I have lived with copies of our old albums for a short time now and have formed an impression of them, and would care to report this.
The difficulty being that, not having a working turntable, I am not able to describe what they sound like. But I can rely on reports.
If it were a boiled lolly, Since The Accident would be a humbug. City Slab Horror is supposed to be bone coloured, but is obviously butterscotch.
I would imagine that when the vinyl was black on Since The Accident it would sound infinitesimally different to when it was white. If one was very particular, this would be disturbing about once every second. For most people they would not be particularly worried. I watch it spin and would like it to spin much faster, so as to make colours, but this is not possible.
When you buy a copy, you have to put the record into the sleeve. This last step probably prevents it from using batteries until you’re ready to switch it on. Or it’s to connect you with the physicality of the object. Or something.
The records are heavy. I stood and held one for quite some time, feeling the weight. It weights much more than a 1970′s RCA space age pressing which were designed to be incredibly light and flexible, because that was the best idea. They weight a little less than the Eastern European press-them-like-tractors because that was the best idea. Maybe these are a red sports car.
We played it at a radio station here in Sydney and I was pleased that the music was in fact ours. When we made our first album back in 1979, EMI put an album by the Bushwackers Band there by accident. We thought a while and then told them. It was a near thing.
I have been told that the quality is very good. It should be, given that it’s actually from the master. There is a sticker on the front that claims I have remastered these albums. That’s not true. I did nothing except reproduce the recordings properly. That’s why the sound is better.
In ‘The Wire’ magazine they have reviewed these records as ‘a blueprint for a possible musical future’. Given that we are in that future I was curious to see if the reviewer was game to make a comparison between the blueprint and the reality. He did not. He did mention Aphex Twin which reminded me I was reading The Wire. But I worry now about how you can talk about being prescient after the fact. It’s like a time travel paradox.
It’s a good review actually because the writer describes how uncomfortable we were between the polarities of pop and opposition. Like whatever we did was never going to satisfy somebody who wants totality. If you wanted a theme that described Severed Heads that’s it right there and so if the reviewer is hearing that, these are good records.
Now I really should buy a new stylus.