>Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what’s printed on the contract. It’s too far away, and besides, the shit stench is making everybody’s eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there’s only one contestant left. He reaches for the pen, but the Lackey says “Actually, I think you need a little more development. Swim again, please. Backstroke”. And he does of course.
Whenever I talk to a band who are about to sign with a major label...
A bit hyperbolic, but there really is no reason to sign to a major label anymore. You can purchase all the equipment you need with your band and record the album yourself at somebody's house.
Or record with old Stevie for $900 a day.
>Soon after recording was completed, rumors circulated in the press that DGC might not release the album in its original state, as the record label felt that the result was not commercially viable. Although Nirvana publicly denied the statements, the band opted to remix parts of the album. Albini declined to alter the album further, and ultimately the band hired R.E.M. producer Scott Litt to make minor changes to the album's sound and remix the singles "Heart-Shaped Box" and "All Apologies".
lol, he couldn't produce a hit to save his life
Yeah that shit's stupid. But hey, capitalism.
as much as I like shellac & big black albini is kind of a giant faglord
that's why he's our guy.
Because he doesnt want to. It's the bands job to have hit songs not his.
>niggering
Is it true that if you call electrical audio steve picks up
No. I called it a few days ago. It rang 14 some times before the automatic operator disconnected me.
Is it true that if you call nirvana kurt picks up
Is it true if you call The Mars Volta Jeremy Ward picks up?
>he thinks you're paying somebody 900$ a day just to record your shit
a producer is much more than just the guy who recs your shit
My file size is less than yours.
...
Steve's a sound engineer, not a producer really.
If he's just an engineer then why does he have a well-known sound the artists come to him for?
But would you like him to, though? I know I would.
the answer is in your question you autist
> the artists come to him for
Savage
no. he's an analog snob dinosaur, and the only effort he puts in to engineering are for shellac albums
Shellac albums are ironically not his best-recorded/produced albums. He's done a better job with artists like Nina Nastasia than himself.
They come to him for coffee and green tea lattes
this is a good joke
Explain please?
Gotta say, thank god steve was around to make trent reznor feel like shit. I never want that guy to be happy for more than half a day.
For all the hate that Steve gets and deserves, that fucking songs Ohia album makes it all worth it
>tfw hold on magnolia
Trent is great. he doesn't say anything, but when he's talking shit, or calling someone out, it's not baseless.
HelloooOOOooooOOO