“A Deeper Green” the new “quote” recording is finished and mastered. I’m really excited about the way this record turned out even though there is a bitter-sweetness attached to its release. This record signifies the last recording as “quote.” Both Justin and

Me and the Quote guys after finishing the record

Jamie will continue to make music in some form but they, for their own reasons, have decided to disband. I think this record does a great job of summing up what they do best as a collaboration. The closing/title track in particular is a perfect closing statement to their case as brilliant artists and unique collaborators. The stark guitar/vocal duet arrangement brilliantly showcases their ability to compliment each other vocally as well as instrumentally with even the simplest of instrumentation.

Another project on the horizon is the new “Choir at your Door” album. This is the name for the collaboration between Nathan Phillips (Winston Jazz Routine) and Aaron Roche. They recorded the record themselves over the summer when Nathan was living with Aaron in Riverside, California. I mixed and mastered it over the last couple of weeks. If you are familiar with the first “Choir” record (a Christmas project), you will find this project a little lighter and sunnier feeling. Something really special happens when these two brilliant songwriters work together, which is represented very well on these new recordings. Aaron has a knack for effortlessly crafting songs that sound as if they could have been written 50 years ago, while Nathan is a brilliant arranger, producer, experimenter. They’re respective talents meet to create something both accessible and dense. Check out their website for info about obtaining these new recordings.

Up until this point in the film, Charlie is painstakingly trying to craft a screenplay without the normal “cop-out’s” of a Hollywood film: action, love story, profound life lessons. He has hit a wall, and cannot figure out how to finish the screenplay. In a moment of profound defeat, Charlie attends Mckee’s seminar. The moment of clarity comes when Charlie sheepishly stands up at the seminar and asks Robert Mckee what he would do in Charlie’s situation.

“What if a writer is attempting to create a story where nothing much happens, where people don’t change…they don’t have any epiphanies…they struggle, are frustrated, and nothing is resolved…more of a reflection of the real world.”

This conclusion about reflecting the real world is one that, I believe, a lot of artists can relate to. Inside our own bubble it seems that to craft a true reflection of our world would be one that would often portray the boring lack of action in everyday life. What Mckee says in response is, in so many words, that this perspective is straight up wrong.

WARNING: F-BOMBS!!!!!

“…nothing happens in the world? Are you out of your fucking mind!? People are murdered every day…there’s genocide, war, corruption. Every fucking day somewhere in the world somebody sacrifices his life to save somebody elses. Every fucking day someone, somewhere, takes a conscious decision to destroy someone else! People find love, people lose it… For christ’s sake, a child watches her mother beaten to death on the steps of a church! Someone goes hungry…somebody betrays his best friend for a woman! If you can’t find that stuff in life, then you, my friend, don’t know crap about life! [now shouting] And why the fuck are you wasting my two precious hours with your movie!?? I don’t have any use for it! I don’t have any bloody use for it.”

This hit me as an attack on any art made out of cynicism, any art made out of a self-absorption. What Mckee proves is that there is definitive reason to care about things in the world. If you deny that…then you’re simply wrong. “You don’t know crap about life,” in Mckee’s words.

Art is not about your feelings about your life. Art should be a reflection of the world at large…from your perspective. This doesn’t mean that all art should be about everything, but it does mean that an artist should be aware that their life is not everything.

-Mike

I’ve read a new book called Perfecting Sound Forever by Greg Milner. I would recommend this book for anyone interested in how we got to the current state of audio recording/fidelity (or lack there-of) as well as a conceptual dissection of the difference between music and a recording. The book is painstakingly researched and brilliantly retold in such a way that reads more like music appreciation than history.

Perhaps the chapter that hit closest to home for me was the one about “The Loudness Wars“- our never-ending quest for the loudest, most compressed, most in-your-face recording ever. The main reason why the war started is because if you give anyone two recordings and ask them which one they like better, they will always pick the louder one. This is part of how we’re wired – loud and bright always instinctively sounds more exciting. The problem is that a recording that is too loud and too bright is exhausting to listen to and ultimately abrasive. The main subject of debate pertaining to the the war was The Red Hot Chili Peppers’ record “Californication.” This was a record I listened to a lot in middle school. I remember a couple days straight where I had this record in my discman for the bus ride to and from school. Reading about this record as one of the first to suffer backlash from being too loud triggered a memory from these bus rides. I distinctly remember suddenly feeling like the record sounded…wrong. I remember it sounding distorted and abrasive, to the point where I had to stop listening. I don’t think I picked up the CD again for a long time if ever. I never thought much of my reaction because at the time I knew nothing about recording, mastering, compression…etc. There’s a serious problem when a recording has clear negative effects on my 13-year-old ears.

Here’s the waveform for Around the World – The opening track on “Californication.”

For comparison here is the waveform for Radiohead’s The Bends released 4 years earlier in ‘95.

A common argument for the overuse of compression is the fact that most music now will be heard via lossy mp3’s through laptop speakers. The sound has to be incredibly aggressive in order to compete with the sheer volume of modern living. Common music fans simply do not invest time/money into their living room s0und systems like they did in the days of the “Hi-Fi” (see pic).

It can not be expected that the “Hi-Fi” ideal of the 50’s could be sustained through the instant gratification of the digital age, but it is questionable whether appealing to the lowest from of listening is the best way to approach making recordings today.

Reading about the present state of music, I couldn’t help but feel like it’s all a little pointless. What I mean is: What’s the point of trying to make good sounding recordings if they’ll eventually sound like shit anyway? First, mastering will destroy any dynamic/finesse/emotion; then the CD will be ripped into lossy mp3’s to put on itunes; then the listener will listen through their laptop speakers while the TV is on, or listen in their car through their radio ipod adapter (which hardly sounds like much more than static – those things should be outlawed!!) To go along with this means to be okay with making poor sounding recordings, to rebel means to risk being dismissed by listeners used to their music being audible over the sound of them vacuuming. In the last year I got a record back from mastering and after fearing that it was too compressed, I showed it to a producer/engineer friend of mine to get a second opinion. His response was “I’m probably the wrong person to ask about this: I always think it sounds too compressed after mastering.” Why is it that as technology makes it more and more possible to achieve “perfect” (life-like) sound, the industry demands something further and further from human experience. Milner frequently refers to a quote from Neil Young, which serves as a sort of summation of the predicament we find ourselves in.

“We’ll look back [on it] and go, ‘Wow, that was the digital age. I wonder what the music really sounded like?’ We got so carried away that we never really recorded it. We just made digital records out of it.”

Music:

1. Radiohead – Kid A

The album that changed everything for me and so many people. You can’t argue with that.

2. Wilco – Yankee Hotel Foxtrot

Lyrically brilliant, Sonically dense, ambitious…what else can I say?

3. Bonnie “Prince” Billy – The Letting Go

The record that confirmed for me Oldham’s place among the best songwriters/American folk artists…ever? With the help of composer Nico Muhly, and producer Valgeir Sigurrdson, this record channels the southern folk tradition whilst looking forward instead of backward. Sam Amidon made another great record with a similar approach executed differently (see #6).

4. Ryan Adams – Heartbreaker

It seems most people, myself included, quickly forgot about Ryan Adams in light of his recent step back from the spotlight. I personally have trouble connecting with most of his albums like I did say, four years ago. ‘Heartbreaker,’ however, remains a great record as a result of amazing songs, great collaborators, and pitch-perfect execution. Still one of the most referenced records when discussing production approach with prospective clients.

5. Panda Bear – Person Pitch

A record that reassured me that there is exciting music being made in the “indie” arena. At first listen it sounded like a Beach Boys record made with computers. With repeated listens it revealed itself as a dense collection of incredible melodies, sonic experiments, and a new approach to sample-based music. Although Animal Collective’s latest is arguably a step in front of this one, this is the record that I am constantly wanting to revisit.

6. Sam Amidon – All is Well

A prime example people working together with complete trust in each others talents. With Valgeir Siggurdson producing, Nico Muhly arranging, and Amidon singing his own interpretations of public domain mountain ballads: This record brilliantly approximates a place where folk songs (the old) and modern classical music (new) can coexist.

7. Portishead – Third

With a sound, an approach, and a sensibility all their own: Portishead come out of hiding to deliver a record that is more forward thinking, exciting, and relevant than anyone could have predicted.

8. Beck – Sea Change

A record that creates its own world somewhere between Dylan and Bjork. Another example of stellar players collaborating with incredible confidence in their craft to make something inherently doomed for banality (a sappy breakup record) into something uniquely fresh and distinctive. The vocal sound/delivery is its own, the drum sound/style is constantly mimicked, the atmospherics (orchestra, pads, guitars…) are ambitious but never over the top. I believe I’ve said enough.

9. Justin Timberlake – Future Sex/Love Sounds

The perfect pop record! It is first and foremost a danceable, catchy, disco record. With repeated listens, however, it reveals itself as inventive, minimal, and ambitious. Timberlake is smart enough to choose forward-thinking producers and collaborators in order to make records that will stand the test of time as albums while also satisfying his pop star status with oodles of singles.

10. The Strokes – Is This It

Say what you want. Derivative? Yes. Nostalgic? Sure. But at its core these are amazing songs played by a great band. Love it!

Movies:

1. Eternal Sunshine of the Spotless Mind

2. Royal Tenenbaums

3. Mulholland Drive

4. Punch-Drunk Love

5. Synechdoche, NY

This was my first time being in Texas and, from what I have heard, I was in the right city. Austin is a very exciting place with almost too much activity going on. I left disoriented from a jam-packed week of work, drink, more work, and a lot more drinking. It took me a couple of days to recover. While hopping between ultra-hip bars about town, I couldn’t help feeling like I was in a Richard Linklater film. It’s like, get a job, ya know? But seriously, I liked Austin, I hope to go back someday. One big reason to go is for the Alamo Drafthouse, that place is freakin’ awesome. I see why Tarantino likes it so much.

Amanda and I were able to see Andrew Bird and St. Vincent at the Ryman this weekend. It was my second time seeing both and I was stunned with this particular performance. Bird had a bass player and axe man, which was a welcome addition to his usual 2 piece setup. St. Vincent continues to amaze me. The sound for her set was very poor, as expected for the opener but seriously, was the snare even mic’d? Anyway, I caught her at the Mercy lounge this summer and was stunned. I am always excited to see someone as fearless and confident in one’s own voice as she is. She is not afraid to be dramatic or abrasive, and she has the songwriting prowess to pull it off. I recommend that you buy her records right now and sit with them for at least a week straight, you may have to cancel some plans, take off work, etc. in order to do so but trust me it’s worth it.

Please listen to Daniel Ellsworth’s newest song, “Tennessee Train.” It’s one of my favorite songs right now and I guarantee you will love it.

Brite is an online arts community dedicated to bringing music lovers into a shared experience with the artist through monthly exclusive output. How it works is every artist on Brite records and makes available 1 new song per month, plus one from their back-catalog. These songs are only available through Brite. You (the listener) can become a member Brite for 4.99/month. For that, you get access to every artist’s database on the website, including the brand new songs uploaded every month. Another cool thing is that when you sign up with the website, a portion of your 4.99 goes to support a non-profit of your choice. We are supporting Blood Water Mission. It’s awesome.

go here and sign up!

radio:

I want to mention that i have started DJ-ing for WRVU Nashville (91.1) from 11-1am every Wednesday. My show is called “Crossroads” and specializes in ‘music of the south.’ I am still getting the hang of it but am enjoying it very much. I hope you will tune in if you happen to be up that late on a Wednesday. You can listen online at www.wrvu.org if you are not in town. I am hoping to start doing shows focusing on specific cities and specific niche styles and genres in the south. I am open to ideas.

modern music:

I have fallen deep into the throes of 20th century classical music. It has been my pursuit for the past two years or so to (at least) understand and appreciate all types of music. This is more a feeling of responsibility than anything else – if I am going to work creatively in music, I should know as much as I can about it. Some styles which I did not have an inherent understanding or appreciation for include: avante-garde classical, noise, free jazz. I have yet to grasp much of the free jazz, nor have I dove deep into the noise/ambient world, but I dove very deep into the classical world (20th century specifically) and have become completely engrossed in it. With a little help from Alex Ross’ excellent book, The Rest is Noise, I have discovered some new favorite composers such as Steve Reich, Arvo Part, Olivier Messiaen, Philip Glass, Iannis Xenakis, and several others. Some whom I am still on the fence about are Arnold Schoenberg, Anton Webern, and Akiri Takemitsu. Since my recent fascination with this whole new world (whole new world?) of music I keep seeing more and more the apparent interest shared by many of the artists at the forefront of the ‘art-pop’ scene. Just yesterday I read an interview with the lead singer of Phoenix where he expressed his fascination with Reich and effort to recreate his methods on their new record. Some obvious examples of new classical ideas used in pop music are found in the music of Bjork, Radiohead, and Sonic Youth; However, I see more and more influence creeping into the world of ‘indie rock:’ St. Vincent’s Annie Clark tweets about Terry Riley, Sufjan Stevens seems to quote various minimilast composers (especially Reich and Riley) in his instrumental music.
All this to say: My recent ventures into “new” music have completely renewed my obsession with the art of music and my excitement in making it. I have recently been inspired to compose myself so maybe there will be something to share soon.

We are at a place now where music simply isn’t being experienced like it once was. There are a million different ways to obtain one piece of music, both free and bought. The release of the latest coldplay album, for example, has been received by fans and casual listeners in many questionable ways. When you get someone’s opinion on this particular LP, something to the effect of: “man, they’re just trying to be the next U2,” they very well may have bought it at their local record store, brought it home, sat down, and listened to it through once or twice…probably not though. It’s more likely that they A) only listened to the 30 second samples on itunes; B) downloaded lossy mp3’s off bittorrent; or C) overheard it at a friend’s house. The point is that a listener who sat down and listened to this album as it was intended to be heard and the listener described above are basically listening to different records. On the other hand, if this record were released 10 or so years ago, it is more likely that these two people would listen to identical physical copies of the record: same sound quality, same track order, etc…

So this state of affairs leaves music with a decision: do we fight the trend and cater towards the dwindling population of “album lovers”- those people who are now reverting to buying vinyl for its forced patience and experience?; or do we accept the industry’s movement towards a pre-Beatles market where albums are seen as a collection of singles? This split in musical schools of the thought is not a new issue. At the turn of the century, classical composers noticed the general populace turning towards the immediacy of popular music and in return gave up on the idea of a “popular audience” shifting their focuses towards a more challenging, academic sound that would serve the “high-art” crowd that still attended their concerts.

The happy medium, which I believe Coldplay has mastered, is to make a record in which each song is amplified by their context but also engaging by themselves. Viva La Vida is a very well composed record in that it moves sequentially in such a way that is respectful and rewarding to the listener, but you also have songs like the title track, which can live outside of the record in, for example, an ipod commercial with great success.