I think it depends on the type of album. I don't want an intimate folk album to clipped and compressed (although it worked for ITAOTS I guess), but for genres like punk and metal and groups like Death Grips, rawness and distortion add to it. It's all about knowing how to mix it appropriately, really
the thing is i dont wanna crank my computers audio louder because that makes youtube louder and then i have to set it back all over again.... why doesn't spotify's "loud, normal, quiet" settings for normalization actually make things louder or quieter
i dont have an amp on my computer
rn im busy with a laptop for my games and my FLACs and my streaming because its easier than moving around more and more and having everything in one place is a lot easier for me
What it all boils down to for me is probably the same reason why I felt sketched out the entire time I was wandering around NYC today. Just tooooooo damn many people. At any time today there were probably more people within one to two square blocks of me than live in my entire county. It’s just uncomfortable for me at this point. I need breathing room from other bodies. If I can smell your BO, cigarette, cologne, food, whatever, you’re too goddamn close.
After 20 years away from gaming, Zelda : Breath of the Wild has eaten m brain in the last two weeks.
That used to be me. Then I got old.
I really hope this doesn't come across as pretentious, but: I feel like any interest in his work from the 80s onwards is much more likely to be coming from casual fans, or those who are only really familiar with his most mainstream output. Whereas in a place for music nerds like us, the 1972-1976 stretch is more likely to be the overall consensus for the best "phase" of his career. Critically, most of his post-1980 work has been reviled - he found much more love in the mainstream pop sphere than in the serious music nerd circles who loved the Music Of My Mind -> Songs In The Key Of Life stretch
You’re 4 years ahead, but apparently my tolerance for people is aging waaaaaaay faster than my looks.
I really hope this doesn't come across as pretentious, but: I feel like any interest in his work from the 80s onwards is much more likely to be coming from casual fans, or those who are only really familiar with his most mainstream output. Whereas in a place for music nerds like us, the 1972-1976 stretch is more likely to be the overall consensus for the best "phase" of his career. Critically, most of his post-1980 work has been reviled - he found much more love in the mainstream pop sphere than in the serious music nerd circles who loved the Music Of My Mind -> Songs In The Key Of Life stretch
Going through this thread only now, but I'd like to say all may Kraftwerk records are giving you cheesy smiles, the SWANS records are holding sledgehammers and look pretty manic, and your copy of OK Computer is giving you puppy dog eyes.
Sounds like it would. I mean, I think a lot of their stuff only works because it's been allowed to groove, difficult to picture what a pared-down version of “Europe Endless” would sound like. I've come to the conclusion “Autobahn” is paced out like a normal pop song, it's just seven times longer than one and I think that's hysterical. As a counterpoint though, I'm honestly surprised at how well the 2.5 minute radio edit manages to get across all the individual portions of the song.
