Tag Archives: delay

The urge to share

Over the last few months I’ve been working a bit more on my own songs after a stint where I was working primarily on things for the Sumner, Yo Zushi and upcoming James McKean records. I’ve embedded a soundcloud player at the bottom of some posts over the last few months, but if you’re interested in getting a nice shiny download of any of the songs you’ve heard, now’s your chance. Four recently finished recordings are available as downloads in the format of your choosing (FLAC, AIFF, MP3, etc), for the monetary sum of your choosing (including for free):

As ever with my stuff, the songs were all recorded and mixed in my home, and the only musician involved other than me is the excellent Colin Somervell, who played double bass on Beware of Tomorrow and On into the Night. Folks interested in production may note that Crossing Oceans is a live recording: two mics, one take, voice and guitar, no overdubs, no edits. Just straight up, the old-fashioned way. It’s far from perfect, but it’s the thing I’ve done recently that I’m proudest of, precisely because it is so naked. Little Differences, you may remember, I’ve shared before: this version, though, is a brand-new re-recording at a brisker tempo and knocks the old one into the proverbial cocked hat.

If you like these, do share them. I’ll be back with a non-pluggy kind of post in a couple of days.

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On into the Night – Ross Palmer

Hi everyone.

I’ve uploaded another new song to Bandcamp and Soundcloud. It’s a song I wrote recently in a dream. Really.  I had this really lucid dream where I, along with my girlfriend Mel and a few of the musicians I play with regularly, were working on this song I’d written. When I woke I could remember the chords and the lyrics to the first verse, so I wrote the song off those. I’m not sure the first verse lyrics make much literal sense, but they came about serendipitously, so it seemed only fair to work with what I’d been given.

The recording isn’t quite the one-man effort my songs usually are. This one features a very talented double bassist named Colin Somervell. The rest of it is me in the usual fashion.

It’s probably destined to be on an EP in the nearish future. In the meantime, you can download an advance mix from Bandcamp (pay what you like) or stream it on Soundcloud.

https://rosspalmer.bandcamp.com/album/on-into-the-night

Inside Out – John Martyn

There can be no mistake there
Can be no mistake there can
Be no mistake
It
Must
Must
Must
Be love

Outside In

In late 2001, my friend, former housemate and long-time musical collaborator James McKean played me John Martyn for the first time. We’d known each other for a year by this point and he’d already introduced me to the music of Fred Neil and Big Star. Over the years there’d be much more to come. But John Martyn was a big moment.

We lived in a large household — six housemates plus the girlfriend of one of the actual tenants — but James and I often seemed to be the first home, giving us the run of the house for an hour or so. We’d put CDs on the DVD player in the front room, using the TV for speakers, and hang out. I imagine it sounded terrible, but I don’t remember that being a problem. What I do remember is hearing Fine Lines and being close to bursting out laughing. I’d never heard anyone sing that way, and I’d heard a lot of people sing a lot of ways. Fine Lines is the first song on Inside Out, the album where Martyn really developed and explored the outer reaches of this vocal style. The title track of Solid Air had seen him slurring his delivery in a way that initially sounds drunken but that you soon realise is imitative of a saxophone and allows him to bend his phrasing and delivery to get inside the lyric and explore its potential for musical and verbal meaning. But Inside Out was something else again. My incredulity soon gave way to fascination. Fine Lines was beautiful, and unlike anything I’d heard before. But the rest took some more work. By the next year, when we’d moved from our big rambling Lewisham house to a smaller one on an estate in Stepney (behind the George, then run down and on the point of closing), we were listening to Inside Out and Solid Air, which I’d purchased, regularly, and it was then that I began to get a handle on this singular pair of records.

To this day they still seem like two sides of the same coin to me: Solid Air is the focused, concise and accessible heads; Inside Out is the digressive, rambling and exploratory tails. While Solid Air has wonderful songs (the title track, Don’t Want to Know, Over the Hill, May You Never), Inside Out marries killer songwriting (Fine Lines, Make No Mistake, So Much in Love With You, Ain’t No Saint) to jazz improvisation and sonic experimentation, containing both Martyn’s definitive Echoplex track (Outside In) and mutant arrangements of traditional melodies (Eibhli Ghail Chiuin Ni Chearbhaill).

It took longer to get but it hit me harder, and I still come back to it, most recently this week. It’s an incredible, utterly idiosyncratic, piece of work. I’ve still never heard anyone else make music that sounds like Ain’t No Saint and Look In. They just crackle with tension and clenched-jawed, barely restrained aggression, yet the rhythm section on both tracks eschew the traditional rock drum kit, instead featuring Nigerian drummer Remi Kabaka and Indian tabla player Keshav Sathe (from John Mayer’s — not that John Mayer — Indo Jazz Fusions). Outside In, meanwhile, is just astonishing, eight and a half minutes long, in two distinct sections: the first is a full-band Echoplex jam in the vein of Glistening Glyndebourne and I’d Rather Be the Devil. Two and half minutes in, though, it collapses into a freeform dialogue between Bobby Keyes’ unusually tender and lyrical saxophone and Danny Thompson’s bass, with Steve Winwood adding atmospheric keyboards and Kabaka punctuating the track with outbursts of astonishing power on the drums. Then out of nowhere, six minutes in, Martyn – off-mic but getting closer – roars ‘Love!’ and the track’s vocal passage reveals the song as what it is: an 8-minute exploration of the idea of love, the conceptual and musical centrepiece of a record that takes love as its very subject. It’s quite a moment. The 18-minute version that opens his Live at Leeds album from 1977 is, if it’s possible, even more astonishing.

Make No Mistake and So Much in Love With You continue the theme. If So Much presages the cocktail-jazz sound that Martyn would adopt for Grace and Danger in the late 1970s, it cuts deeper than the bulk of that album (strong though much of it is) by retaining its rough edges and including an edge-of-the-moment solo from Martyn. He’s such an underrated guitarist: not only a great acoustic picker and a trailblazing experimenter with loops and delays, but a highly effective electric lead player too. Tell Jack Donaghy the news: John Martyn’s work on electric guitar is a real-life third heat.

Make No Mistake, meanwhile, is the album’s third showstopper. It’s always dangerous to assume a performer’s work is reflective of their own lived experience, but in light of his well-documented problems with alcohol (and other substances), it’s safe to assume Martyn knew whereof he sang on this song: “Do you know how it feels / To be dead drunk on the floor / To get up and ask for more? / To be lying in the dark crying?” The song fades out, and back in again, and out again, as the band embark on another jam, the snatches we hear every bit as compelling as those elsewhere on the record. It’s a spine-chilling moment.

Wilfully eclectic and free-ranging, Inside Out only feels coherent as an album when you get to know it. Its unity is in concept and attitude, not in the sonics or the arrangements from track to track. But when you do come to know it well, few albums are as rewarding.

I should admit that hearing Martyn’s “classic trilogy” of albums backwards has surely impacted the esteem I hold them in; I’m sure I’d have got far more out of Bless the Weather if I’d heard it first (veteran Martyn fans reading this will note that I didn’t mention Bless the Weather above when I described Solid Air and Inside Out as two sides of the same coin). As it was, instead of having my mind blown by Glistening Glyndebourne, I heard it as a slightly weak-brew warm-up for Outside In from two years later. A record containing songs as good as Bless the Weather and Head and Heart deserves better from me, but it’s really a tribute to the power of those later records. If you’re a Martyn newbie, do yourself a favour and listen to Bless the Weather, Solid Air and Inside Out in chronological order. But remember when you’re listening to I Don’t Want to Know that, hard as it may be to credit, the best stuff is yet to come.

John-Martyn-770-2
John Martyn, early 1970s

Beware of Tomorrow available for download

Hi all.

Until tomorrow evening (my time), you can download a song that’s going to be on my next EP from Bandcamp, on the ever-popular pay-what-you-choose model. Minimum price is nothing!

It’s a brand new song, written a couple of weeks ago and recorded in the last eight or nine days.

The mix may change a bit between now and when the finished version comes out, but it won’t be markedly different from this. The cover art of the EP will be done by someone who knows what they’re doing. In the meantime, I used a pic I took in (I think) Monte del Lago in Umbria.

Here’s your download link: rosspalmer.bandcamp.com

Enjoy!

Glowing Heart – Aoife O’Donovan

Happy Easter, one and all!

In 1995, Emmylou Harris released an album called Wrecking Ball. At the time it was understood by fans and critics as an attempt by Harris to position herself a step or two away from mainstream Nashville country. The Nashville machine had long seemed venal and conservative, but was now entering an even grimmer phase, of which the success of Shania Twain’s Mutt Lange-produced The Woman in Me (eight singles released, 12 million units sold) and Come On Over (12 singles released 17.5 million units sold) may be taken as emblematic. Mainstream Nashville may have its fans among poptimist critics today – many of whom will, in fairness, acknowledge the debt it currently owes to 1970s West Coast rock and 1980s hair-metal ballads – but in 1995 no one with working ears could have argued for the artistic health of contemporary pop country.

Harris hired Daniel Lanois (best known at the time for his work with U2 and Peter Gabriel) and crafted a record with a distinctive aural personality. If Wrecking Ball continues to be judged an important album beyond the immediate context of Harris’s career, the sound of it will be the reason why – it’s still spawning imitators 19 years on.

Deep bass, drums (or drum loops) that abandon the country shuffle and side-stick for a funk- and/or hip-hop-derived emphasis on backbeat placement, washy synth/organ pads, heavily delayed guitars, heavily echoed everything – add all these up and you get an arrangement and production mindset that seeks to present the song as having been recorded live all together in a confined space, mushing everything up and avoiding clarity with heavily modulated time-domain effects. Not everyone likes it (Christgau called it ‘Lanois’s one seductive trick: to gauze over every aural detail and call your soft focus soul’, in a sniffy review of Wrecking Ball; he’d be even less convinced by Red Dirt Girl in 2000), but when done well it acts as a nice corrective to the sheeny, treble-boosted, hyper-real norm of modern music production.

If Wrecking Ball was the originator of this particular thing – veteran-artist soundscape rock, we might call it, or ‘the Lanois thing’ for shorter shorthand – Bob Dylan’s Time out of Mind (another Lanois production, his second Dylan record after Oh Mercy) was the album that turned it into a virtual genre of its own. Perhaps Time out of Mind has been somewhat overvalued but it is undeniably a fine achievement. It had been some years since Dylan had written anything that spoke so loudly to the small of the back as Not Dark Yet. He hasn’t done it again since. He certainly hasn’t made my head bob up and down like he does on Can’t Wait (thank you, Brian Blade and Jim Keltner).

Dylan didn’t enjoy the process and has self-produced since, but the Lanois thing had now solidified into an aesthetic that others might copy and emulate. He did it again on Willie Nelson’s Teatro did it in a slightly drier fashion and T-Bone Burnett has been doing it whenever possible – sometimes with Sam Phillips, sometimes with Ollabelle (see, for instance, John the Revelator) but most notably with Alison Krauss and Robert Plant, whose Raising Sand brought this sound to daytime radio, primetime TV and a level of industry recognition even Time out of Mind didn’t manage (five Grammys to TooM’s three, number two in both the UK and US album charts and platinum-level sales in both countries). Burnett may only have one production idea, an idea borrowed from someone else, but you can’t deny it’s been successful for him.

Aoife O’Donovan is the latest artist to adopt this sound.

O’Donovan sang in a group called Crooked Still, a progressive bluegrass band from Boston. Progressive in this instance means banjo picking at absolutely furious tempos and the addition of a cellist. This is not, being truthful, my thing; I remain immune to the charms of the banjo. But O’Donovan has a lovely voice and reading several raves of her latest album Fossils, which came out in the autumn of last year, convinced me to give it a listen. That it was produced by Tucker Martine, whose work (particularly his drum sounds) with his wife Laura Veirs I’ve enjoyed, was just an added inducement. Martine adds more of a rock sensibility than O’Donovan’s had before – the drums are mixed pretty high on, say, Beekeeper, and Robin MacMillan’s tom-toms mean business – but without a constant fiddle or banjo accompaniment to share space with her vocal melodies, the focus remains on her. In a good way.

The album leans very heavily at times on the Lanois/Raising Sand thing, most particularly on album highlight Glowing Heart. Yet an idea, executed well, needn’t be original to be effective, compelling, moving – and Glowing Heart is all of these things. Haloed by shimmering, delay-modulated guitars and two hard-panned strummed acoustics, O’Donovan’s gorgeous piece of widescreen melancholia – a song of vast spaces and endless night-time sky – is illuminated by touches of pedal steel (again, with heavy reverb and delay), double bass, drums (playing occasional interjections on snare and toms rather than fulfilling a timekeeping role) and, unexpectedly entering halfway through, fiddle. It’s a fantastic arrangement, weightless and graceful, a reminder that there is still room in the Lanois thing for imagination and invention.

Image

Aoife O’Donovan (it’s pronounced ‘Ee-fuh’)

On reverb, echo and delay as studio effects

Give someone with a practiced ear a recording and they’ll be able to date it for you pretty quickly, to within a range of two or three years probably. Fashions change in music production and mix topologies, and so any element in a record may potentially give away when it was made: a particular guitar sound, the presence of a certain bass drum sample, the sound of the snare drum (tuning, size, damping, volume), the presence of programmed sub bass; anything really.

But perhaps the quickest route to determining the date of the production will be the amount and the type of reverb or echo used.

In the very earliest days of recording, making a record meant bringing a group of musicians into a room and positioning them around a recording horn. You’d base their positions on how loud you wanted their instrument to be in the end product. If you were working in a reverberant, live-sounding room, you’d make a reverberant, live-sounding record. In a dead room, you’d make a dead-sounding record. As magnetic tape became the standard recording medium and as consoles got bigger and engineers developed ways to treat signals during mix that had been recorded without effects (‘dry’), it became possible to create unusual, even other-worldly, sound pictures that weren’t at all based on the reality of the room the music was tracked in. As often as not, the appearance of reverb in a pop record would be an illusion, separate to and grafted on to a musical performance during mixing. You could solo the vocal, play it back in a cathedral nave and record the echoey sound produced by the sound bouncing around such a large structure, and hey presto, cathedral reverb. Generally speaking, then, the performer probably did not hear the echo or reverb that appears on the record while he or she performed; it was an extra-musical event. It may have been there to add a sheen, a sense of dimensionality, to make the music ‘sound expensive’, to make the record ‘sound like a record’ (to employ a couple of studioland clichés), but like most everything else in the realm of recorded music, it was an artifice.

Engineers developed a whole gamut of such techniques in order to better serve the wishes of their artist and producer clients, but history shows that any such technique can become wildly unfashionable at a moment’s notice. The use of the gated snare (that is, gigantic reverb on a snare drum turned on and off abruptly by applying a gate to an ambient microphone) was so prevalent in the eighties that it could be counted an absolutely standard studio technique. In 1993, nothing sounded more dated than the gated snare and a record-maker employing one would likely have been laughed out of town.

Broadly speaking, in the fifties/sixties and eighties the trend was towards spacious, reverby mixes and the seventies and nineties saw a move towards tighter, drier productions. The sixties reverb sound was produced by the use of large acoustic spaces to track in, and/or the use of plate reverbs or echo chambers. The eighties’ reverb sound was more likely an effect added at mixdown by using the Lexicon 224, an early (hardware) digital reverb processor, or some other similar signal-processing device. They produce very different effects – some of the Lexicon sounds are so over the top as to be cartoonish, and over-enthusiastic engineers and producers did some terribly heavy-handed things with them.

However, even then synthetic reverb effects (that is, effects produced not by tracking in a live room, or playing back the signal in an echo chamber, or through a plate or spring unit) were not new. Sam Phillips, owner of Sun Records, made a trademark of creating an echo effect on the vocal by multing it and running the copy though an extra tape machine, delaying the copy slightly compared to the original. This sound became synonymous with Sun Records, and with rockabilly more generally. This sound has since been endlessly copied, revived and parodied. At this very minute, somewhere in the world, someone is making a record right now with a tape-delayed vocal, and congratulating themselves for their witty and original use of this fresh and innovative production technique.

Which kind of gets me to my point. Pop started eating itself long ago and while new techniques are always being created and employed, nothing really new has happened with the use of spatial effects (that is, echo, reverb and delay) since dub. Reverb, echo and delay are now so loaded with signifiers, so weighted down with the history of record production, that if one hears a striking, prominent use of a spatial effect on a contemporary record (or a very dry record that contains almost no such processing), what one is hearing is merely a quotation or a reference from another, older – and almost certainly fresher – record. All that differs is the number of quotation marks around the effect.

Perhaps this will change. Modern pop records are so dense, so loud and compressed that things like reverb tails tend to get swallowed up by persistent, steady-state instruments such as synths and programmed bass. But rock and indie is still rife with lazy, heavy-handed and uncreative uses of echo and reverb, and personally I want to hear something more driven by personal emotional expression and less driven by the desire to do something just because Sam Phillips (or Spector, or Clearmountain) did it.

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The vast nave of Westminster Cathedral, © Mike Quinn