Let me amend my previous comments on this album by acknowledging that, while I do love the record, it is more compressed than I’d like. I have the vinyl but I’m not set up to check DR levels. I’d be curious about the comparison with the CD if someone posts them. The compression levels are slightly disappointing because I do believe Kim cares about sound quality more than most — 4 Men with Beards reissue of Last Splash notwithstanding.
I didn't know 4MWB was in the story. (They are more like "4 Men With CD players") Since you have the vinyl, what do your ears tell you?
I feel like the vinyl is fairly compressed. I wrote previously that I felt that it was lacking dynamics. Whenever a blaze of guitars come in, or some sort of crescendo, the sounds just stays at the same level.
I think it sounds pretty good, compressed yes, but I can tolerate it and been listening to this album everyday since day one. I'm talking about the digital mastering here, I'm still waiting for the LP. I know DR values from vinyl rips are not to be completely trusted, though I'd be worried if DR value for the LP is 8 or 9. But if it's let's say 12, 13, well, that's something, at least some indication of a different mastering.
But it’s not so bad that I wouldn’t recommend it. Luckily, the songs are good enough to look past slight shortcomings. It just doesn’t have that extra kick that the songs deserve.
Here's a quote from a recent Reddit AMA: Most of the recording was recorded on analog tape. However, this album was mixed in ProTools. I drove the reels up to NYC and Matt Boynton transferred them to protools and mixed it. This is the first record I've ever done where the album is mixed on protools. - Kim
So, it's either Matt Boynton or Greg Calbi who's responsible for it. Album debuted at #79 on the Billboard 200.
Not just that, but it's quite a peculiar remark to make when you consider: 1. Kim has lost a great deal(no pun intended) of weight since 2013. 2. Kim has grown her hair out, looking like she did back in the 90s.
Listening to the vinyl now. Definitely not “crunched” ... maybe a tad more DR would be nice, but it sounds good. Also, can confirm separate masterings. From the vinyl sleeve: “Mastered by Greg Calbi at Sterling Sound, NYC. Vinyl mastered by Bob Weston at Chicago Mastering Service, Chicago.” I’d say it’s worth the risk ... you probably won’t be disappointed. If you get it, let us know how you end up feeling about it.
I have wondered about the sound of the snare, for instance. It doesn't sound compressed, just toned down to not be so vibrant in the mix. Yet Kim's vocals are just so clear and airy at times, beautifully lost and lonely at others. It comes through very clearly. Is this artistic choice to keep some bits more muted? Or is it in the way the instrument was eq'd and was that done poorly? I'd have to hear it in another format come through significantly different to think there's a problem here. I think there's a murk that's a part of the band's sound that they actually are going for. But, I want to think that, too.
So, I'm a newbie to vacuum record cleaning with my new Record Doctor V. I went out to get some fluid, and because it was all the store had, I ended up with the Audio Intelligence 3 step process. I cleaned some old records to incredible results. Figured I'd try a new album and you know what that was. I highly recommend this to people. (Although I'm still going to order the one-step solution.) It was like I was only hearing 80% of the record before. Really clear highs and nice, vibrant bass, and kick drum. Snare has more natural vibration. Even more Beautiful record!!
Got the vinyl in of this about a week ago. As far as sq it reminds me very much of 90's engineering. The mix, eq and such have that 90s sound. Which I rather enjoy hearing because the group was of the 90's. I wouldnt say the mastering is fantastic (dynamic range is only one part of the puzzle and way to focused on at the SHF's imo), but it isnt squashed sounding by any means. This isnt James Taylor smooth music or open tubey sounding ZZ Top folks. This is The Breeders. That means some crunch! Anyway, sound aside. As far as the musical merit and content: My intitial listen left me kind of cold. But my second listen was much more enjoyable. There is some very interesting chordal changes and musical interplay going on. Theyve retained the classic Breeders sound and also expanded on that sound. The music is more complex but not for complexities sake. Listen to the lyrics. The music supports the lyrics perfectly. There are some very cool catch phrases that are very Breedish sounding All in all a really good mix of just enough signature sounding Breeders and intricate more complex musical patterns. This dashed with subject matter presented in a unique way with the angle of story telling that isnt the same ol same ol makes for a very good album imo. Give it a chance. Its not Last Splash and it kind of is. But, didnt they already do that album? Its ok, they are one of the few groups that can flatter themselves without sounding pretentious.
Black. I think I'm happy about that. Have you listened to the releases between Last Splash and this? While I agree with your comments about getting that original band sound, I think it has more to do with the lineup and, yes, production that suits who they are. Other than that, this feels like a different animal to me than Last Splash. The Breeders don't do much 'hook' music. Last Splash was definitely more accessible that way, as was The Amps release. I think a lot of the directions they've taken since then have veered in interesting ways from anything catchy and this album blossoms out of those approaches, IMO. The songs here, as you say, are very well constructed. I get a very different feel from this album. Much more intimate without being too confessional or angsty which is, I think, part of the difference. Especially on side B. Every time I play side A (and I often play single sides of albums) I can't keep myself from turning it over! Must. Play. Through. I love finishing the experience looking over Athens with the Blues....
one of my favourite songs off the new album is 'walking with a killer' … i really love the melodies and arrangement ….. the other day i wanted to post it to tastebuds.fm and couldn't find the track off the album on youtube ….. but i did find this …. an 'all wave' version she released a few years ago, on 7 inch 45rpm … mastered at sterling by ryan k. smith give it a listen … it reminds me more of the way 'title tk' and 'mountain battles' sound ….. all wave/tracked and mixed by albini …. big luscious enveloping sound stage massive low end i was gonna get it and a few other solo 45's of hers off of discogs, but then magically found this site …. duh lol Kim Deal Music which is still selling them officially for $7 USD a pop …. so i just ordered 4 of her singles in total. all, all wave, at a much more reasonable price, relatively speaking. one of the songs 'biker gone' has britt from SLINT, who was the drummer on POD, doing the drumming ! Kim Deal - Biker Gone [Official Video] this is a super happy day for me. since i'm so sad i couldn't get tickets to their upcoming show :-( lol. anyone here from toronto got any extra tickets ???? cheers, lol
for comparisons sake ….. the evolution of their sound (i slipped in tracks from THE AMPS as well lol could'nt help myself) from POD DOE from LAST SPLASH NO ALOHA The Breeders - No Aloha from the amps PACER DEDICATED The Amps ) Dedicated HD 1080 BRAGGING PARTY the Amps - Bragging Party - YouTube from TITLE TK LITTLE FURY The Breeders Little Fury LONDON SONG The Breeders - London Song from MOUNTAIN BATTLES WALK IT OFF The Breeders - Walk it off (homeworK 3) from ALL NERVE NERVOUS MARY The Breeders - Nervous Mary (Official Audio) enjoy!
Listened again and I think my beef might be with the title song. When Kim goes into the “I Won’t Stop!” part, I want the guitars to roar, but they don’t. Otherwise, man, what an album. So many subtle moments, vocal “ticks” (literally), and range of emotions. After about 10 listens I am fully hooked.