bicho-bicho

the new poetics of sound-processing is that over-compressed post-prod trick that makes all the kicks and snares sound like that liquid shit that softly drips into your ears that catch it with such softness that it ends up feeling like being delayed so that your brain and your ears never work up sounds at the same time. there's a lot of bass, a lot of high hisses, no medium range at all. the best example i can think of is jackson's latest, smash.

is that a good thing? because it's really beautiful in terms of immediate aesthetics, and it really seems that sound engineers have reached some kind of crucial height in the commercial efficiency of production skills (i.e. immediate physical pleasure of the ear equalling big money)

problem is it swallows up every type of sound in the same way, making static sounds like a gentle thing, and killing all impression of dynamics or contrast, making it all flat and sparkling like a sagely undisturbed mellow flow of money

it's really difficult not to like it not to get seduced

it's really difficult not to give in and prevent your own music from sounding out-of-date in a two-year time