DROP EVERYTHING!!!! I just discovered this artist literally 15 minutes ago. I was listening to Stand Atlantic on YouTube while I worked on some web stuff, and I noticed the artist suddenly changed on me. A couple songs by Mallrat played, and I genuinely enjoyed them. I sent a few texts about her to my best friend/cohost Pat, but then, it happened. Tokyo Drift started playing and the world stopped.
We talk often on the podcast about music videos that are either way too literal to the lyrics, or tend to lack any kind of semblance to the song itself, but director Jordan Mizrahi perfectly captures the essence of the song’s meaning and energy throughout every second of this video.
The record has been out for a couple of weeks now, and we've had a chance to work through it a few dozen times, wandering back and forth in our minds (and back again, and forth again) about whether it's objectively better than her previous record "Reputation." By this point, many would concede that it is a very good record, though falls short of the Tier 1 of Taylor, a shelf occupied by "Red" and "1989."
This was legitimately one of the toughest drafts we've done. Even though Taylor's catalog is dynamic and offers something for almost anyone, it's still a more limited pool than, say, the entirety of music released in the year 2000. Additionally, each of her albums hecking rips, so leaving songs on the bleachers was going to be tough.
But what is her legacy? Would she make a female punk Mount Rushmore? How about a female pop Mount Rushmore?
Though you may never see her face photo shopped next to the likes of Joan Jett or Janet Jackson in a visual representation of the previous paragraph, Avril has put together quite the career.
I recently reached out to Sam Pura, owner of and chief engineer at The Panda Studios to see if he could answer a few questions about the production of The Story So Far’s new album, “Proper Dose” via email. Surprisingly, he responded within hours, and requested a phone call instead.
My first thought was, ‘holy shit, that’s way too much pressure’, but nothing good comes of just hanging out in your comfort zone, so I pushed it a step further and asked if we could record the conversation for my podcast, Reminiscent. I do the show with my best friend, and we mainly talk about music from the genre, so I figured a break from the normal weekly routine would be well accepted by our listeners. Again, much to my pleasure, he agreed, and we set a date.
Within 2 minutes of the recording, I realized why he preferred a phone call to an email… there was a hell of a lot to talk about, and an email wouldn’t do it justice. I originally planned on asking a barrage of questions focused on the production from a technical/production angle, but the 80 minute conversation took a different direction. The first 25 minutes or so were heavily focused on the headaches and industry politics that hindered the initial progress of the album, as well as the overall sound.
I was able to get a couple of straight answers out of Sam about the recording processes, although he claimed at one point that he didn’t want to give away too much of his IP, or intellectual property. That’s totally fine with me, but it made me have to rethink the entire point of the interview in real time, which was difficult, as I don’t typically do this kind of thing.
However, the interview turned out better than I thought, and as it’s too difficult to type out all that was discussed, I’ll just drop a link to the podcast below. Really, there was an awful lot going on, and I’m super glad we recorded it all.
It's been a week since Taylor Swift released her new album. Like with any new record, opinions can change by the minute during those first dozen listens.
Taking a step back after weeks of listening to read all the lyrics, straight through without music, I began to admire this EP even more. As a concept album, every song is an extension of the last, unveiling another part of the story. Each song contains a call back, lyrically, to the previous song, and I felt it allowed me to connect much deeper with the songs.
This record created my production philosophy. The entire premise for the project was to give Julien a record that was her. By letting Julien be Julien and not trying to get her to be anybody else we got a record that is an accurate representation of her soul.
I don’t really do any tricks. I try to keep the arrangements as simple as possible. I’ll have a different guitar sound for the choruses. Probably layered with some extra guitars, leads and arpeggios, but I don’t do any stereo widening plugin tricks or anything. That always sounds weird and distracting to me. Ya depending on how sparse the verses are, I might pan the verse guitars in a bit if I feel like there is a hole in the middle.