Mixonline has a great interview with Sean Magee, Abbey Road Studios engineer, about The Beatles recent vinyl releases.
It’s an interesting and informative read for those interested in vinyl. He explains the challenges involved that’s worth the read even if you’re not a fan of The Beatles. He explains how they used test pressing after test pressing and even different types of pressings, traditional lacquer versus Direct Metal Mastering (DMM), to get the best possible quality.
Fazerdaze is the shoegaze/dream pop project of Amelia Murray, of Wellington, New Zealand. She released her debut self-titled EP in October 2014, recording it entirely in her bedroom studio in Auckland. With the help of multi-instrumentalist, Jonathan Pearce, who mastered the release, she created a dream-pop sound, using electric guitars and effect pedals.
Morningside, the debut album, was released on May 5, 2017.
Giles Martin, George Martin’s son, discusses it here with Bob Boilen on NPR, with excellent original mono, hastily produced original stereo, and now 50th-anniversary edition audio examples and explains what has changed.
One of the big differences is that the original tapes required “bouncing” multiple tracks down onto a single track in order to make room for the remaining tracks. This lowered the quality of the recordings. For this new edition, they are not doing that.
Additionally, NPR’s Terry Gross also interviewed Giles Martin as well. They discuss experimentation, both musically and with drugs.
Both interviews discuss the multi-piano E-chord used to create the ending for A Day In The Life.
Terry Gross interviews Beatles Ringo Starr And Paul McCartney the next day. They don’t discuss specifics of the new anniversary release but discuss various Beatles’ moments: first meeting other members, the meaning behind “Yesterday”, and a touching moment when Paul and John bonded.
Pitchfork interviewed Kevin Shields and they discussed the soon to be released all-analog Loveless vinyl release, his hearing changes through the years, and the new My Bloody Valentine album they are working on (to be released in 2018).
Regarding the decision to press a single disc instead of a double LP:
I wanted it to actually be played the way it was originally conceived, which is basically an A and B side: Loveless is like a mirror image of itself on each side. It works as a continuous thing. That’s where I got a little nuts, but it was one of the things that I got right [initially]. The obvious thing to do in this day and age would be to cut it onto two vinyls. That’s something I will do someday, just for the pure sound quality. But from the perspective of listening to it, I didn’t want that to be the only version that people had access to, because it just breaks it up. There are compromises.
began exploring sounds influenced more by the Smiths, the Cure and the guitar of the Byrds. To Shields’ ears, his playing on My Bloody Valentine’s earliest records represented a “perversion of a guitar sound,” meaning “it’s extremely clean, extremely small and just noise – in a way not trying to be impressive.”
“Shields’ big inspirations around this time were American bands: Dinosaur Jr., some Sonic Youth and, “particularly for me,” Public Enemy. “The sound on the first two Public Enemy records were very mid-rangey,” he says. “They weren’t hi-fi hip-hop records. It wasn’t music that was designed for an arena, and I loved up-frontness of that sound and the lack of attempting to pacify the listener with prettiness.”
Pumarosa (London) singer and guitarist Isabel Munoz-Newsome met drummer Nicholas Owen when the pair turned up for rehearsals for a new project at a rundown pub in Homerton. No one else turned up and they decided to form a punk duo instead, and began writing material and rehearsing. After they moved their outfit to a warehouse in Manor House, they met Henry Brown(bass), Neville James (guitar), and Tomoya Suzuki (sax/keys), and a full-fledged Pumarosa was born. In 2015 the band released their debut single, “Priestess,” after signing to Chess Club Records. Despite being nearly eight minutes long, the track received generous radio play and swiftly raised the band’s profile. The following year they put out their second single, “Cecile,” and began work on their debut record with producer Dan Carey (Kate Tempest, Bat for Lashes, TOY). The Witch was released in June 2017
Recommended if you like: Siouxsie and the Banshees, Chvrches, London Grammar