Joined: 15 Sep 2006
Location: 6 foot under
I only heard that Electric Wizard & Sleep sounded alike, but after hearing EW I persinally think they are pretty far removed from Black Sabbath, as opposed to Sleep (the odd few songs I've heard anyway). I'm no hot shot on either...
Hehehe well ya know 3 of the 4 Asbestos Death songs became Sleep tracks on Vol 1.. Sucks my favorite one never did.. The tracks on Vol 2 showed up on Holy Mountain except for the Sabbath cover..
And yeah I really really wish Sonic Titan wouldve been recorded in the studio..
Maybe it was though.. In the video for Dragonaut you can see a setlist on the wall behind Al, and theres Sonic Titan on it..
Maybe Dig will try one of his cash in moves and well see it as a bonus track on a 'remastered, with improved artwork' Holy Mountain disc heh..
Yeah Holy Mountain has some great stuff on it.. But you can tell that album was done in two sessions.. Most of the tracks on it were done around Vol 1 and you can tell by the thin guitar tones and Al's screaming vocals..
Stuff like Dragonaut, Holy Mountain, From Beyond were done later after they got Orange/Matamp stuff and you can definately tell just by the fat guitar tone on Holy Mountain.. I dig Vol 1, but I skip ALL those songs on Holy Mountain that sound like it heh.
Fuck Jerusalem though.. Dave 'Sorry' Sardy ruined it and Mr Anderson says so too hehe..
I still havent heard them yet.. Maybe I can find some umm downloads today hehe.
I just dont like the mix on Jerusalem.. I did until I finally got Dopesmoker..
Dopesmoker was just so much heavier because Billy Anderson actually got to mix it himself.. I remember him talking shit about how Jerusalem was handled.
Something along the lines of it was TOO heavy and they had to cut and remix it like 3x, with the label saying it was too heavy each time..
So London hired Dave Sardy to come in and do the job..
All Anderson was allowed to do was sit behind him and tell him what track was what and what tapes were what.. Billy dont have anything good to say about the experience just like Om avoids the topic like the plague.. They really didnt like it being broken up either. Dont know what the label was thinking doing that.. Like they could make a single out of sections 10:00-13:00 or something?? Beats me hehe.
I think Om were in the latest Terrorizer actually.. Maybe last months by now.. Al talks a bit about it and why Om is so far removed from Sleep and its subjects hehe.
It's a bummer cause I generallly love Sardy's engineering and mixing. Release by Cop Shoot Cop and LRon by Barkmarket are 2 of my favorite sounding albums. I guess maybe he doesn't do Stoner Doom well though. Doesn't really seem to be his thing like it is Billy Anderson's. Or Maybe he was just doing what the label told him.
You're right though. Loved the mix on Jeruselum until Dopesmoker came out. Still like it though.
Well aside from him not really knowing what Sleep was all about..
I think he came into the end of a project in chaos..
You can imagine piecing tapes together of an hour long song and then trying to keep tabs on which section is which while your mixing it hehehe.
Not to mention he had to go through and edit about 10 minutes or so off of it just to get the label happy about the time!
Billy Anderson complained once about mixing it as well and the whole band says it was one of those 'breaking' points for them.. I know on one spot in Dopesmoker, before the second solo thing, theres fuckin 6 guitar tracks all piled up.. I think for the most part theres 4 throughout the entire song, 2 on each side. Billy mentioned before 'you try keeping those in tune through the whole song' hehe..
Fuckin a that mustve been a bitch to sit through..
True I dont think its really his fault, he just got a call from a label exec and showed up to do his job hehe. I imagine Billy would do the same.
I just cant wait til next month when I buy a new turntable finally..
Then I get to hear my 2xLP version of Dopesmoker hehe.
The first album was rather dull (in much the same way that 'In the Name of Suffering' was dull): it was too square, too much like a generic rock record, and consequently didn't have that strange and elusive spark that turns a piece of music into a fire...
The same thing happened for me with the other early records - too much slavish worship and not enough forward direction...
When they released 'Jerusalem', it was much more evocative: the layers of guitars endlessly revolving around the same centre like a fugue gave the record a hypnotic, trance-like quality - almost shamanic...The production seemed to add to this quality by blurring the edges, and giving the record a woozy dream-like quality: the lack of sharpness and definition to the edges of their sound opened up the dreamspace...
They seemed to reach a peak on 'Dopethrone': the dour tempos combined with a thuggish neanderthal approach to the riffs and the nihilistic lyrics to create a punk-infused addition to the doom/stoner cannon. Again, there seemed to be a looseness to the sound, a blurring at the edges which always adds danger (in a way that no perfectly recorded, perfectly rehearsed record can ever conjure)...The whole record seems both mindless and futile - and that is a very appealing aspect...
After that, they just seemed to become more 'professional' and consequently lose the spark...
Ramesses have an absolutely TERRIBLE guitarist and he spoils them for me...
High on Fire sound like a local pub band...
(I know I have a somewhat bizarre approach to what I like - and want - from music, but what can you do?)
_________________ Pharoah Sanders 'Black Unity' will sort you out...
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