Wobbly world

April 13, 2013


So mix one is done. Thank you Pascal for your amazing energetic input. And now we spend days listening and listening. Julian calls to say are the vocals too loud? I call him to say are the guitars too quiet? (And already I hear the chorus of “turn up the guitars!”) He calls to say the drums are this, and I say that they are that. We both want to fiddle a bit more. Some tracks are done, clearly reached their potential. Others seem less defined.

It strikes me that how you listen to music determines what it is you want to hear. I can hear the lyrics just fine at tiny volumes, because I wrote them, and frankly I don’t want to hear my vocals loud. Pascal feels they should be up front and proud. My Bloody Valentine can have achingly loud guitars because that is their mission. Their focus on lyrics is not paramount. Morrissey can have his voice dripping his brand of injured bile loudly from the speakers as the band clatter away in the background. Compare the various ways REM mix the band vs the singer on Automatic for the People: Ignoreland vs Everybody Hurts.

And it leaves me none the wiser. Our songs with lots going on are symphonic in reach, but aren’t they just pop songs? Listen to Scott 4 and the orchestra are placed politely back. Compare this with the stroppy loudness of brass on Scott 2. And Scott didn’t have the wipeout of enormous delayed guitars to contend with. Compare the quiet voice on Strange Free World, with the louder dirtier one on Death of Cool. Emptier tracks would mix themselves, but we haven’t written any of those.
Roll on mix two, the Tweaks, and these little complexities sorting themselves out. (Mops brow and heads back into the furnace.)


8 Responses to “Wobbly world”

  1. Dave Cantrell Says:

    Still, beats being a bank clerk, and you’ve droves of people very pleased you’re doing all the work. In that regard, I thank you…

  2. Mark Harris-jones Says:

    Sounds like I can help!

    I am more than willing to review the project so far..
    Independent listening!

    I feel it’s the least I can do.


  3. Rand Says:

    Take your time to make it wonderful. …but hurry up. 😉

  4. swede Says:

    Are the new songs authentic KOD tunes that always burst out into this great spacey sound I want to go on forever at the end of them?

      • swede Says:

        So they are more Stephen Hero inspired tunes I take it. It would require a lot to release something now under the name Kitchens of Distinction with it sounding totally different from the Kitchens of Distinction of old. I am very sceptical to it all I must say but I am hoping it will surprise me.
        If you lads pull it off by releasing a comeback album that is still like the old KOD but with a modern touch then you deserve the nobel prize.

  5. aerostace Says:

    If you’d like some independent feedback then let me know.

    It’s all subjective of course, but I’ll give an honest opinion.

  6. Jim G Says:

    Ignoreland beats Everybody Hurts.

    Something unique about Kitchens is the ability to convey immersion – be it literally (Aspray), figuratively (Gone World Gone), or interpersonally (Under the Sky). The quieter, wetter (or more blended) vocals reinforce that.

    As to the earlier post about which octave to sing on a particular track: why not both? In the spirit of the layered guitars, the vocals could be built up as well. Not like typical synched backing vocals but a wash with different timings, lyrics, etc. Just a thought…

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