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800 Club - QQ All-Star
Hello QQ! Some of you may be interested in this from an audio perspective. This album will come out Friday and is currently streaming on NPR.
Baroness have become one of the big metal/hard rock bands, Grammy nominations, managed by Q Prime, etc.
Dave Fridmann (Mercury Rev, Flaming Lips, MGMT, etc) produced their previous album and the new one as well. Both have been criticized by fans for brickwalled mixing and/or mastering, while both have also received very positive reviews for their content.
The new album is very dense, long, and filled with musical and sonic ideas, I suppose going into the prog realm. It would be a perfect candidate for a surround mix - not that one is expected.
When singles were released the past few months, a bunch of comments called for remastering, etc. Now, after hearing the whole album, it seems pretty clear that it is intentional. The whole album is filled with noise, knob-twiddling, panning tricks, vari-speed, and such. The saturation/compression/distortion goes well past distortion/clipping, though whether it is analog or digital or actual clipping is debatable. Interesting as a listen. I know a lot of you really like the surround mix on Yoshimi Battles The Pink Robots, and I wonder about the division of work between Scheiner and Fridmann.
...
Baroness have become one of the big metal/hard rock bands, Grammy nominations, managed by Q Prime, etc.
Dave Fridmann (Mercury Rev, Flaming Lips, MGMT, etc) produced their previous album and the new one as well. Both have been criticized by fans for brickwalled mixing and/or mastering, while both have also received very positive reviews for their content.
The new album is very dense, long, and filled with musical and sonic ideas, I suppose going into the prog realm. It would be a perfect candidate for a surround mix - not that one is expected.
When singles were released the past few months, a bunch of comments called for remastering, etc. Now, after hearing the whole album, it seems pretty clear that it is intentional. The whole album is filled with noise, knob-twiddling, panning tricks, vari-speed, and such. The saturation/compression/distortion goes well past distortion/clipping, though whether it is analog or digital or actual clipping is debatable. Interesting as a listen. I know a lot of you really like the surround mix on Yoshimi Battles The Pink Robots, and I wonder about the division of work between Scheiner and Fridmann.
...