Quote:
Almost any track from the Brian Jonestown Massacre sounds like it was recorded in a modern studio, then re-recorded on a $18 Radio Shack cassette recorder before being mastered. Like the music, but the phony lo-fi sound is awful.
I know this is an older post, but BJM lives and dies with Anton. And with Anton, you also get his addictions, whether you like it or not. There's nothing phony about their lo-fi style. Find the movie
DIG! (featuring the Dandy Warhols) and you can see Anton recording, by himself, in the bathroom, on the front step or in the kitchen of whatever house he was squatting in while completely strung out on smack. (He was homeless for the entire duration of filming DIG!)
His incredible manic output (like the 3 separate full length albums in 1996) almost by definition means huge swings in production quality, especially on a junkie's shoestring budget. For a while, he would get up in the middle of the night and record directly in his bedroom using whatever was on hand, which was usually a POS 2 track cassette player, assuming he had pawned his 4-track for dope (which was a good assumption in most cases). He couldn't exorcise his sickness, so he had to get it out in music.
Using the '96 albums as an example,
Take It From the Man is surprisingly well recorded. On the other hand
Thank God For Mental Illness may have been recorded on a potato placed at the bottom of a well-used and dented trashcan.
That said 2012's BJM release
Aufheben is excellent.
On the other hand, Death Magnetic had some of the worst sound from the best quality equipment I had ever heard. It was perfect release and statement by the band for their whole tone-deaf post-Napster fiasco. A mess from front to back. "My lifestyle determines my death style?" Jiminy Christmas, you guys actually thought that was a clever idea for a lyric? Song? Album?
For me though, something happened in the mid-to-late 1980's in the UK. Whether is was some form of sudden deafness or a contagious insanity occurring only in recording engineers, so many albums from that time just sound consistently terrible. The Sisters of Mercy's goth classic
Floodland has practically all the bass and lower midrange sliders pulled almost all the way down, so you can hear a little of what is supposed to be there, but it's more marked by what is missing. Likewise, early Smiths records have minimal ooomph for Mike Joyce and Andy Rourke's excellent rhythm section work. Johnny Marr's guitars sound great and are front and center, but the rest doesn't just take a backseat, it's in another car a few miles back. Peter Murphy's
Love Hysteria had a better mix but always sounds completely flat and 2-D which is a shame since "Indigo Eyes" was one of the best tracks of 1980s.