Red Mosquito

96583UP wrote:and would posit that spritzy punkers include a snappy, uninspired snare

Tj wrote:Ask yourselves this . Does Earthling have post Binaural squirting punker. I say no. Rose is Close as is Try but the are something else.. Do you believe Ed left to his own devices would create a album full of spritz punters I believe he would. Maybe Andrew fixed spritz by decarbonating the fizz a bit. Oddly Mike best moments are on squiters. How in the hell did the Ramones sell so many shirts .? They wrote only spritz punkers. Do you see where I am taking you ? This all circles back to the PRAMG..I Funko poops are spritz action figures so are Mr potato heads.

Jaeti wrote:Big Wave? I say nay.

guitar_davey wrote:

96583UP wrote:and would posit that spritzy punkers include a snappy, uninspired snare

Yeah, the spritzy punk PJ tunes tend to have really basic drums. Again, Supersonic is one of the worst offenders. Sorry, Matt.

Jaeti wrote:Big Wave? I say nay.

Lounge Lizard wrote:Is Why Can't You See the new single title?

dad wrote:the font choice is my favorite.

E.H. Ruddock wrote:

dad wrote:the font choice is my favorite.

Ed must've picked it

E.H. Ruddock wrote:

Lounge Lizard wrote:Is Why Can't You See the new single title?

Sure is!

This is the first Stones album Watt has produced—not bad, since it’s only the fifth they’ve released since his birth. Still, he’s been here before. Apart from albums by Post Malone, Miley Cyrus, and Justin Bieber, Watt has helmed sessions by Ozzy Osbourne, Iggy Pop, and Elton John (a frequent guest on Hackney Diamonds). In this realm, Watt is the antithesis of Rick Rubin. Rather than lean into the age and experience of his elders, he drags them toward the present, goading them to sound like their younger selves within ill-fitting contemporary settings. For the Stones, Watt favors the molds of circa-millennium alternative rock, from Collective Soul to Franz Ferdinand, then buffs the results until they gleam like sickly wax figures. Jagger, terrifyingly, has never sounded so youthful. Keith Richards has rarely sounded so normal, his solos all exercises in convention and efficiency. Imagine upgrading a classic muscle car, say the MG Midget or a 1967 Shelby Cobra, with cheap but shiny plastic parts. Posed, patched, and polished until the actual character has all but disappeared, that’s how Hackney Diamonds sounds.

tragabigzanda wrote:From pitchfork’s review of Hackney Diamonds:

This is the first Stones album Watt has produced—not bad, since it’s only the fifth they’ve released since his birth. Still, he’s been here before. Apart from albums by Post Malone, Miley Cyrus, and Justin Bieber, Watt has helmed sessions by Ozzy Osbourne, Iggy Pop, and Elton John (a frequent guest on Hackney Diamonds). In this realm, Watt is the antithesis of Rick Rubin. Rather than lean into the age and experience of his elders, he drags them toward the present, goading them to sound like their younger selves within ill-fitting contemporary settings. For the Stones, Watt favors the molds of circa-millennium alternative rock, from Collective Soul to Franz Ferdinand, then buffs the results until they gleam like sickly wax figures. Jagger, terrifyingly, has never sounded so youthful. Keith Richards has rarely sounded so normal, his solos all exercises in convention and efficiency. Imagine upgrading a classic muscle car, say the MG Midget or a 1967 Shelby Cobra, with cheap but shiny plastic parts. Posed, patched, and polished until the actual character has all but disappeared, that’s how Hackney Diamonds sounds.

wease wrote:

tragabigzanda wrote:From pitchfork’s review of Hackney Diamonds:

This is the first Stones album Watt has produced—not bad, since it’s only the fifth they’ve released since his birth. Still, he’s been here before. Apart from albums by Post Malone, Miley Cyrus, and Justin Bieber, Watt has helmed sessions by Ozzy Osbourne, Iggy Pop, and Elton John (a frequent guest on Hackney Diamonds). In this realm, Watt is the antithesis of Rick Rubin. Rather than lean into the age and experience of his elders, he drags them toward the present, goading them to sound like their younger selves within ill-fitting contemporary settings. For the Stones, Watt favors the molds of circa-millennium alternative rock, from Collective Soul to Franz Ferdinand, then buffs the results until they gleam like sickly wax figures. Jagger, terrifyingly, has never sounded so youthful. Keith Richards has rarely sounded so normal, his solos all exercises in convention and efficiency. Imagine upgrading a classic muscle car, say the MG Midget or a 1967 Shelby Cobra, with cheap but shiny plastic parts. Posed, patched, and polished until the actual character has all but disappeared, that’s how Hackney Diamonds sounds.

That didn’t read to me all that favorably.