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Alabama Shakes Sound Color


The album exhibits influences from psychedelic rock and soul, while also including the Alabama Shakes Sound Color usual blues and garage rock sound. On Bandcamp Radio. Jake P. Everyone, including me, was just figuring out what they were going to do. Retrieved December 13, Retrieved June 30,

There also were some keyboards, by the way, like a Vox Continental [organ], and a piano, which I recorded with a pair of Neumann 67s, and once a 57 as well, and a Hammond B3, on which I had a D12 for the bass and again two 67s. The vibraphone also was recorded with two 67s.

These projectors have hi—fi amps with low—gain tubes, and have characteristics on the guitar that I really like, like a lot of high—end information that does not sound shrill. The first time I went to Nashville I brought a bunch of my guitars and amps that I thought might inspire the band if they wanted to experiment with different tones.

But they ended up largely using their own equipment. You can drastically influence the way people play and sound by giving them different instruments.

This included Everett spending many hours on treating the sounds he had recorded and doing rough mixes. We also had these old weird s four—track cassette recorders, one of them being a Korg CR4, that has weird effects on it and speakers.

I also transferred things to multitrack tape and experimented with how hard we could drive the tape machine, and then recorded that back in. If everything is balanced in the entire frequency spectrum, it can naturally feel loud, without having been limited to death.

So a lot of the experimentation I did at Sound Emporium, running things through cassette recorders, VHS tapes, reel—to—reel tape, amps and so on, and applying all sorts of different EQs, was a matter of making sure all the different instruments have their own place, and that it sounds as loud as possible. Brittany was also there a lot of the time. We were working the entire time, 14 hours per day, non—stop. When you have more time, you can really get it to the point where you want it to be.

Sometimes you hand over your project and you feel like people are stealing your baby, but this time we had the time do things properly and get everything out of each track that we wanted. This was one of the few times when handing over a project that we all just felt excited. For the most part what I did was to try to replicate my entire in—the—box mixes on the console, replacing as many plug—ins as possible with equivalent outboard gear.

Then I replaced all the plug—in EQs with outboard EQs, and then I did the same with plug—in s, and other plug—ins. If you like Alabama Shakes, you may also like:.

Jaime by Brittany Howard. Finding this today made my day! Once in a while you stumble upon a band that blows you away with such unexpected freshness and brilliance, that you're convinced they'll conquer the world in a matter of weeks. I'm still waiting, but Khruangbin is such a band. Consisting of only three the band makes intimate music that somehow sounds larger than a passing parade. Celebrating life, traveling and good company. With 'White Glove' as a lovely tribute to a deceased feline.

Majestic happy little clouds they are. Room 25 by Noname. Love it! Given that a certain conservatism was the attraction of their debut, it takes guts to mess around with the formula. Best Albums. Alabama Shakes. Must Hear Album. Critic Score. Based on 29 reviews. Details Submit Correction. Log in to add tag. Best of The Telegraph. December 1, Consequence of Sound.

Retrieved December 18, December 9, Retrieved 10 October Rough Trade. November 25, Retrieved December 10, The New York Times. Retrieved December 13, Retrieved April 11, Hung Medien. This marked the first time that an artist was nominated in both categories in the same year.

It peaked at number six on the Billboard album chart, and number one on the Blues Albums chart. Alabama Shakes Albums. It was released on April 9, The album peaked at number 6 on the U.

Billboard and number 3 on the UK Albums Chart. Joe Live from Austin City Limits. Sasha, meanwhile, was bored. Like, remarkably bored. Her flat stare was the type usually reserved for dentist waiting rooms or Target customer service lineups. Her obligatory golf clap at the end of the song was wan to the point of noiselessness.



It felt as if they could be inducted into the Rock and Roll Hall of Fame at any moment. And yet, the idea taking on the mantle of '60s soul was never part of the plan for Alabama Shakes. But it is strange and mystical and unexpected—more Houses of the Holy than "Holy Cow".

Bon Iver collaborator Rob Moose provides eerie string arrangements that slowly encroach on songs like ivy climbing up a fence while the band and co-producer Blake Mills tweak tones and rhythms to make guitars and drums and bass and keyboards sound genuinely exciting—fresh, even—in Of course, Howard is at the center of it all. Sending up her larger-than-life voice?

Smiling into the void of unrequited love? The album was released on September 4, Turn Blue. The Black Keys. Turn Blue is the eighth studio album by American rock duo the Black Keys. It was released through Nonesuch Records on May 12, , and co-produced by Danger Mouse and the duo. The record was the their fourth collaboration with Danger Mouse, following their previous studio album, El Camino, which was their biggest commercial and critical success to that point.

The sessions coincided with Auerbach's divorce from his wife, which inspired much of the album's lyrics. The resulting material was more melancholy and slower paced than the uptempo, hook-laden songs from El Camino. The album exhibits influences from psychedelic rock and soul, while also including the band's usual blues and garage rock sound.

Don't Wanna Fight. We kept the humming and buzzing for the most part, but for example the solo was made up for six or seven tracks, and on one of the amps the buzzing must have been too much. The guitar solo was made up of a bunch of guitars recorded with the Royer. They were then all bused together and treated with a Vintage Warmer plug in. Two of the guitars in the solo also had the Decapitator. The master bus plug—ins are the same in the big Sound Emporium session and in the final stem session from which I printed the mix at my place.

I did print the stereo mix through an Alan Smart C2 compressor, though. Ocean Way then lent me their grey Alan Smart and suddenly we could match the mix prints! It definitely was a crazy session! Sometimes the kick sits above the bass, sometimes the other way round — not necessarily in terms of volume, but also in terms of their frequencies.

There is this battle, and if everybody is the lowest, nobody is the lowest. You cannot do this with every band, but it worked well with Alabama Shakes because of the way they play.

You can compare it to reggae records, which have amazing low end on vinyl. So we spent time with Alabama Shakes getting the arrangements right, and constructing things to fill up the low end. For example, I brought my old, 32—inch Gretsch concert drum to the sessions, and it has a massive sound. If he played a big downbeat every other bar, it made that kick drum sound massive.

In fact, I spent years working out how hip—hop records manage to get so much low end in a record! I was now applying what I learnt to a band like the Shakes. One major thing we did for many of the sessions was to have a second, half—open bass drum next to the kick, just for resonance, and I put a mic next to that as well, for extra low end. There was a lot of talk about the resonance of the kick drum during the making of this album! There was a lot of messing around in the pursuit of big bass!

But the resonant kick was the result of our aim not to use samples. We wanted to get the sound of adding an or other sample to the kick drum without actually adding a sample.

In our attempt to get that big hip—hop kick that is on a lot of records nowadays we also often re—amped the kick drum in a different room. Three of the experimental vocal recording techniques that were tried at Sound Emporium: from left, Brittany Howard with headphones taped to her face, with her mouth stuffed with cotton wool, and singing into a Yamaha Subkick. She realised at one point that she liked singing in the control room, with the speakers going, and in these cases she often recorded her vocals with a handheld mic that she had found on Ebay.

I had to EQ it and do a lot of weird jazz to it afterwards, but we used it on the entire song, including her background vocals on it, and it sounded cool. There was even one instance when she wanted to get a very muffled sound, which resulted in her experimenting with putting cotton wool in her mouth and even Anbesol [an over—the—counter anaesthetic gel to combat toothache] so she could not feel her mouth. Brittany is revered as a vocalist, I mean people talk with such respect about her singing, and all this is deserved, but it might mean that people become very careful when they record her and just put a 67 in front of her.

Based on 29 reviews. Details Submit Correction. Log in to add tag. Best of The Telegraph. Full Review. Recent Reviews. Entertainment Weekly. It's a deliberately weird record, but authentically weird; it's chaotic yet cohesive, full of sound, colour and unshakable vision. This is stadium soul with one eye peeking toward another galaxy while hands and feet and throats desperately try to suss out life here on Earth.

Slant Magazine. This is an album that proves that there is far more to this band than meets the eye. American Songwriter. The One second it will be contemporary soul 'Guess Who' and the next a Jack Daniels fuelled garage-rock riot 'The Greatest' , all without becoming a discordant collection of ideas.

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Alabama Shakes "Sound And Color": A new world hangs outside the window Beautiful and strange It must be I've fallen awake I must be So. New album 'Sound & Color' out now. Athens AL · ziggysbeachbar.com Pre-order 'Sound & Color' - ziggysbeachbar.com Facebook: http://w. Alabama Shakes second studio album, Sound & Color, released April 21, was “a rare success story among new guitar bands in the streaming era”, as said by Rolling Stone.