![]() ![]() "Two total favorites of mine as a younger ![]() The dynamics of Elizabeth Fraser also heavilyįactored in to both main melodic writing as well as in more textural backups:įuller throated lower melodies that then break away and soar into more abstract I was shooting for a similar effect on "(Don't) Wannabe." Hangover by listening to her second album Floating into the Night and Top of the classic weirdo-pop instrumentation of Julee Cruise. Similarly, I embraced more ethereal vocals on Lines that I would never have attempted before. ![]() It was really fun to cut loose and write really long ascending I assume most people aren't aware of my more formal vocal trainingīackground. Production or song arrangements, it was more that I finally embraced my full While I certainly looked to some of her more interesting and experimental "Kate Bush is such an inimitable artist and Kate Bush + Julee Cruise + Elizabeth Fraser The freeness of the music and how it came across on stage was so inspiring, particularly because I'd already started feeling a nagging, almost negative tethering to the rock thing of Dum Dum Girls." I remember I saw Samantha play a small teaser show at Baby's All Right in Brooklyn last year and stood next to Dev while she sang a song he'd written. "I'm such a big fan of both of them and was so moved by performances I'd seen of them together and separately. "'Drive The Night' initially started off with this in mind but Andrew Miller brought in a neo-Motown thing a la Edwin Collins so the album version retained Madonna as a touchstone more so melodically than anything else." His version while maintaining modern production sensibilities so wouldn't come Went full-on electro pop in a similar vein, but Kurt Feldman was careful to add My voice was the focal point that allowed us to play around more wildly with Producers didn't use the same settings onĮvery song, but they definitely understood what I was looking for and made sure (someone laid it out almost exactly) and then approximated it in my demos. Researched message boards trying to pinpoint the parameters of the reverb used River” to the Prince cover “Nothing Compares 2 U”, but it's seamless. ItĬan jump between the very different Jesus and the Mary Chain-like song “The Of her Sinéad's voice is astounding and just by establishing a consistentĮffect (reverb and doubling), a varied collection of songs sounds cohesive. "The vocal production on her classic secondĪlbum was a big reference point for X-Communicate. The innate power Sinéad O'Connor's I Do Not Want What I Haven't ![]()
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