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Old 2010.02.12, 10:47 AM   #62
kuro_neko
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ooh macbeth? what makes you think that?

that is kind of what I meant. I think writing a song and creating a demo versus capturing that feel in a final studio recording is a challenging and difficult process. its akin to a writer successfully capturing an emotion through their pen or an artist inspiring some sort of emotion through their medium, its difficult to take what you've felt and transition that statically into a work, and then impart your intended message/feeling/emotion to the target audience. Tori Amos, for example, is really really picky about her demos. her husband, who also works as a sound engineer, wanted her to release some, but she said it almost ended in their divorce (LOL), but then later on her box set A Piano she released 3 demos of popular songs and wrote extensively about them, as an insight into studio magic. a lot her songs "come" to her, as in she gets inspiration, sits down, improvs, and just records. then later the trick is taking the demo into the studio, adding other instruments, and creating a full polished studio track. I think in Jihen's case less could be more. The problem with early Jihen (as I remember people criticizing Gunjou Biyori for this) is that it is almost overproduced, its like Ringo wanted to make sure there was a brilliant part for each member/instrument on every song, and it was almost too much. Songs like Onaji Yoru and Bonsai Hada and most of KZK are so refreshing because they selectively pair Ringo's voice with various non-traditional arrangements. Jihen tends to murder their studio compositions sometimes (Super Star, Toumei Ningen, almost all of Variety, when you compare it to Spa and Treatment or Society of the Citizens). That is just kind of what I meant.
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