Like the New Order album, Substance features much more songs on CD than LP, though unlike the New Order album, the album occupies just one disc on CD (with some countries having double-play cassette releases including the B-side portion) on all formats and doesn't edit down any of the tracks included; cassette releases use either the LP or CD tracklist depending on when and by whom they were issued. The release shows how much of an afterthought that record companies were treating LP releases in the late 1980s. The full album wouldn't be officially released on LP until 2015, when Rhino prepared a double-LP version of Substance alongside a CD and digital release (with two extra tracks on all three formats to boot). For obvious reasons, there were no re-recordings of any songs, either. Well, no new ones; the version of "She's Lost Control" featured on Substance was indeed a re-recording, but was made long before Ian Curtis's suicide in 1980.
Similarly to how New Order's Substance acts as a retrospective of their artistic evolution, Joy Division's Substance offers a look into their own evolution from just another Punk Rock band to the defining band of the British Post-Punk movement, examining both their rockist side and the electronic side that would act as a precursor to New Order. The result was the band's only Billboard album chart entry, peaking at 146 on the Top 200 on the heels of New Order's American breakthrough the previous year. This minor success prompted New Order's U.S. label, the Warner (Bros.) Records-backed Qwest Records, to reissue the rest of Joy Division's back catalog.
[album] The Band Apart - Extra ..rar
Join the Dots: B-Sides & Rarities is a box set of The Cure, released on 26 January 2004, by their former record label Fiction. (Elektra and Rhino co-released the compilation in North America.) This box set is a four-disc compilation of B-sides and rarities, digitally remastered by Chris Blair at Abbey Road Studios from their original tapes. The box set includes all B-sides by the band, apart from a number of remixes, as well a number of unreleased songs and songs that had been out of physical circulation for years. Many of the songs had not appeared on CD before. The set includes a booklet with track-by-track commentary and an extensive overview of the band's history up to 2004, followed by an extensive list of The Cure's discography.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Departing in Descent, Equilibrium, Anodyne Rains, Decades on Divided Stars, Hearts of Stone, Violet Opposition, Measures of a Greater Mercy, Earth House Hold - Daybreak Basements and Broken Hearts, and 50 more. , and , . Purchasable with gift card Buy Digital Discography $274.75 USD or more (30% OFF) Send as Gift Share / Embed 1. Invisible Emperors 21:31 2. Colors Unknown to You 18:07 3. Twelve Years Apart 19:13 4. Decades on Divided Stars 19:37 about Affin LP04.This is the same digital version as the official release.For vinyl please go to affin.bandcamp.com and support those who truly support the scene. And truly support what's true.Or your favorite store. 'Cause that's OK too.Deepest thanks to Joachim Spieth, a true soldier and an amazing human being.Star emoji. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released July 22, 2022 license all rights reserved tags Tags ambient idm deep house deep techno electronic modern classical United States Shopping cart total USD Check out about bvdub Brock Van Wey
After working with the band and finishing a couple more Circus Devils albums with Bob and my brother Tim, Bob asked me to take over the music recording on his 2004 solo album Fiction Man. This felt like another big leap. As before I was glad for the new challenge and grateful to Bob for his faith in my abilities. I assumed that based on some of my Circus Devils work, Bob had the idea that I could handle all the band duties for his new album on my own. After I passed the audition on Fiction Man, we went on to make 16 more of Bob's solo albums and 3 EPs.
While working on Fiction Man, there were sometimes risky decisions and things got musically exotic, but Bob seemed to dig that. By the time we got to F.A.C.E., Bob was very much into adding in those exotic elements. For better or worse, on this album my trepidation was gone when it came to the musical accompaniment. Today I look back and think some of those extra noises should have been dropped. In Circus Devils it was standard procedure for me to get happy with all the sounds. On Bob's later solo albums I would become much more reserved.
I had no trademark production style to put on display, and no bounds to observe as a performer. As a one-man band I was Bob's hired hand. I was not playing for myself. The songs and the show were Bob's. I wasn't there to play Phil Spector and pretend to matter, at least insofar as Bob's fans were concerned. The challenge (or struggle), was to find out what each song was asking for. That's why an album like F.A.C.E. has such a wide range of treatments going on. Every song asks for different things, so the idea is to tune into that silent request. If we made a mistake on F.A.C.E., it was to give a song more than what it asked for. Some songs asked for very little and needed very little, but as I keep saying, I sometimes got carried away with accompaniment and added too much. Whether there were 24 tracks available, or only 8 tracks (as in the case of Fiction Man), it made little difference when it came to my appetite for stuffing the songs with more textures and flavors.
Working by myself on future albums, I often gave in to the temptation to err on the side of caution when it came to the music for fear of ruining a song by being musically cute or clever. This kind of cautious, mindfully careful work can make for a solid record, but not always an interesting record or a record with character. On From A Compound Eye, the musical conservatism I'm sometimes guilty of (apart from Circus Devils and Psycho and The Birds), was put aside. Considering it was a double album, I'm surprised we didn't get caught on any snags of the kind I always encounter while working alone.
We began the session by laying down basic tracks for each song - Bob on guitar and me on drums. Bob also sang a scratch vocal to help with timing changes. On most of the later albums I made with Bob, the first thing we did in the studio was to lay down the main rhythm guitar track without drums (with Bob on guitar). On a few of the albums where I did the main guitar myself, I would replicate the part as heard on Bob's demo recordings. Once the guitar was laid down, I'd move on to the drums, extra guitars, keys and so on.
Once the solid foundations of guitar/drums were laid down, the next step was adding to the color palette on the friendly and pretty songs (ie: US Mustard Company), and adding shadows and shade to the darker songs (ie: 'Other Dogs Remain'). On a song like 'Love Is Stronger Than Witchcraft,' you have both light and shade in play, with light winning out in the end. The rockers needed no further dressing up apart from an extra guitar. Then there were the "romps": '50-Year Old Baby,' 'Field Jacket Blues' and 'Denied,' where Bob gave me the green light to indulge in the same sort of noisy fun found on a Circus Devils album.
This was the sort of album that invited messing around. There is never any harm in adding extraneous stuff in the tracking stage. But when it came time to mix, I wanted to make sure the songs shone through without the cute distractions. It was a Robert Pollard record, not a Circus Devils record, so I exercised caution. An analogy to this would be shooting a film with inclusion as a guiding principle, and then editing with extreme prejudice.
I understand how Psycho and the Birds might be regarded as a hiccup or tiny footnote in Bob's career, but I'll try my best to make the case for bothering to listen to (and get acquainted with) the band's third and final album We've Moved (2008). It's an album that may require a period of adjustment before the enjoyment arrives.
The first Psycho and the Birds album was a lark, assembled by me taking a collection of Bob's demos and adding in accompaniment directly on top of those rough recordings. This would be our M.O. for the other two P&B albums as well. For the listener it meant some difficulty making out Bob's lyrics above the controlled racket taking place, created by the drums, bass, keyboards and electric guitars, all joyfully added with no thought of reigning in whatever musical impulse took hold. Bob seemed unconcerned with the unavoidable burying of his vocals and me getting happy with all the musical extras. This project was about raw feelings. The lyrics were of secondary importance, which may be another reason Psycho and the Birds has been overlooked (apart from the songs being judged sub-par). I think the songs are great, and recording 'We've' Moved' was the most fun I've ever had as a musician. 2ff7e9595c
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