News Test

Scott recorded a bunch of sax the other weekend; it felt like more sax-per-minute than anything we’ve done previously, so i decided to revisit near and far, comets, signs, and the b-sides to see if that impression was accurate.  Here are my notes.

near and far

  • Through “Nexus” sax has only appeared twice, I think; “Well” (a long, really good solo after “Cornerstone”) and the pop solo in “Fourbee.”  This might have been a function of time; we tracked and mixed in 4 days, with a second round of mixes later, and they weren’t long days
  • “The Broken Anger” – I’d forgotten about the vocal processing in the outro.  Hearing it makes me feel better about some of the studio production trickery planned for V for Voice, like it’s not a new thing
  • At the time we recorded this I definitely thought just playing cool chord progressions (no lead voice) was interesting.  I’ve learned to put more sounds over those; the ear needs a hook to guide it along
  • I’ve unintentionally re-created some of the tracklisting flow of near and far on V for Voice; a down-the-middle opener, then a strummy follow-up, rocker at #3, experiments in the back half… for V we moved the genre exercise to the b-sides at least
  • It would appear from iTunes I haven’t listened to near and far in its entirety since 2010, at least.  That’s about halfway between its release and today
  • Interesting choice on the final note of “Constellations,” had forgotten that
  • The chorus effect on “Staircase” and “Under My Protection” makes interesting bookends to the record.  I don’t recall that being intentional
  • <Egregious drum jam>

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