" In producer John Congleton (who also mixed Twelve Nudes ), Furman’s found a collaborator equally interested in pushing conventional rock tropes to their limits. Congleton’s proclivity for raw, distorted recordings can sometimes overwhelm, but Furman meets it with equal intensity."
I know a bunch of people (at the time) found The Woods a really tough S-K album to get into on account of that producer but I reckon the over-amped side really worked there and just made it a hugely loud good listen.
this is interesting - particularly the last few lines
“Ally Sheedy in The Breakfast Club”:
It is a queer trope to fixate on a pop culture figure or fictional character and pin one’s whole world on their aesthetic and aura. This is what I’ve done with Ally Sheedy’s Alison in The Breakfast Club, a movie I’ve seen dozens of times. I am so attached to her wounded defiance and her combination of joy and fury. I know it’s kind of funny but this might be the most vulnerable thing I’ve ever written.
That’s how a lot of our feelings work in the age of media hyper-exposure: Some of our most emotional moments are filtered through a character, a movie set, a screen. Which may also be the reason for the fuzzy crackling production, here. I like how it sounds like the score for a bad TV movie playing on a bad TV.