Ian Williams: Loud and Clear
An interview with Ian Williams
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
An Introduction to Storm & Stress - Scheda

Ian Williams is the guitarist behind the band Storm & Stress, a parallel universe of Don Caballero which stands as one of today's most adventurous statements on the future of rock music.

Can you give me a quick overview of your life as a guitarist? from the beginnings to S&S. Including influences, models, teachers, etc.
I haven't studied with anyone. "doing it yourself" is something i took from punk rock, though i believe that's a pretty bankrupt myth, that one does it themself. when we all do it ourself, we're all doing it, aren't we? but on the guitar itself, someone told me once that they play their amp more than their guitar. i think when i began, i played distortion more than the guitar. the results of my strumming. now i play the twang of the string, which is a lot closer to the source of the sound making.

Can you comment on Don Caballero vs S&S? What prompted you to start a parallel project? What can you do with S&S that you could not do with DC? Is S&S now your main and only project?
The idea of the band is becoming more of a foldable, interchangable, and disposable idea. it was a big deal when ron wood joined the rolling stones, but i don't think anyone would notice if pearl jam got a new guitarist. bands are now more like business cards. people have them as hobbies, identify themselves in the local community through them, etc. i mean, no one works for one company anymore. you're somewhere for a few years, and then you leave. american commentators always ridicule the japanese as being outdated because of company loyalty. 21 year olds that work in coffee shops don't want to admit it, but their system of "being in a band" is working the same way.

How did you pick the partners in S&S? Can you also briefly comment on their skills/personalities?
I think there's a lot of naivite and hubris within our mix of personalities. that's probably our worst crime. i keep wondering what a "mature" record means.

I am not technical enough to ask you questions about your guitar technique but I would appreciate if you could elaborate on what makes your guitar so different from any other rock guitar I've heard in my life.
I've always been a tapper, as in, on tables, school desks, my legs and chest. i've eventually been able to figure out how to move that to the guitar.musically, there was that linear looping line playing on doncab 2. that's where i started writing with the band. i didn't think of it as such at the time, but then i realized, oh the minimalist composers in the 60's like reich, riley et al. have already worked this stuff out, and it's been much more developed. i think recently african stuff has been seeping into my influence also. hitting more neutral stances in terms of harmony and melody is more attractive than finding resolution and everything. it's got nothing to do with 12-tone serialism, but i see an affinity in that attempt to neutralize to composer and this attempt to achieve a detached feeling. so of course, there is intention on the part of the writing, though it wants to create the impression of tapping into a music that's already out there. it's a negotiation between being a human that can act, do anything, and create reality, and acknowledging that there is a reality out there independent of the human.

Did Jim O'Rourke have any influence on the album? Why did you pick him?
With his perspective on music, i think we're a band that's pretty easy for him to see. there's not the danger that the engineer will just say, "this is esoteric and i don't understand it so i better disapper from the process of putting this on tape." his influences were mostly, "i liked that take," and trusting his opinion at moments like that since you're so close to the music, perspective gets difficult. i remember on the song with jim black, we wrote it in the studio. o'rourke said he thought my part was too jammy, and why not a line that extends over several measures? so i came up with one. that was probably the closest that the term producer came into play. comparing it to the previous record, albini has a positivist approach. the electrical-magnetic pulse you put on tape equals song. whereas jim seems to take it as, each song has a mysterious secret within it waiting to be brought out via a special mix. i see no right or wrong in either approach. i feel lucky to have worked with both.


Reprint of the Tuba Frenzy interview:
First off, tell us about your youth ... some of your favorite bands or mindblowing musical experiences... I think one of the most boring things is a person's taste. Its exposition is usually someone's pathetic appeal, asking "Am I OK?" It's nothing I find that interesting and usually don't talk about, just because I feel weird assuming strangers Would want to read about it. But I guess the premise of doing an interview with me is that, ves, I am interesting. So ... I'll try. When I was fifteen someone took me to a Cro-Mags/Half Life show at the Electric Banana in Pittsburgh, which was a really good introduction for me. I can't really describe how hard of a break from all my known realities that was and how exciting it felt. All of the glitz of mohawks, tattoos, and slamdancing really hooked me. Its easy to see how grassroots hardcore scenes that still exist are such good farming leagues for people that are avid music listeners. It gets a young kid's attention, asks for a thorough dedication to a different lifestyle, etc. What kind of stuff did you listen to before you got introduced to that world of underground music and punik ideals? My story is pretty common and I don't know how revealing. Kiss from 1st to about 6th grade, mostly for the maximization of flash. Kids like the circus. But there was a large period of time that I lived ir Malawi, so the influences came from two sources: Pennsylvanian working class steel workers' kids and British expatriate kids whose parents really belonged to this weird community of government wo and college professors that went from one Tbird World country to another on contracts for their whole lives. A weird melange of inter-na- tional types. It would only be proper to say they were British, but the way you would say a Mexican restaurant in the U.S. is Mexican. There was a weird compensation for being detached from one's homeland, and you tended to be a weird exaggeration of it. Like pictures of the Taj Mahal in Indian restaurants. So that was probably the measurement of British influence. When I got back to the U.S. in the middle of the 6th grade, people no longer liked fire breathing clowns in make-up and instead liked girls and music you could dance to with girls. They'd say things like, "We don't listen to AM anymore. It's FM." I'm speaking from the boy's perspective here, but then you probably could at this point ... pursuit of music was pretty much a boy thing. So there was some confusion for me. I began trying to reclaim flash in music, but through other means. Maybe towards a slighty higher pedigree of metal. And I remember the extra-musical issue that hot girls in junior high-dug top-40, which always had to be dealt with. But I can't really be sure. People always remember themselves as having been involved in a lot of things that they really weren't and only see nostalgia films years later, claiming, "It was just like that for me!" I think I listened to rap. At least it seems like I sure did when I hear the Beastie Boys. When did you start playing in Sludgehammer? I loved the "Dynamite Lady" seven-inch when it came out... Karl fhendricks] and I were in Sludgehammer when we were 18 and 19. 1 played drums when Karl and I couldn't find a drummer. I couldn't really play. I just faked it. Now and then, I had moments of greatness, but I never ki-tew how to duplicate it consistently. A leamiiig experience for both of us. Were there any other bands before Sludgehammer? No, that was pretty much a first band experience. I remember the feeling of, wow, I can play a whole song! Then, wow, I can play on stage and people will watch. Then, wow, I can make a record. A discovery of various forms of existence. All necessary first steps for me before I could imagiiie going about making music with a critical perspective. How did you meet up with the Don Caballero guys? Tell us about the inception and early days of Don Cab... In '91 Don Cab started plaviiig, though it was just a three piece, without me. At the same time, I started Rocco Raco, played one show, then the drummer quit, and I asked Damon [Chel to play, which he did. We practiced for a few months together. Now Don Cab and Rocco Raco were both playing on similar terraiii, but DoiiCab was more established (and also better), so they just asked me to play with them and I became a fourth member. No one in Pittsburgh liked them at first ann-wav, so it seemed natural that 1, their roadie, would join. It's at this point that I'd like to say mean things about people in Pittsburgh, but I don't think I have the sufficient energy for it to sound mean enough. What about people in Chicago [where Ian now lives] or New York [where Storm and Stress dnunmer Kevin Shea lives)? There are certain towns where self-consciousness seems to be at such an extreme low level, and that's where "types" come from. Whether that type is an intellectual, an artist, a music critic, a graffiti writer, or advertising executive. In Chicago, with its detached midwestern sobriety, graffiti tags often get the response, on bathroom walls of someone writing, "ooll, a tag!" to make fun. In New York, it's perfectly reasonable to expect to meet a 42-year-old with 3 kids who tells you he's recently become a graffiti artist. I like both towns for both of those reasons. How did Storm and Stress come about and what did you have in mind when putting the band together? Storm and Stress started playing in 1994. I saw Kevin playing with his improv outfit fortystories. Fortystories is Kevin's band with Micah Caugh? Yes, they play together still. They usually go under the name Gaugh now. My friend said something about this terrible band playing at a party, but within about one minute of them beginning, I think I thought about music a little differently. I was ripe from DonCab touring and ill a reactionary phase to all of the rock band stickers oil smelly bathroom walls that assault the senses and make you plantour around using the bathroom at Deiiny's so that you wont hai-e to use the one at jim's Rocl-n-Roll Palace. I asked Kevin to play with me right there. Storm and Stress was quite a low profile project for a long time. I don't think many people in Pittsburgh even knew about us. We actually played with bar bands in white trash bars so that no one would know about it. I forget their name now, but we did a little tour with one cover band playing Whitesnake, etc. - just around Pittsburgh working class neighborhoods. I really wanted a band upside down from Don Cab. From being a band that got along with each other, to playing quietiv through a full stack of amps, to never knowing what the time signature was. We didn't actually, play a real show until DonCab stopped playing. I ended up using Storm and Stress riffs on DonCab 2 because DC was making a record and S&S was really just in laboratory phase. I had to find another reason to play music because Don Cab was relatively successful for an instrumental band at the time, but I wasn't very happy. Surely we could have had more success, but it felt like it was only a matter of degree and nothing would have been substantially, different. Storm and Stress did a lot of concept shows at first, like not playing music, etc. Just trying to frustrate people. Well, not trying to frustrate people, but it seemed we always did. Our first show where people came to see us, we put all of the amps in front of the stage while we stood behind them, so of course we couldn't hear what we were doing- Things became more serious as we decided we wanted to make a record, and it's a problem a lot of people on the more improvised end of the scale talk about a recording becomes a permanent version of something that is never set. So realizing that the music on the recording wouldn't be able to evolve any further, we set music as songs that became the record on Touch and Go. I didn't want to sing, but to be in another instrumental band would be like I was becoming a "type" of musician or something, so some singing was needed. The closest I'll ever come to using the horrendous term 11 post" is to admit that the singing isn't really my idea of singii-tg, but maybe my idea of other people's ideas of singing. I wasn't really interested in singing, but it seemed like a prerequisite for being in a band in the classic sense, so imitation seemed appropriate. I was really interested in having the band have all appearances of normalcy, in hopes that it would be taken normally. Experimental music is a really-powerful concept that can control where a band is placed. - My god, what are they doing onstage? They're just experimenting. Oh, ok, everything is alright then. - It somehow can take the artist out of the total space they're interested in working in. It's marginalizing. Not that I really imitate particular people, but I think I use general styles. There's maybe a little bit of, "what if this was Steve Malkmus singing?"...and certairdy "what if this was Stephin Merritt?". Those are a few archetypes of 90s-style singing. The girl is more vulnerable and beautiful and the gorilla more of a giant beast when King Kong holds the girl in its hand. It's about the distance between grace and shit and how important they are for each other. The rock guy/electronic girl lyric is a good example of it. The planned outrageous line on the record, right? Isn't that, in the end, how most quotable lines end up being made? I wanted a record that you really couldn't conceptualize, at least easily. So it avoids, "oh yeah! I like ambient, spacey" and automatically you can predict each successive noise with little surprise. I don't think experimental records are supposed to have that toile of voice. So I put a logic alien to the song in the midst of it, just to keep things kind of honest. You can't just react, ,oooh, noise improv!" One of the most alluring things about pop music is how fragile it seems, and how vulnerable, because it exposes itself so simply, and is so easily understood, that it's practically inviting you to come and invade it. Destrov it- Totally sexy. So sure, it's fucking a style and hopefully raping a generation and all the hopes and dreams it ever attached to its collection of 45's. But it's not that I'm a bad person for wanting to do this. The form itself asks to have it done. It's exercised in other ways. More familiarly, any pop/punk song with the a/b pretty part/heavy part- That kind of prop-it-up-then-take-it-away tease is even evident on the intro to "Smells Like Teen Spirit", pre distortion pedal and post. Two dramatic ways of thinking about music today, pop and fey vs. earnest and important, actually dislike each other so much they hurt when juxtaposed. So that was the idea, hurting those ways of thinking. It's funny how the rock guy line actually served as a hook in the pop sense, in that it seems something people comment on all the time. It fulfilled all its duties. You mentioned that some of the riffs on Don Caballero 2 are actually Storm and Stress-derived- Let's go ahead and delve right into Guitar Player-style interviewing: could vou talk about how your guitar style/ technique has evolved [changed over the years] and how it differs between the two groups? Along those same lines, how would you further compare and contrast each group's overall "sound" and internal dynamics. Don Cab uses machine logic, even if we try to program the machine to behave in ways that would make you think it must not be a machine. So the guitar has to be pretty functional and cog-like in relation to the other parts. Behave ii-i meters, follow a rational blueprint of a functioning structure. And its development has pretty much followed the develop- ment of computer chips - get quicker and smaller. We take what we have and then try to figure out how to fit more in. But this is where it gets interesting. Parts - riffs and rhythms - become more recognizable as patterns as you get further away from them, the way the block your house is on looks less like where you live and instead part of a design when you look at it from an aerial photograph. So as the Tiffs and meters shrink from your viewpoint, the individual units matter less. It's like those infamous modernist apartment building designs, where each apartment looks really drab, but when you step back and consider the whole thing where windows and balconies just make up a pattern, you see a really-well composed whole. But, man, the individual is neglected --- they live in this alienating place. The riffs, if considered as individuals, only serve to comprise a picture of the whole. By downplaying the individual, personality is also reduced. There's not as much emoting going on. The New York City skyline has a million windows, but you don't care if the person in one particular window is crving because they are onlv a dot. But there's a plus to all of this. Seeing patterns reveals underlying structures of control and explains why Presidents are shot and whv mv grandmother goes to Flori@a every winter. The music includes everyone like sociology. It's an umbrella for all of the possible human interest stories that could happen. Its really a beautiful tear-jerking experience, like a slow-motion summary with "Nobody Does It Better" playing to absolutely everything that has ever happened to people.
Because the Storm and Stress sound is less dense, the guitar is about the space around the notes as much as the notes. You can hear their attack and decay. You can almost feel them as objects around you that You could reach out, touch, and move around because they're not screwed into the ground. They're not showgirls lined up on stage performing for you, kicking their legs together, distant and untouchable. It's definitely, in keeping with the German schtick in the band's name, an exposition of the Subject. Emoting and saying, I am. But Storm and Stress is a contemporary version. Balanced with the attempt at emotion is a lack of feelings. Basically like a character in any Bret Easton Ellis novel. So it's a tension between those poles: old and new, retro kitsch and hating those sorts of punk rock sticker in the bathroom games. More typical pop music invites you in, says, "Let me tell you a story. I have a personality and am very knowable. We can be friends and you can hum me." S&S music is still a person, but a person frozen over, turned into a photograph. Comparing it to the Don Cab model, the nots are not those people packed into building that are controlled by planning. They're the people walking around you on the sidewalk. Unknowable except for your ability to generalize them into types. They're just sort of posters for the life you imagine that person to have.
Is rock as a genre/style defined by formal/musical elements or by other extra-musical elements, whether aesthetic, cultural, political, socio- demographic, or some of all? I think more the latter. As for the former, rock's definitely a thing because lines in the satid have been drawn, but like the car advertisement that said its car was like punk rock a few years ago shows, the sanctity of aiiyoiie's definitions will be laughed at soon enough. In the press kit you refer to late 50s modal jazz and Euro serialism - how much was Storin and Stress influenced by such things? Or was this a connection you made after the S&S sound became m'anifest? I seem to remember you saying you were not all that familiar with those musics and that they weren't conscious influences on S&S's formative development. I wasn't trying to say either of those things were present in our Music or an inspiration (though I'm a faii of some of both)- I was only guessing, With words I doubt Miles Davis or Arnold Schbiiberg woulci have used, that part of their necessity to create their music was an anti-corny impulse (which were different reactions for both of them because of their different situations). Could you talk a little bit more about why you think that what S&S does "seems like ... the only honest way to play music right now, without being hokey? I'm not sure. It might have something to do with grunge and the victory of the loud guitar. There are pretty diminishing returns now with playing loud rock in a 200 capacity dub when Bush or whoever does it on MTV to millions. Those claims of being more authentic bore people after a while and they start staying home to watch The X Files or going to rockabilly shows which obviously could care less about being real. It's hard to get that feeling of pushing against something or resistance when that thing has gone to the top. If you stay in that arena, you've automatically failed at that genre unless you have several A&R reps from major labels courting you. Only then does the dizzying, anything-could-happen potential come back into the music. "These guys could be huge!" But it's obviously a different kind of genre now, because the name of the game is fame, and not those more interesting and strange goals that exist in between the typical worn categories. I guess it's an attempt to achieve the dizzying, anything-could-happen potential again, without the sides of the dice consisting of buzz clip, Letterman appearance, or commercial failure. Continuing with the press kit angle, can you be more specific about S&S's 'innocence' and its problematic relationship to "intention"? Is this another way of saying that you are looking for some sort of musical freedom, in the same way many so-called free improvisers are looking for it? A majority of the melody on the record is sort of cold and unemotional, but done in a very live, soupy, human way. So it's a tension of those two opposites, which gets back to the joke of the pre- modeni romantic and nt day man done up with a Gary Numan outlook. So the emotion you get is the kind of emotion you receive from a person in a photograph. It has a melancholy and distant nostalgia because it's visible but unreachable. The lack of intention in the music is actually tied to the frozen personality of the music. Am I OK in assuming that you equate S&S's mission with -the past 20 years or so of punk rock- and "what the Ramones were about in the 70s' for the reasons we already discussed, i.e. doing violence to pop form, etc.? I just meant that it was for the people. You went into detail about the psychology and reaction-against- DonCab reasons for wanting to play with Kevin. I'm curious ... when you started jamming with Kevin, did you already have any of the musical of Storm and Stress in your head or did those just sort of flow unto you "in progress", while jamming? I think Kevin really influenced the way I saw the music. Crashing, quiet to loud. How did you actually go about turning the Storm and Stress set into composed 'songs" and how did that modify (if at all) the original style of the band and the way that you create music?. Sort of written like a picture would be drawn with a blindfold oil. It's still thought, but blurred. Less conscious analysis and manipulation, un- DonCab. You know, like back when everything was natural, simple and life was just less complicated and we were all free. This might sound ridiculous, but to me, the interplay between you and Kevin slightly recalls the wild spiritual tumult of Coltrane and Rashied Ali on Interstellar Space and in my head I can hear Storm and Stress working really well as a duo. What made you want to bring another musical voice into that equation? Well, there was always a bass there from day one, so there was never a question. If there wasn't a bass, it might be easier to make that comparison (though I still wouldn't). But I think satisfying that expectation gives us a much more familiar rock feel, which I sort of want to give the impression of. The bass gives us context. If you scat sang, someone might say, oh, they're scat singing. But if you were the President of the United States and scat sang during detente discussions between the Israelis and Palestinians, people would have a lot more to deal with, in terms of your scat singing. Eric, you know, really gives us that extra edge. Now that I've accidentally brought up the dreaded "jazz" subject, could you talk a bit more about Storm and Stress' odd relationship with "jazz"/"improv" and who you think your audience is? That's been interesting. There is no jazz "scene", and unfortunately those people and shows are more defined by a lack of regular infrastructure than one. Or maybe that's a good thing in some respects. Things regaling in their freedom might not want regularity. But I bet if you asked a lot of people if there should be more Knitting Factories, they'd say yes. I consider S&S pretty lucky to be able to fit into the branches of rock. One nice thing about S&S is that the audience is made up of such a weird group of people of all styles. One surpising genre in our audience is "hardcore." The word seems to have been revised. The record labels that rose right around the time the phrase -Indie Rock' gained currency,,.vhich I'd date fTom'88 to'91, have solidified and institutionalized with the currently dominant notion being that music today is either post-rock/electronica or americana (that which is country, blues, folk etc.). But that neat split has left a lot of youngsters disinterested and a whole new realm is opening up to fill a demand for fresh guitar rock in the cracks and crevices below. It's not surprising that it's rising from channels that we can only vaguely recognize as hardcore and DIY, which were the same words to describe the one-two-three-four hardcore thrash beat from its older incarnation. The rise and fall of alternative music is only a remote influence on the way 18-years olds think today. Tuba Frenzy (PO Box 576, Chapel Hill, NC 27514, USA)
(Translation by xxx/ Tradotto da xxx)

Ian Williams è il chitarrista che sta dietro alla band degli Storm & Stress, un universo parallelo dei Don Caballero che oggi si presenta c ome una delle più avventurose realtà del futuro della music a rock.

Puoi darmi una rapida visione d'insieme della tua vita da chitarrista? da gli inizi agli S&S. Compresi le influenze, i modelli, i maestri, ecc.
Io non ho studiato con nessuno. "doing it yourself" è qualcosa che ho preso dal punk rock, quantunque io creda che è il mito del fare da sè sia attraente ma fallito. Tutti facciamo da soli, lo stiamo facendo, non è vero? Riguardo la chitarra, qualcuno mi ha detto u na volta che loro suonavano più il loro amplificatore che la chita rra vera e propria. Credo che quando ho cominciato, io suonavo più le distorsioni che la chitarra stessa. I risultati del mio strimpellare. Ora faccio risuonare le corde, il che è molto più vicino a lla fonte del creare suoni.

Puoi fare un commento sui Don Caballero rispetto agli S&S? Qual è stato l'impulso che ti ha indotto ad avviare un progetto parallelo? Cosa puoi fare con gli S&S che non avresti potuto fare con i Don Caballero? Gl i S&S rappresentano ora il tuo principale ed unico progetto?
L'idea della band sta diventando qualcosa di più di un'idea di rip iego, intercambiabile e monouso. È stata una grande operazione qua ndo Ron Wood si è unito ai Rolling Stones, ma non credo che in alcun caso farebbe notizia se i Pearl Jam rec lutassero un nuovo chitarrista. Oggi le band sono sono più simili ad un biglietto da visita. La gente le considera alla stregua di hobbies, si identifica nella comunità locale per mezzo di esse, ecc. Vogli o dire, nessuno lavora per una compagnia per troppo tempo. Tu sei da qual che parte per pochi anni, e poi te ne vai. I commentatori americani ridic olizzano i giapponesi per essere antiquati a causa della loro fedelt&agra ve; verso la compagnia. i ventunenni che lavorano nei coffee shops non vo gliono ammetterlo, ma il loro modo di "essere in una band" sta seguendo la stessa strada.

Come hai scelto i partners per gli S&S? Puoi anche commentare brevemente le loro abilità/personalità?
Credo che ci sia molta ingenuità ed insolenza entro il proprio mix di personalità. Il che è probabilmente la nostra colpa peg giore. Io continuo ad essere meravigliato di quello che significa un disc o "maturo".

Non sono abbastanza un tecnico per farti domande riguardo la tua tecnica chitarristica ma apprezzerei se tu volessi aggiungere qualche particolare su ciò che rende la tua chitarra così diversa da ogni altr a chitarra rock che io abbia ascoltato in vita mia.
Sono sempre stato uno che batte il tempo, sui tavoli, sui banchi di scuol a, sulle mie gambe e sul torace. Alla fine sono diventato bravo nel capir e come trasporre tutto ciò alla chitarra. Musicalmente, c'era quel la struttura di looping lineari suonata con i Don Caballero. Questo quand o ho cominciato a scrivere col la band. Non mi occupavo di ciò in quel periodo, ma poi mi sono reso conto dei compositori minimalisti degli anni Sessanta come Reich, Riley ed altri. Ho elaborato questa roba, che è stata sviluppata maggiormente. Penso che recentemente anche l'es senza africana sia filtrata tra le mie influenze. Raggiungere atteggiamen ti più neutrali in termini di armonia e melodia è più ; attraente che scoprire scomposizioni e tutto. Non c'è niente da fare con la dodecafonia, ma io provo un'attrazione per questo tentativo d i rendere vano il comporre e di raggiungere sensazioni distaccate. Cos&ig rave, naturalmente, c'è uno scopo nel partecipare alla composizion e, sebbene ciò possa creare l'impressione di attingere ad una musi ca che sia già fatta. È una negoziazione tra l'essere una p ersona umana che agisca e faccia qualunque cosa, ed essere consapevoli de ll'esistenza di una realtà esterna indipendente dall'essere umano.

Jim O'Rourke ha avuto qualche tipo di influenza sull'album? Perch&egr ave; hai scelto proprio lui?
Con la sua prospettiva musicale, io penso che gli S&S siano una band abba stanza facile da capire per lui. Non c'è pericolo che l'ingegnere del suono debba dire, "questo è esoterico e non lo capisco, quindi è meglio che sparisca nel corso della registrazione del nastro." I suoi interventi erano per lo più del tipo, "mi piace questa vers ione," e fidandoci della sua opinione in momenti in cui si è cos&i grave; coinvolti dalla musica, la prospettiva presenta difficoltà. Ricordo che il brano con Jim Black, l'abbiamo scritto in studio. O'Rourk e disse che pensava che la mia parte fosse troppo ripetitiva, e perch&egr ave; non variarla di più?. Questa è stata probabilmente la modifica più stretta che il produttore ha apportato al suono. Face ndo un paragone con l'album precedente, Albini ha un approccio positivist a. La pulsazione elettro-magnetica che metti sul nastro equivale alla can zone. Siccome Jim sembra prenderla come viene, ogni brano ha all'interno un segreto misterioso che aspetta di essere tirato fuori attraverso un mi x particolare. Io non vedo ragioni e torti in entrambi i tipi di approcci o. Mi sento fortunato per aver avuto la possibilit&aqgrave; di lavorare c on entrambi.

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