ilovefuzz.com

Also, Eivind turned me onto this, and it is glorious:


https://voron-nest.bandcamp.com/album/k ... bomg-split

daseb, he no longer insists that people don't call him Bryan. He recently covered "Summer of '69" live (after more than a decade of belligerent requests) and it was gorgeous. He was probably rude to you because you're a horrifically difficult person to get along with. Or something.

ANYWAY...

Re: all arguments re: Ryan Adams covering Taylor Swift, especially everything daseb was saying, everyone has read waaaaaaaaaay too much into it. There's no sexism. There's no politics of "serious" vs. "frivolous" music. That's all on the listener. What happened is, one indie country-turned-rock artist admired another country-turned-pop artist's album and covered it because he's a weirdo and does stuff like that. That's it. Ryan was married to (pop-turned-country artist) Mandy Moore for like a decade. I really don't think he's trying to legitimize Taylor's work here. I think he respects it. "I really felt where she was coming from when she wrote it," that's a quote from him.

The argument being made is that the sexism is in the way people look at the two, particularly the reviews Adams is getting, not the artists intentions. But these discussions never go down well on ILF so whatever.

daseb wrote:The argument being made is that the sexism is in the way people look at the two, particularly the reviews Adams is getting, not the artists intentions. But these discussions never go down well on ILF so whatever.

Oh okay, then that's probably very true. I misunderstood.

Probably won't have a chance to listen/purchase the whole thing until 2016 but the new Duane Pitre record is (based on the soundcloud promo) on my list for albums of the year:


http://importantrecords.com/imprec/imprec421

monkeydancer wrote:I was really excited because I openly and unironically love Taylor Swift's 1989 and Ryan Adams is the fucking man, but eh. It's just music Adams can crank out in his sleep, and it's lost something from most of the original songs. Don't get me wrong, it sounds ok, I guess it just doesn't live up to the hype that the idea on paper generated in me.

So I finally gave this a spin and the is 100% on point. It's a great twitter one liner "oh hey Ryan Adams Covered Taylor Swift and IT SOUNDS JUST LIKE RYAN ADAMS emoji holocaust"

Entirely vapid exercise from a guy who inexcusably has a career after releasing something like 25 shitty records (one of which is beloved because people are have no tactile discernment.). He is 'weird' the same way Donnie Darko is 'weird' -- if you've got no frame of reference for what 'weird' actually is, it qualifies.

That said, someone gave me a CDR of Destroyer (?) and there are a couple of jams on that.

New Kowloon Walled City:

http://noisey.vice.com/blog/kurt-ballou ... iew-stream

Digging. I still think Gambling... is my favorite but hearing their evolution in real time (at least as far as listening to each album as it's been released rather than catching up after the fact) has been pretty tremendous.

Also that KWB clean tone is one of my favorite guitar sounds ever.

double also:

KB: One commonality I hear on all your records is the bass. Ian’s contribution seems fairly consistent. The guitar tones and the vocal style have evolved but Ian has this angry tractor bass that is always there. It seems to have a similar sound on every record, and a similar treatment and placement in the mix. As the guitars have cleaned up a bit over the years, it’s opened up space for his contribution to be the focus of the aggression in a lot of the heavier moments, but it seems like sonically it’s been pretty constant from record to record.

SI: Well, tone is in the fingers.

gse I know you're browsing please answer for your crimes against humanity.

D.o.S. wrote:Digging. I still think Gambling... is my favorite but hearing their evolution in real time (at least as far as listening to each album as it's been released rather than catching up after the fact) has been pretty tremendous.

Gambling is also my favorite. It just fits. Listening to Container Ships right after is a logical progression though.

But yeah four tracks into this new one, and I really like it so far as well. Another great one from kwc

I love it so far. Feels like a bummed out old dude record. I'm a bummed out old dude.

D.o.S. wrote:Digging. I still think Gambling... is my favorite but hearing their evolution in real time (at least as far as listening to each album as it's been released rather than catching up after the fact) has been pretty tremendous.

Also that KWB clean tone is one of my favorite guitar sounds ever.

double also:

KB: One commonality I hear on all your records is the bass. Ian’s contribution seems fairly consistent. The guitar tones and the vocal style have evolved but Ian has this angry tractor bass that is always there. It seems to have a similar sound on every record, and a similar treatment and placement in the mix. As the guitars have cleaned up a bit over the years, it’s opened up space for his contribution to be the focus of the aggression in a lot of the heavier moments, but it seems like sonically it’s been pretty constant from record to record.

SI: Well, tone is in the fingers.

gse I know you're browsing please answer for your crimes against humanity.

Joe Gress wrote:

D.o.S. wrote:Digging. I still think Gambling... is my favorite but hearing their evolution in real time (at least as far as listening to each album as it's been released rather than catching up after the fact) has been pretty tremendous.

Gambling is also my favorite. It just fits. Listening to Container Ships right after is a logical progression though.

But yeah four tracks into this new one, and I really like it so far as well. Another great one from kwc

daseb wrote:I love it so far. Feels like a bummed out old dude record. I'm a bummed out old dude.

Yeah. I enjoyed all the records prior to this but this one is grabbing me. Maybe it's because I'm working on perfecting my dad bod and feeling a little older. :P

I love that interview where they talk about the bass tone. It's so awesome to hear the gnarly ass bass just really driving shit home. Like 40-seconds into Backlit and the riffage starts and you're thinking, "this is so heavy" and you're saying to yourself, fuck, these guitars are crisp and clean but this bass has so much punch with it.

HOLY SHIT THAT BASS

I really love Kurt Ballou's production lately for the same reasons. Mainly because he makes the low end super heavy and pronounced, the rest is still crisp, but not too much... just right.

sounds like a cool record too, i'll need to give this a deeper listen

never really listened to KWC before but that new album is pretty good

really liked the guitar tone

DarkAxel wrote:HOLY SHIT THAT BASS

I really love Kurt Ballou's production lately for the same reasons. Mainly because he makes the low end super heavy and pronounced, the rest is still crisp, but not too much... just right.

sounds like a cool record too, i'll need to give this a deeper listen

It was recorded by Scott Evans (guitarist, vocalist for KWC), Kurt was just the dude to interview him about it

Yeah, I got that, meant that... it could have been a Ballou produced record, because he does similar sound design sometimes... I wanted to commend the fit of interview partners sort of

really enjoyed this one... might be my favourite heavy album this year