainbows
3. OK Computer
4. The Bends
5. King of Limbs
6. Hail To The Thief
8. Pablo Honey
Forgot all about that great video (I probably haven’t seen it in 10 years), thanks for that!
1. If You’re Feeling Sinister
2. The Boy With The Arab Strap
4. Dear Catastrophe Waitress
5. Push Barman To Open Old Wounds
6. Fold Your Hands Child, You Walk Like A Peasant
7. Write About Love
8. The Life Pursuit
I must be odd in preferring Girls Can Tell, Gimmie Fiction, and Ga… to Kill The Moonlight. Something about those Spoon albums beginning with the letter G…
At times, the minimalism at play in Kill The Moonlight is just too abrupt for me, whereas those other three albums (particularly the two that came after Kill The Moonlight) all do the “Spoon thing,” but manage to feel more accomplished while doing so. For instance, why doesn’t Small Stakes ever build up? It would be just as fun as Jonathan Fisk if the drums just hit the same way. I also think the overall songwriting is just better on the G albums. Aside from Don’t Let It Get You Down, Kill The Moonlight takes a bit of a turn for the worse starting with Paper Tiger.
Overall, I look at Kill The Moonlight as a good album from a great band, but it’s not what I’d consider to be their defining work.
How Max Wienberg doesn’t collapse behind the kit during a four hour long show amazes me. Out of all the instruments in a band, drums are easily the most physically demanding and that’s essentially 4+ hours of essentially non-stop cardio.
3. Chronic Town
4. New Adventures in Hi-Fi
5. Life’s Rich Pageant
6. Dead Letter Office
7. Automatic for the People
8. Fables of the Reconstruction
9. Out of Time
14. Collapse into Now
17. Around the Sun
I love Dyslexic Heart. So do a couple of friend’s of mine. Perhaps it’s the fact that we’re in our early 30′s and weren’t around for the Replacements at their prime, but that is just a catchy ass tune with a great melody, and just clever enough lyrics. In fact, it’s Costello-ian when he sings “Is that your name or a doctor’s eye chart,” which could of fit right into a track off of Armed Forces (I’m specifically thinking of Chemistry Class).
I was surprised to see that song getting dumped on so badly, considering that it’s easily one of the best tracks on that soundtrack. Then again, I could care less for Chris Cornell, Alice in Chains, etc. Pearl Jam started strong, and Nirvana was great, but shy of that, most of the alternative rock we now bucket into the “grunge” genre just hasn’t held up to the test of time. Whereas, the weirder acts of the period (Flaming Laps, Beck, Pavement, GBV, Sonic Youth, etc.) have held up just fine.
I think everyone’s just getting a bit too nostalgic for high school or college when it comes to grunge.
Why doesn’t Moz just book some studio time and self release? Or does he feel the DIY approach is just completely beneath him at this point in his career?
Ahh…I missed this band. Picked up right where they left off by the sound of it. Sounds good. One of those rare songs where the verse is stronger than the chorus.
This band is the musical equivalent of typing in CAPS. Everything is just so loud and comes off as really obnoxious. There are no dynamics whatsoever, everything in the mix is way too bright, too distorted, etc. I just don’t get the love. At all. Listening to Sleigh Bells literally causes me physical discomfort.
Sounds like a Sean Lennon song.
I’m generally not a fan of remixes (as the vast, vast majority are just terrible), but these are both surprisingly good.
Really? I don’t know anyone that likes Angles. I guess it’s who you know.
My beef with Room On Fire has always been that awful mix; the buried vocals in particular. Example: 12:51. It’s a great tune, but the guitar-synth being way louder than the lead vocal makes me crazy, especially considering how low the vocal is. That record was a better mix away from being a great sophomore album.
Writing in the studio is the last thing The Strokes need to be doing. Get a rehearsal space, write some songs, play some shows, tweak the songs, then record.