Showing posts with label bleed. Show all posts
Showing posts with label bleed. Show all posts

Tuesday, February 2, 2021

Day 0885 - Slipknot

Slipknot “Slipknot” (1999) – got it

Slipknot as a band are something of an onslaught on all fronts.  For a start, the album cover that shows all 9(!) members of the band in their stage garb (borrowed liberally from Mr Bungle) of matching overalls and a collection of bondage, clown and other masks.  This image combined with the band-members being identified by numbers instead of their names leads to an general dehumanisation of them.

With 1 drummer, 2 percussionists, a bassist, 2 guitarists, a DJ, a sampler and a vocalist, the band present an imposing aural and visual presence.

After a brief track with repeated vocal sample and unsettling oscillating drone sounds, the aural part of the assault kicks off with opening track "(sic)".  It’s a thundering wall of metal guitar and pounding drums.   A friend of mine pointed out that Slipknot’s heaviness comes less from their guitars (though the riffs are plenty heavy) or the vocals (though again, ROAR) and more from the 3-headed drums/percussion monster that really gives the music much of its punishing brutality.

If the band's approach has a problem, it'd be that the onslaught is a little too constant.  Though there's a drum-n-bass break at the start of third track, a little more melody in single "Wait and Bleed" and one or two other little variations, for the most part it's the same sound across the album's runtime.


.... and of course don't forget the secret hidden track, because it's still the 90s.

Friday, June 19, 2020

Day 0656 - Doolittle

Pixies "Doolittle" (1989)









The Pixies switched up producers with a noticeable change in sound.  Where "Surfer Rosa" producer Steve Albini favoured dirty, punky production with unconventional techniques; "Doolittle" producer Gil Norton favoured more of a conventional studio sheen.   Given that the Pixies were a band who mixed pleasant melody with abrasive noise, they were clearly amenable to either approach.  

Norton's production sees clean, prominent bass-lines and drums with a noisy squall of guitar over the top.  Black Francis' vocals alternately scream, or sink into melodic harmony with bassist Kim Deal's voice.   The album is a great cohesive mix of styles that lays further groundwork for the wave of Grunge (Cobain was a vocal fan of the Pixies) and the noisier areas of 90s indie-rock and indie-pop alike.