The National have never ripped the arse off of anything
Dunno, mate, your mum couldn’t sit down for weeks.
The nasally vocals just go really well with the whole aesthetic of that album, that whole plasticky outsider glam thing. Even the video for Trash, it all works. That was my first exposure to them and at the time it was as unique to me as The Drowners etc probably were for other people
most 80s punk/hardcore/alt-rock
most 90s grunge/post hardcore etc
most of the good music tbh.
…And Justice For All obviously sounds like shit.
The remaster still didn’t really add ‘bass’.
The Stooges - Raw Power. I know it’s part of the charm but I’d love a cohesive, dangerous sounding studio set of these songs.
Most things are Lars Ulrich’s fault.
I recently listened to Sleater Kinney’s No Cities to Love after a couple years off was surprised by how grating the production felt. I don’t know quite how to explain it, but it’s like the guitars are overwhelmingly sugary or tangy? Kind of gives the feeling of having to stare at a really bright light when you have a headache.
I think Silversun Pickups have a lot of good songs post-Carnavas, but they’re hampered by the super-clean, sterilized production. The issue starts creeping in on Swoon but becomes much more prominent afterwards. Better Nature actually has a lot of good and interesting songs but they’re stifled by the glossiness and playing to a click.
On that note, almost any rock song being played to a click.
Agree with this. The original version has no balls and the Iggy remix just sounds ridiculously loud/distorted (not in a good way).
I’m in this boat too.
I get that with At The Drive-In, I love individual songs but trying to listen to a full album (especially Relationship) just gives me a headache. It’s too full on and insistent at all times, it doesn’t give my ears any time to … breathe? Some truly mixed metaphors there hah
I find them quite ugly and overbearing.
Yeah, that is not how I want strings to sound.
I’m happier with something like on this:
The story goes that Tommy Ramones ears were fucked from years of being in the Ramones so he mastered the whole thing on headphones.
But the whole point is that it starts all uncomfortable, tight and jarring (with the pizzicato strings), then in the second verse you get the lush bowed strings with the beautiful counterpoint melody. The second chorus has a fuller sound when they’re bowed, but still staccato, and more of the bottom end is added with the cellos and double basses. The end is discordant chaos. It’s amazing.
Each to their own, but it’s definitely not bad.
Yeah, i have heard this story and it does sound like part of the mix is missing or something. What i don’t understand is how everybody listened to the finished mix and said “yeah, that sounds great”.