#7 May / June 2022 High Rotation Playlist
These are the tunes that have been on high rotation inside and outside the ENCODER Sound Mastering Studio over the last few weeks. Available in playlist form at your preferred streaming service, follow the links: Spotify | Apple Music [If you really love an artist’s music, scoot over to Bandcamp to send them a few dollars more directly]
A Flock of Seagulls — I Ran (So far away), A Flock of Seagulls (1982) — There is vein of 80s music running through this playlist all connected to Web Rumors’ upcoming release. On ‘I ran (So far away)’ the indulgently long intro. is a nice way to settle into the track. The mix is on the lean side with not a lot of weight in the low end. But, this adds to a tight, light and nimble feel to the groove.
Thom Yorke — Twist, ANIMA (2019) — Moving 37 years into the future to one of Yorke’s newest works. I’m a big fan of his solo releases, The Eraser (2006) and Tomorrow’s Modern Boxes (2014), and ANIMA feels like a slicker, smoother, and deeper versions of the same thing. This track has nice dimension in the synthesised textures of the later part of the song. Also, some reverb artefacts nestled deep in the mix interact in an interesting way, perhaps sampled from other moments in the song.
The Human League — Don’t You Want Me, Dare (1981) — A classic of the genre, the light and shade of the harmony in the piece is quite dramatic. The drums sound great and it feels that just the necessary instrumentation have been included to fill the stereo image, a punchy but not fatiguing listen is the result.
Laurel Halo — Supine, Raw Silk Uncut Wood (2018) — Working on the debut from 504, Laurel Halo was a key reference. In this playlist this short piece kind of refreshed the ears washing away an emphasis on rhythm and turning the ear to texture and space.
Alex Em Klemm — The Luxury of Dirt, Any Shape You Take (2000) — Again, a 504 reference, the pace of ‘The Luxury of Dirt’ is very similar to that of the 504 record Salvage Rhythm (Tone List, 2022). I’m not sure but it sounds like Klemm is working with synthesis, or perhaps some samples. Whichever it is there is an intensionally in placing those sounds in the width and depth of field.
Regina Spector — Jessica, What we Saw From The Cheap Seats (2012) — Not a direct reference to a current project, but the ears needed a more main stream reference point to calibrate. Spector’s vocal is so unique and recognisable, and the audio production here presents it with a natural aesthetic. I like this approach, very smooth and natural but still with the presence of a well produced recording.
Native Instrument — Vögel Unsure Heimat, Camo (2017) — Use of white noise and electronic “static” sounds are pretty interesting in this piece, it highlighted the height dimension of the image in my space. Rhythmically speaking there is something shared with the Thom Yorke track above but the texture is very different. A few sounds, which almost sound like insects flying by, are very present in the speakers. An interesting presentation is achieved where some elements are in the artificial world of the music and some things jump out into the listening room.
The Smile — The Opposite, A Light for Attracting Attention (2022) — Another track from The Smile on high rotation here, because they are so great. The drum recording is really nice across this album, and on the ‘The Opposite’ the low room / reverb sound that fills the ensemble out adds a lot of weight to the trio.
The Superjesus — Holy Water, Jet Agent (2001) — I hadn’t heard any Superjesus for many years and they came to mind. The last time I listen was long before this studio, so it’s interesting to re-hear music you thought you knew very well. The band is super tight across the record and the guitar tones are really well captured.
The Verve — The Drugs Don’t Work, Urban Hymns (1997) — Working on the Sugar Wife record I was looking for some guitar references. For a lush, reverb-y, singer songwriter vibe The Verve works well. The acoustic guitars in this track are very smooth, kind of like a silken sheet draped across the mix, not really prominent, but still detailed and ever present.
Something for Kate— Déjà Vu, The Official Fiction (2003) — Both a reminiscence, and a Sugar Wife reference, this is the iconic Something for Kate track, and on re-listening it’s still great. Paul Dempsey’s voice floats so clearly in the mix throughout.
Robert Glasper Experiment — Afro Blue (feat. Erykah Badu), Black Radio (2012) — When this record dropped I was part way through jazz undergraduate studies and the cohort were all about the Glasper Experiment. The playing is obviously really good, and the low end is very robust. This track still feel like a “jazz future” despite being ten years old.
