Word: songfulness
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...time everyone decides that there's enough material to start recording, Rubin usually feels that the work is 90% done. "If a song is great on an acoustic guitar, you can make a hundred different versions of that song and it'll still be great," he says. While many producers came up as studio engineers, Rubin says, "I came up as a fan. I'm no expert at the technical aspects" of recordmaking. Kiedis, who has worked with Rubin on five albums, says, "He basically goes into the engineer's booth, removes everything in the room and has his people...
...with albums by Kanye West, Metallica and Linkin Park in various stages of readiness, but the project that's closest to his heart is a sixth and final album from his recordings with Johnny Cash. Settling onto his couch, Rubin plays a Cash version of Redemption Day, an overlooked song from a 1996 Sheryl Crow album. "Johnny found this," he says. "I'd never heard it, but it's perfect for him." Rubin was worried that he might have to tinker more than usual with some of the songs in the singer's absence, but after listening to the material...
...City,” will not likely disappoint, as it builds upon the success of their first album with catchy up-tempo dance beats and the moody lyrics of lead singer Kele Okereke. The album opens with Okereke in an almost theatrical falsetto on the track “Song For Clay (Disappear Here),” before the entrance of a fast snare and surging guitar riff that brings the energy to a classic Bloc Party peak. The lyrics set a theme for the rest of the album, which features more overt allusions to the issues of stardom...
...right, I’ll admit it. I once had a crush on Fall Out Boy. I found “Sugar, We’re Going Down” soon after the suburban Chicago band’s 2005 album hit the radio. The song breathed life into the orange-haired, black-nail-polished part of me I’d ignored since my pre-teen years. I’d found my secret summer love. But God, why are the pretty ones always so damn stupid? “Infinity on High” lacks the cheek that...
...mathematical equations using the properties of natural logarithms, Schneider replaced the standard twelve-tone octave with a new set of frequencies. According to Schneider, “music theory in this scale has not yet been worked out.” The results are two 30-40 second songs enticingly called “Non-Pythagorean Theorem Compositions.” As far as I can tell, these tracks (as well as the other eight sub-minute songs on the album) sound basically like a five year old stepping on a Casio keyboard. The band’s website claims...