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Remember how good it was?
Listen to it again!
Is it still as good, if not better?
The answer is YES!
when i saw them there
I never bothered gettin the album, but I love everything I have heard fom them ever.
but i find it a bit of a throwaway - there aren't many hidden depths to it and (probably on purpose i know) i have no emotional attachment to it
On re-listening I kept noticing little bits that clicked better than originally and the drum fills - oh the drum fills. They are rythmically impeccable. Able to sound techy yet completely organic and always foot stomping.
good album but not the kind I listen to all that much. Still Deserving of the praise.
From the album I only really like Race:in, Race:out and Tonto.
Are you MENTAL? WHERE DID YOU ESCAPE FROM?
probably since i read the lyrics but ugh, it makes me feel ill to listen to. leyendecker is like, amazing though.
I still love the album
Also love Rainbow and Race:In.
Bad Trails, however is quite bad.
into my stereo. Still want to see them live every day.
though they were still good live when they toured just before mirrored with all the new material
are piss compared. Stop being so bloody indie. Some good tracks but neither i remotely cohesive.
when they sounded like Don Cab, not some out of space band with stupid noises.
the EPs are really patchy, but I still prefer the more Reich-esque direction that they were taking during the EPs.
I'm a music student, it'd be difficult to avoid Steve Reich even if I wanted to.
The EPs were wicked. Nothing indie about it. They just were.
Thats all I hear.
could be serious
went from my most hated to most loved song by them when I saw them live. So freaking good. Also really like race:out.
and listen to it soon
I've fallen in love again with exclusively easy-going song structures recently, so any progressive stuff I just lose patience with these days..
Amazing at Benicassim! I've seen them thrice and it's been brilliant every time.
and I'm remembering how much I like this album
mainly because the stupid vocals spoil it (although Race: In is great) and I was annoyed at people self-consciously sperming over how unbelievable it is, when it really isn't THAT unbelievable.
However I would really like to see them live; a mate said that they absolutley blew him away at Glastonbury (if that's where he saw them; I think it was Glasto)
Even if you narrowed down all the genres of "math rock" and "dance" and just "rock n roll" you'd still struggle to find anything else that they sound like. It's just alien. And it's fantastic. I realised that it's probably going to be mentioned in 2020 in a "hidden gems" thread on whatever message board people are still hanging around then.
Pinky and Perky doing karaoke to sped-up Minus The Bear record.
I like them when they're doing instrumental, I just can't believe anyone can listen to any of the tracks with that stupid fucking vocal and not want to punch something.
I dunno maybe I'm wrong. Maybe they should'ave left the effects off the vocals. Maybe they should have crooned or "sang proper" eh?
but I think you are massively wrong.
There is a canyon of space between "singing proper"/having a great voice and doing what Battles do -- which, to me, undercuts the prescribed seriousness and progressiveness of the music. The vocals are so fucking irritating that I almost feel cheated because I'm sure I'd have a chance at enjoying it otherwise.
and if I remember rightly it's pretty damn good.
The EPs for me just had an edge and element of surprise that the album lacked. The album just seemed everso slightly straightahead. All good though!
On a side note, a neat Battles influenced post-rock band worth checking out are Japan's Rega, who have a mini album Rondorina out not long back.
But they blew me away the one time I saw them live. I'm really interested in hearing some new Battles material right now.
and open with Race: Out, and build up the layers and speed it up to how it sounds on record -that is basically one of the best things in the world ever.
not very good really, is it? The production is competely lifeless and flat
I'm not sure it's flat. Not astounding, by any means, but not noticeably bad. The drums sound pretty massive.
but overall it just seems a bit too OTT, like there's too much going on and all the separate parts have just been mushed together - like i say above, there aren't any hidden depths because everything is at the forefront at the same time. It just ends up sounding a bit hollow to me
i suppose in the technical sense there's the idea of the "flat waveform" where everything is at the same level and so there's no distinction or space (Mirrored does succumb to this at it's most busy points, but there are certain troughs of course)
however, i was mainly talking about it as a general sense within the sound. It's flat because it sounds uninteresting and unvibrant a lot of the time, particularly at the times when it's "supposed" to be sounding exciting. Maybe it's just a symptom of the music itself being a bit lacking, and to be honest much of the music could be described as lifeless and flat. Was that the desired effect of some mechanistic fetish? I don't think so
but there's a lot of technical flatness and a lot of perceptual flatness and they both seem to combine into a hollow sounding, generally unsatisfying record
I'm not sure I've ever given the production any kind of thought, which I guess would imply it's fairly unremarkable.
I generally notice good/shit production fairly quickly. I don't really have any beef with the production on Mirrored, I've just never given it a whole lot of thought, which is strange because I think it's a record that actively encourages you to adopt quite a detached, analytical approach when you're listening to it. Having listened to it again, I'd say the production is very much in keeping with the generally clinical vibe of the record.
That said, I really, really like the drum sound, primarily because none of it's triggered and there's a nice amount of dynamic range in there. The guitar sound is probably a little too 'artificial,' but that's as much a result of running their guitars through a thousand different pedals and laptops as it is a production deficiency.
in a bad way. It's like the aural equivalent of getting rained on on a Monday morning before work or something, and I used to think I liked it.
There are barely any tunes, the rhythms are uninteresting, it only ocassionally offers up a beat you'd want to dance to and the vocals and sound effects make it sound like the band's objective was "let's fart about". A shame because I'm sure there's a good band in there somewhere.
Just convulsing brilliance. Every instrument and section in it is given the exact amount of "build up" time and it's just fantastic. I've no idea how douchebag could call it "flat". Of any word to describe them "flat" is probably the last one i'd use.
was okay, will listen again
that I loved and then completely forgot about. I might pop it on this week...
they haven't gone through the whole backlash thing (yet), and from this I'd say it's a good thing that it's still dividing opinion and it would be a much worse thing if everyone liked it and promptly forgot about it. For me, Atlas has always grated and sounded a little too close to gary glitter (michael stipe banging on about it did not help one jot) but there's some great tracks on the album