About ONE OK ROCK's 3XXV5 album...
OK, so I don’t want to make this boring, since you guys know that I agree with many of others OORers (don’t think is bad, but I’m not loving it as much as I would like to). So, I asked my brother (Sebi) to clear some things to me (btw, my brother is a musical producer, and currently getting his bachelor’s degree in musical composition).
Sebi said that the problem weren’t the songs by themselves, it was more of a mixing problem. He said, and I quote, “the songs are fine, they’re good songs… But Feldman disappointed me this time. I can’t belive he fell into commercial mixng”. So, I asked him what he meant by that, and he explained the following:
- John Feldman is a great producer, but he choose a “style of sound” that doesn’t match OOR. You see, when someone mixes a song there are certain arraingements one can do to the sound that defines the style. For example: american style is characterized by emphazicing the bass and the trebble of the spectrum, resulting in a very cold, biting kind of sound . British style, on the other hand, is more balanced, and only oscilates the trebble to add what is called “glow” to the song, resulting in a warmer style of sound. According to Sebi, Feldman “used an american style and he should’ve know better”. Is due of this style, that most songs sound “squeaky and irritating, and full of noise, except for the slow ones. They sound clean, and that’s because the american style goes better with sad music. The rest of the songs wuould’ve probably sound better with a more british style of mixing.”
- Autotune. This programm was made to tune up (as the name indicates) those voices who can’t sing in key. The effects help to hide the flaws. Of course, we all know this isn’t necessary with Taka. The problem was, Feldman didn’t.
- Tomoya’s drumms. Two words: cymbals and flat. That’s right, his bass drumm sounds flat, like someone sucked the life out of it. Again, mixing error. In Sebi’s words: how bad do you have to be to completely screw a musician’s talent?. Apparently you can do that by forcing him to change his drumming style. if you listen carefully, you’ll notice there are much more cymbals, and much less patch drumming. Which is what Tomoya is known for: mind blowing patch drumming. “A total waste”.
- Paper Planes. I cannot emphasize how much I dislike this song. And I agreed with my brother when he said that “this song doesn’t match the rest of the album. Plus, you can barely distinguish between the two singers.” A shame, really.
So, that’s pretty much it. I loved the hidden track, tho. I think, is probably one of the best songs in this album, unfortunately. (along with MLF, Heartache, Stuck in the middle, and Cry out. But that’s just my opinion.) Ryota’s bass is pretty well done. You can actually hear him now, which is something I always complained about. But, I think his talent was wasted too (He’s very good, why not let him play more complex melodies, in stead of just one lame, almost, flat line?The bass adds the groove, and no song is good without it.)
Well, better luck next time, guys!
You’re free to share your opinion with me. I know this sounds pretty much like what Elsie’s been saying, so I tryed to make it a little bit technical this time. So, I hope it is easy to understand.
(Sorry for my english. My dyslexia has gotten a bit worse lately. So, please feel free to correct me.)