CHANGSTAR: Audiophile Headphone Reviews and Early 90s Style BBS
Lobby => Music and Recordings => Topic started by: Marvey on May 18, 2012, 05:45:05 AM
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Please post any interesting recordings you may have stumbled upon in this thread. Some exposition on why you feel the recording is interesting is required.
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I knew about the existence of this Single EP about a decade ago - always wanted to pick it up, but sort of forgot about it over the years. The EP/CD I just picked up from used from Amazon is a import from Europe.
(http://upload.wikimedia.org/wikipedia/en/thumb/f/f1/Madonna_Holiday_EP.jpg/220px-Madonna_Holiday_EP.jpg)
This version of Holiday on the EP is not the massively re-mixed effects-added Q-sound'd sped-up 3 minute shortened version found on the Immaculate Collection - the one that we've all come to think is the original, but isn't. This Holiday is based on the slower paced 6+ minute original with some EQ (the original from the self-titled Madonna album sounds thin, like many such recordings from the early 80s) with minor compression and noise reduction. The original Madonna album version does have the highest resolution and dynamic range though - it has been fucked with less after all; but this version is pretty good short of an LFF remaster.
The EP contains a handful of additional tracks which I feel were more worthy of inclusion into the Immaculate Collection than some of last few tracks on that album:
- True Blue ("album" version)
- Who's That Girl ("album" version)
- Causin' A Commotion (Silver Screen single mix)
I guess you have to be a classic Madonna / Stephen Bray fan to appreciate these.
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Can't wait to hear it! I've been looking for those tracks as well.
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Hmmm.....never knew you were into Madonna much.
I got screwed over by a fellow mastering engineer. We tracked down original 1st pressing mint albums to put together an original Immaculate Collection. He had something similar to this (http://www.oswaldsmillaudio.com/Products/images/plinths/plinth2a.jpg). He had a very heavy slate base, completely restored and tricked out SP10MkIII and knew how to properly transfer vinyl. Anyway...to make a long story short....once we got all the vinyl in, he disappeared. I didn't spend much $$$ upfront but the time I spend looking for the albums was significant. Sucks because it could have been a great project once finished.
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Marv, do you mean interesting recordings, or interesting music? Or both?
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Most "interesting" one I have is a recording of various heart sounds, put out by a fairly prestigious record label London, nonetheless. A bit strange. Given to me by someone at work. I plan to needle drop this when I have an ADC
(http://i.imgur.com/GTby9.jpg)
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Most "interesting" one I have is a recording of various heart sounds, put out by a fairly prestigious record label London, nonetheless. A bit strange. Given to me by someone at work. I plan to needle drop this when I have an ADC
(http://i.imgur.com/GTby9.jpg)
is it possible to find something similar online or on youtube? actually curious on this for some reason(imaging it sounding pretty cool in my head).
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Most "interesting" one I have is a recording of various heart sounds, put out by a fairly prestigious record label London, nonetheless. A bit strange. Given to me by someone at work. I plan to needle drop this when I have an ADC
(http://i.imgur.com/GTby9.jpg)
is it possible to find something similar online or on youtube? actually curious on this for some reason(imaging it sounding pretty cool in my head).
pm sent, don't want to derail further :-\
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Marv, do you mean interesting recordings, or interesting music? Or both?
Both. The only requirement is that you write something on why it should be of note.
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(http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/03/CHATHAM.jpg)
Rhys Catham - A Crimson Grail
A composition written for 400 electric guitars. Apparently Rhys had been experimenting with this idea for some time and had previously written a piece for 100 guitars, and was then inspired by the "moar is better" school of thought. This album is excerpts from an all night performance in a church in France, the basilica of Sacré-Coeur. From the record label's description (might as well quote rather than paraphrase this part) "It was created to work with the specific architecture of the basilica, making use of its natural 15-second reverberation time. The musicians surrounded the audience, creating an antiphonal effect with the sound moving around the space from area to area. "
The sound quality is decent, but it is a live performance, and it's certainly not what I would consider an audiophile recording. But it's pretty good, and certainly good enough to get the job done.
The sound is one of the most densely layered things I have heard. At first it just sounds like a single note, but as you listen there's a richness and complexity to it. The guitars come together and churn and sway up and down like grass in the wind, or the movements of some vast army. The way a large flock of birds moves. It has a natural rhythm and formation to it.
It's electric but also very organic, likely due to the sound of the church and the natural reverberation this creates. The sound is vast and the overall effect is humbling. It makes you feel like you're witnessing something monumental. At first you think it's going to get annoying quickly, but it manages to captivate your attention and hold it, and yet works very well in the background as well. I think this comes from it's surface simplicity (not a complicated melody or anything) but complex structure.
Definitely unique. Probably not something you'll want to listen to all the time, but great for some late night half baked candlelight trip.
Here's a link to a pitchfork review (http://pitchfork.com/reviews/albums/9883-a-crimson-grail-for-400-electric-guitars/)
Here's a link to the artist website where you can hear a part of it (http://www.rhyschatham.net/crimson/crimsonfrance.htm) (should start playing automatically, the track is at the bottom of the page)
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The sound is one of the most densely layered things I have heard. At first it just sounds like a single note, but as you listen there's a richness and complexity to it. The guitars come together and churn and sway up and down like grass in the wind, or the movements of some vast army. The way a large flock of birds moves. It has a natural rhythm and formation to it.
It's electric but also very organic, likely due to the sound of the church and the natural reverberation this creates. The sound is vast and the overall effect is humbling. It makes you feel like you're witnessing something monumental. At first you think it's going to get annoying quickly, but it manages to captivate your attention and hold it, and yet works very well in the background as well. I think this comes from it's surface simplicity (not a complicated melody or anything) but complex structure.
I really want to hear this, if only at least to find out if I can't get past the "good idea --> hot ass mess" experience that I can imagine it to be. Optimistically I would find it enthralling, or better yet wholly enjoyable musically.
Edit: Some interesting music that has actually made it into my headphone audit playlist is "We'll Let You Know" by King Crimson. I like the sparse instrumentation, though that may be due to the very deliberate notes sounding a bit hot out of my orthos (and the ones I've managed to borrow!). Then they lock into this serious groove toward the end that is just nuts IMO. This track, by the way, has gotten some of the most unflattering criticism in the album's reviews, which makes me feel like a loner because it's my favorite part of the album. So, toward the theme of the thread, this passage is interesting to me because it moves me in a way that, from what I've read, is a bit unpopular with King Crimson fans.
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Pink Floyd's album "The Piper At The Gates Of Dawn" just sounds weird and fun at the same time.
Burial's album "Untrue" is just fascinating. I don't know if he ever will be able to make such an intense album again.
Music for 400 guitars, I am curious...
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UPDATED! These are my currently most-listened-to recordings:
1. Renaud Garcia-Fons - The Marcevol Concert (2012), Enja Records (CD + DVD)
(http://www.borguez.com/uabab/wp-content/uploads/2012/04/Renaud-Garc%C3%ADa-Fons-Solo-The-Marcevol-Concert.jpg)
Not exactly a stumble on recording, since I have his entire discography. If you like acoustic bass, this is THE bass player you have to check out. Along with Bruno Chevillon, I have yet to hear anyone stretch the boundaries of the instrument any further. Great recording as well.
A couple of YouTube previews of the DVD:
http://www.youtube.com/watch?v=EH9VWyUzcGo&feature=relmfu
http://www.youtube.com/watch?v=M1zE2ArcXWo
2. Ola Kvernberg - Liarbird (2011), Jazzland Records. Available in 24Bit/96kHz at Gubemusic.
(http://2.bp.blogspot.com/-_3OUsRflgCg/Tq8LlkGCrbI/AAAAAAAACIk/CLZfhgk61HQ/s1600/S.jpg)
http://www.jazzlandrec.com/index.php?option=com_content&view=article&id=304:liarbird-ola-kvernberg&catid=1
My first album from Ola. Got there through the tremendous Norwegian instrumentalists that are featured, like Ingebrigt Håker-Flaten, Håkon Kornstad, Matthias Eick and Erik Nylander. A beautiful album that never stops surprising me. And a great recording of course. The violin has been in Jazz for a long time now, and Ola is the most mature and versatile player I've heard so far, despite his young age.
3. Tone Åse & Thomas Stronen - Voxpheria (2012), Gigafon Records. Available in 24Bit/96kHz at Gubemusic.
(http://s.discogss.com/image/R-3406112-1329151480.jpeg)
https://vimeo.com/18423184
This was a stumble-on, regarding the label and the duo. I have been listening to Thomas work for years and in several formations, mainly from norwegian label Rune Grammofon, and this is another one of his interesting incursions. Somewhat laid back in the drumming due to the vocal work of Tone, but a lot of great and clever electronics in compensation.
4. Michel Godard - Monteverdi; a Trace of Grace (2011), CarpeDiem Records. Available in 24Bit/96kHz at HIGHRES Audio, Linn Records and HDTracks.
(http://www.israbox.com/uploads/posts/2012-05/1336824953_9d1106d9559b6be0c221e7c9bebbdfa9.jpg)
http://www.carpediem-records.de/de/MONTEVERDI-a-trace-of-grace?xd97e2=k2c9ba957r15i5r5p6bbosouu5
https://www.youtube.com/watch?feature=player_embedded&v=yj64aSxWGrI
http://www.youtube.com/watch?feature=player_embedded&v=7YRuNrrbXqE
Another great musician I've been listening to over the years. His solo work on the German Label Enja Records, with Rabih Abou-Khalil, Gabriele Mirabassi and Renaud Garcia-Fons; his legendary collaboration with Mark Nauseef on MA Recordings; his work on the great Italian label CAMJAZZ, the German label Intuition and more recently on German label Carpe Diem Records, directed by sound engineer Jonas Niederstadt, have left a trail of fabulous music and recordings.
This recording is particularly interesting, as it not only features the artists but also registers and beautifully renders the acoustics of the 12th century Cistercian Noirlac Abbey in central France, in which the recording took place. The space of the Abbey, as well as all some of it's environment are revealed. At the end of the "Soyeusement" one can clearly hear the singing of birds outside the Abbey, and at the beginning of Doppio il Lamento, which I suspect was recorded during the night, one can hear the song of crickets. Unlike Michel Godard's "Castel del Monte" (Enja Records), recorded at the Castel del Monte in Ruvo di Puglia, Italy, the relation between the instruments and the building is gloriously palpable.
Michel has another two recordings at the Noirlac Abbey, of which I have only heard one: "Ivresses", with the German YellowBird label, which is a subdivision of Enja Records. "Ivresses" does not manage to capture the space of the Abbey, but clearly insinuates it, as the instruments sound much more natural and less in your face or yuxtaposed than with average studio recordings. The other recording, "Le Concert des Parfums", also with Carpe Diem, dates to 2009, one year after Niederstadt took over the direction of Carpe Diem, and for which I suspect it is as musically and sonically accomplished as "Monteverdi".
The immense sense of space of "Monteverdi" is reminiscent of Todd Garfinkel's work (MA Recordings), but with the instruments and voices having a much closer presence, and yet without failing to render the space and acoustics of the Noirlac Abbey.
Armed with my Violectric V100 with 24/96 USD DAC, Q701s, HFI-2400s and HD800s, hiss is virtually inexistent and only the distant singing of birds, nightly crickets and movements of the musicians are audible. The recording is as immersive as the music moving, and the experience is a satisfying and realistic as it gets with a pair of headphones.
The voices are absolutely fabulous. The mind boggling singing of Gavino Murgia is incredible, and his voice renders the stone walls palpable and the width of the space clearly perceptible. The voice of Guillemette Laurens is also fabulously nuanced, present and natural. I have yet to hear voices sound as gorgeous as in this recording.
(http://www.carpediem-records.de/templates/carpe_diem/img/Jonas2012.jpg)
Jonas Niederstadt, Carpe Diem Records
Michel's Serpent sounds incredible, and it manages to become much livelier than in previous recordings I have heard. All the instruments sound incredibly real, palpable and above all, natural. It is clearly an accomplishment of Jonas Niederstadt's recording philosophy, in the sense of rendering only what is there, honestly and transparently.
5. Nguyên Lê - Songs of Freedom (2011) ACT
(http://img269.imageshack.us/img269/4200/nguynlsongsoffreedom201.jpg)
http://www.youtube.com/watch?v=5kA4FITn7c8&playnext=1&list=PLB43D86BDE4BA909C&feature=results_video
Nguyên never seizes to amaze; for this project he gathered some serious cats from all corners of the world. He takes on classic rock and pop tunes from the 60's and the 70's, with arrangements that rival the very best of Zappa.
Hope there wasn't a 1 album limit to the posts. Anyhow, this is my first post here, so I guess it accounts for the newcomer enthusiasm.
Cheers!
P.S.: I think I got carried away with my post, as I have now read part of the previous posts of the thread. Besides the fact that most of these recordings are way beyond decent and have been released by labels known to do a good job, the only one I would distinguish as a particularly interesting recording, is Michel Godard's "Monteverdi, a Trace of Grace".
I gave privilege to the exceptional quality of the music over the quality of the recording, so I'll compensate with some notes on the one recording that truly stands out as such. Meanwhile, give the other above mentioned albums a fair chance, as they are certainly well worth it.
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(http://ecx.images-amazon.com/images/I/51EVHnKqnTL._SS500_.jpg)
Interesting: Bass saxophone plus some narrative. Recorded mostly in single takes (he can play it live).
I find it quite haunting and beautiful.
Sample:
http://www.youtube.com/watch?v=lK90kN871p8
The album was recorded with more mics to produce some crazy ambiance.
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Great album! Just ordered a copy of both volumes.
Thanks for sharing
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@c61746961
Good recs! Thanks for sharing.
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x3
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I'm going to suggest a CD that is interesting for the recording quality and techniques and not for the music. Something that demonstrates Holt's Law that "the better the recording, the worse the musical performance—and vice-versa". Music that only gets played because there are audiophiles who will listen to it just because the technical qualities of the recording are good.
The recording is La Segunda by Será una Noche (http://www.marecordings.com/main/product_info.php?cPath=22&products_id=78) recorded by MA Recordings. Yup. The exact kind of audiophile label that Art Dudley and J. Gordon Holt were making fun of. It's an interesting recording for headphones. At times it sounds almost binaural, and that makes for interesting headphone listening (in small doses). The notes mention the recording was monitored on Stax Lambda Signature Pro Earspeakers and some photos in the CD packaging show the performers wearing the Stax.
MA Recordings sells a high res version for $40. Whoa. It's also on CD. I bought a used CD version on Amazon for under $5. Every audiophile should have one recording of crap music that sounds great. It's the only MA Recording I've heard. I don't know if any of their other recordings have that almost binaural sound but with better music.
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I also want to say thanks for the mentions of Renaud Garcia-Fons and Colin Stetson. Both are amazing solo works of music that is actually interesting to listen to. Both are amazing performances. Both now have good cover art at AlbumArtExchange.
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an album I really like is Kashiwa Daisuke - Program Music I
it's kind of glitchy, contemporary classical with post-rock influences. I hope that makes sense, I don't know genres too well.
not sure if it's good from a recording-mixing-mastering standpoint but it sounds good on most headphones I've tried it with, if you don't mind the glitching. the build-ups and mix of instruments are mindblowing, though the songs are 20min+ so patience is required. :D it's just hard to describe this album.
(http://3.bp.blogspot.com/_k0A6Op01SGk/Sq2tqo_x-CI/AAAAAAAAAm0/jWCytWt5KcU/s320/kashiwaProgram.jpg)
another one that I find is pretty well-recorded, I think it might be live is Kimmo Pohjonen & Kronos Quartet - Uniko
it just sounds amazing, also a bit contemporary classic I suppose. minor glitching. very very nice violin play, which is the main reason I like this one.
(http://www.revue-et-corrigee.net/images/medias/151.jpg)
the song Plasma sounds particularly good, much recommended
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Kimmo Pohjonen has always been very interesting. I personally know the other guy from that album, Samuli Kosminen. Does he play the electric drum kit on that album? Have to listen to that one.
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Kimmo Pohjonen has always been very interesting. I personally know the other guy from that album, Samuli Kosminen. Does he play the electric drum kit on that album? Have to listen to that one.
there is an electric drum kit on the album, yes. I am not sure who plays it though, but it seems likely now that you say it. :))
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Checked that he's indeed done the programming and plays the percussion, whether electric or acoustic. He's an avid Star Wars fan... Wonder if there's any clue of that on the album :))
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Toumani Diabate with Ballake Sissoko - New Ancient Strings (1999 Rykodisc/Hannibal)
(http://cdn.hmvdigital.com/static/img/sleeveart/00/000/387/0000038765_500.jpg)
This album is interesting for various reasons: It's a historical recording which is also the answer to a previous historic recording; it's musically a milestone; and it's a great and rare location recording.
The two Kora maestros featured are the two foremost virtuosi of the Kora, the 21 string Malian harp-lute, unique to the Mande people of Mali. It is not only the instrument of the Malian Griots, but also one of the most complex and rich instruments of the African continent.
Both Toumani and Ballake are sons to the previous generations greatest Kora players, Sidiki Diabate and Jelimadi Sissoko, both from Bamako and players of the legendary Ensemble Instrumental National du Mali. Sidiki and Jelimadi recorded "Cordes Anciennes" (Ancient Strings) in 1970, which then became the very first Kora duo album recorded, and the experience is here repeated by their sons, Toumani and Ballake, in 1997, with the recording of "New Ancient Strings"
(http://www.derekgripper.com/wp-content/uploads/toumani.jpeg)
Toumani Diabate
Toumani & Ballake's album features some of the traditional repertoire popularized and recorded by their fathers in 1970, yet with new arrangements and with different emphasis. Some of the pieces are part of the great musical heritage of the Mali empire, which ruled West Africa in the 13th century, and just as their predecessors, the album is certainly a piece of Mali's national identity and musical heritage.
(http://theswedishparrot.com/wp-content/uploads/2010/02/Ballake-Sissoko.jpg)
Ballake Sissoko
For the description of the recording session, I will simply retype the great liner notes by Nick Parker, the sound engineer working with producer Lucy Duran, one of the most valuable ethnomusicologists when it comes to West African music:
"New Ancient Strings was recorded on September 22nd, 1997 (Mali's Independence Day) in Bamako, in the marble rooms of the newly built Palais de Congres, on state of the art 20-bit digital equipment by the original team who recorded Kaira (engineer Nick Parker, producer Lucy Duran [Toumani Diabate's first solo album, and the very first Kora solo album ever released]). It was recorded in a single night, straight through - without rehearsal or retakes, in a natural acoustic, and has been mastered without any artificial reverberation. What you hear is what they play. No added effects, no other instruments or vocals, just flowing, virtuoso Kora at its finest, most brilliant, and lyrical.
The disc was recorded in a natural acoustic using omnidirectional microphones feeding high-resolution recorders.
This statement might not sound very remarkable in itself, but location recordings in West Africa present some interesting challenges of their own. I was always keen to record these extraordinary instruments in a real acoustic if at all possible, avoiding the use of boxed artificial reverberation. However, there are almost no buildings in Mali which have anything we would normally describe as "an acoustic". Wall and floor finishes are mostly porous and create a dry and unyielding sound. Those buildings which did offer any benign reflective surfaces were situated in built-upareas and therefore suffered from constant traffic or other environmental noise.
After days of venue prospecting we managed to negotiate the night-time use of a marble vestibule between two acoustically-dead meeting rooms in the Palais de Congres, the recently constructed Sino-French built conference centre in Bamako. In this hermetic space, the traffic noise was only barely perceptible. Apart from a large cicaka-like creature hiding somewhere in the building, we were completely undisturbed for the whole session. This is rare enough even in conventional European location recording sessions, but all the more extraordinary when you take into account how very quiet these instruments sound in reality."
The quality of the recording is really epic. There is no hiss whatsoever, and the little anecdotic cikada-like creature hidden somewhere in the Palais de Congres, is the only distantly discernible extra. Both Koras sound fabulous, all frequencies are spectacularly well captured, and even with my Q701s and HD800s (and Violectric V100), the bass is bodily present and musically engaging. There's a fabulous sense of space and an intimate yet open soundstage.
The recording is testimony to the heights the Kora can reach in the hands of it's foremost virtuosi, it's a dazzling display of improvisation and of rare lyrical beauty. Give it try!
http://www.youtube.com/watch?v=08B5jFlnGbg (ftp://www.youtube.com/watch?v=08B5jFlnGbg)
http://www.youtube.com/watch?v=S-o714qK_rw (ftp://www.youtube.com/watch?v=S-o714qK_rw)
http://www.youtube.com/watch?v=05BLnB66yNc (ftp://www.youtube.com/watch?v=05BLnB66yNc)
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Great album! Just ordered a copy of both volumes.
Thanks for sharing
Here's a little something in return for introducing me to Stetson's recordings: A recent concert in France; 55 minutes of awesome HD footage and a mindblowing performance, ENJOY!:
http://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/ (ftp://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/)
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Great album! Just ordered a copy of both volumes.
Thanks for sharing
Here's a little something in return for introducing me to Stetson's recordings: A recent concert in France; 55 minutes of awesome HD footage and a mindblowing performance, ENJOY!:
http://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/ (ftp://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/)
Mind blown. Best sax I've ever heard.
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Great album! Just ordered a copy of both volumes.
Thanks for sharing
Here's a little something in return for introducing me to Stetson's recordings: A recent concert in France; 55 minutes of awesome HD footage and a mindblowing performance, ENJOY!:
http://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/ (ftp://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/)
Mind blown. Best sax I've ever heard.
It asks me for a password when I open the link :-\
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Great album! Just ordered a copy of both volumes.
Thanks for sharing
Here's a little something in return for introducing me to Stetson's recordings: A recent concert in France; 55 minutes of awesome HD footage and a mindblowing performance, ENJOY!:
http://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/ (ftp://liveweb.arte.tv/fr/video/Colin_Stetson_Jazz_a_la_Villette/)
Mind blown. Best sax I've ever heard.
It asks me for a password when I open the link :-\
Wow, that's weird. I tried the link myself, and I get the same authentication request. There appears to be some sort of problem with linking to the concerts on ARTE TV's website, so just google "live arte web", and you'll find your way from there. ARTE TV is a German/French TV channel that broadcasts tons of great music in HD, just like MEZZO TV, and their website ARTElive TV allows you to see the concerts broadcasted 30-90 days after they've aired, so there should definitively be no restrictions. Click on the Jazz & Blues section above the movie window, and it will take you to the latest performances, where you will find Stetson's performance. You'll certainly discover a wealth of other great concerts to just sit back and enjoy.
Cheers!
P.S. I just discovered arte live web also has an app on FB, designed to watch the concerts in livestream or in replay.
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I just googled the said performance and reopened the video from google. Worked fine then.
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This is an album I keep returning to every now and then.
The story behind it is long. I used to work with designing refurbishments of public transportation (trains/buses etc..). Anyway. We were quite few at this firm. The only one remotely my age was about 36 at that time. Anyway, he introduced me to an artist that he works as a part-time-manager and tour booker for. This artist was unheard for me until then. Tony Carey. The ex-keyboardist of Ritchie Blackmore's Rainbow. This multi-instrumentalist/producer is quite stunning. (He has done some work for David Knopfler also... Check out the Songs For The Siren-album)
He has released about 15-20 solo records under "Tony Carey" and during the 80's he had an alternative (secret project due to legal/contract) thing as Planet P Project. He had some MTV-videos with Planet P Project, so it wasn't completely unknown.
However... The cream of the crop is without a doubt his second concept album "Pink World", telling the story of a autistic boy that wanders in to a toxic pond and can forsee the future and slowly builds up a cult. In short. The story is fantastic. Almost a bit like Orwell's Animal Farm. Telling a very deep story through this fictional analogy. Anyway... Enough ranting. If you guys can find the original master recordings you're in for a sonic treat. Very-very fantastic recording. Really using all types of instruments in the whole soundstage. It's a treat.
(http://www.covershut.com/covers/Planet-P-Project---Pink-World-1984-Front-Cover-21058.jpg)
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http://www.youtube.com/watch?v=fGImZWgOrzM
This recording is only interesting because it is by far the worst example of bass ducking behind the beat (?) I have ever heard. It's definitely a "must listen to once before throwing it into the trash".
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Yuk...
The entire song/track sounds like a confusing mess. In what state were the creators of that work in order to create such a sonic mess?
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OMG. &%&%**(*... &%^%#!@!... gah!
She Music could have had some interesting and popular stuff it it weren't so &^*! heavily squashed through limiters!!!
A wall of bass and scratchy vocal sampling is not music...