Leftfield versus Orbital.........FIGHT!!!!!

Orbital have the "we're crazy soundscaping crazymen who have stood the test of time" thing going on.

Leftfields new album (whenever) it comes better be better than Orbitals last album "The Altogether" which was disappointing to me.

Anyway fight.

i'd prefer leftfield v underworld FITE

UNDERWORLD VERSUS LEFTFIELD VERSUS ORBITAL..................

FIGHT

Underworld is a harder group to get a handle on. Their first and third albums are fantastic, but the second is the textbook definition of "self-indulgent garbage". Also, everyone goes gaga over a deeply inferior mix of "Born Slippy". Still _Beacoup Fish_ was much better than _The Altogether_, approaching _In Sides_ or _Snivilization_ quality (if it doesn't reach it; I'm still torn). I have to go with Orbital because I think the variance of the quality of their work is less, but Underworld is definitely on the rise. (Actually, if they're officially kaput, Underworld would be my vote for the "timely break-up" thread.)

Orbital by a KO, also sending one-trick ponies U/world out the ring faster than they stumbled into it.
(apologies for boxing metaphor - too much Tyson on TV today)

I can't decide either, I think perhaps I need to think further. Also I think I have a tendency to overrate Leftfield. But I think if we are comparing albums "Insides" is the best album any of the three have produced.

If we're comparing careers then I'm not too sure, I never listened to Snivilisation enough.

Whereas Orbital are just excellent. Their first two/three albums may sound just the tiniest bit obsolete in terms of sonics, but overall they have the kind of elegant structure and perfect celestial grooves that will make them listenable for years to come. Then there's "Snivilisation," which is still so lovely to listen to, and "In Sides," one of the best electronic albums of all time in my humble opinion (especially when paired with the original 2nd disc, which has the 28-minute version of "The Box") .... they've got all that going for them, even if "The Middle of Nowhere" and "The Altogether" were lackluster.

Also wasn't Leftism "THE ALBUM THAT BROUGHT DANCE OUT OF THE CLUBS AND INTO THE LIVING ROOMS"?

I was young when it was released but that smacks of bullshit to me. is it?

Not Heard Insides. Didn't like Sniv. or the Green One.

I am alone in this of course, but I really like the Altogether. After MOW the last thing I wanted was an album with 10 minute 'epics' again. The shorter stuff covers a lot of ground, not all well executed, and some badly mixed IMHO, but a good effort. The Dr. Who theme is fantastic - (yeah, yeah I KNOW it sounded better at Glastonbury or wherever). I'll be back on why Leftism beats all, but it's only ten minutes until Chelsea v Spurs and I have to *get ready*.

SHEER INSANITY. This would be much more sensible:

In Sides > Brown = Snivilization = Beaucoup Fish > dubnobass... > Middle Of Nowhere > Green = The Altogether > Second Toughest > Rhythm and Stealth

This ranking should take into account that I like every album listed up through _The Altogether_.

Incidentally, Way Out West seem to have quietly released two great albums and no one's noticed. Why? (Search: The Gift, Domination, UB Devoid, Intensify)

If Mike Ratford is thinking of the moment I think he's talking about, then he is *so* right (in my opinion Middle Of Nowhere is a much better take on "return to the clubs" than < i>The Altogether). Another point appears about two-thirds of the way through "Nothing Left 2", with one of the most heavenly build-ups of any I can think of.

Leftfield's first album is overrated elsewhere but underrated here. I most like the tracks that sort of sound out of character for them - "Inspection (Check One)", "Original", "Open Up", the quasi-jungle track (something 3000).

Orbital's jungle track ("Are We Here?") is better than Leftfield's or Underworld's ("Pearl's Girl") but that's because "Are We Here?" is one of the best things ever. Ever. As a whole Snivilisation is really underrated in that no-one talks about it compared to the albums on either side. But any album that has "Forever", "Sad But True", "Crash & Carry", "Are We Here?" and "Attached" is a work of godlike genius in my books. Another interesting thing about Orbital: one of the few artists whose tracks are almost always better the longer they are.

Second Toughest... isn't as bad as Dan paints it - yeah, it's much less interesting than the first or third albums, but the first two tracks at least are excellent, especially the second one (I like the way Underworld occasionally veer from motorik-as-hell techno to an almost blueslike shuffle quite easily).

boring old farts. leftfield one half decent record with john lidon and guiness ad tune an the rest u never listen 2. b honist. orbital shit since insides. 40 yr old farts lisen to carington cogan on radio 2 not in tune with anything. boring boring.

the prodigy piss all over all that lot. an basement jax piss over prodigy unless latter get arse out of bed and record new shit.

chemical bros new record also shit. tel us somefin new.

2nd toughest in the infants is an a-mazing record! and people *do* talk about how good 'snivilisation' is. underworld are still ace, orbital have gone MOR. can't wait for underworld to return with or without emmerson.

Snivilisation: Tied in with their great 94/95 festival performances this album confirmed that the vast majotiry involved in the exodus were never going back to the grey land of grunge and it's ilk.

Insides: Not at the cutting edge anymore but still probably one of the top 5 most beautiful home listening experiences of the last decade. "Out There Somewhere" is beyond compare and the intro to "The Girl With The Sun In Her Head" is incredibly poignant in an uplifting way.

Always hated Underworld's live shows - all those arms punching the air for that was essentially turgid 4 to the floor techno. For many they were just the token dance act. Hated the whole Loaded/Euro 96/Born Slippy allegiance. Enjoyed DubNoBass as it was a good sister piece to the Brown album.

Leftism is very overrated. Very rockist but quite dated now.

Orbital are more fun, and more prolific, and now they're off into film score land, maybe they'll find new sounds to play with -- i'm glad they have the assurance and intuition to go with what they like. i'll still follow

Leftfield. Leftism is getting a lot of bashing here. which surprises me.

- "Born Slippy (original)": Absolutely lovely. Nine minutes of breakbeats piling on top of each other with wonderful synth arpeggios rising through each tone of a harmonic minor scale, speeding up as they approached the high tonic, mixed in with wonderful screamy synths and an overall adrenaline haze.
- "Born Slippy (NUXX)": Stream-of-consciousness ranting over a fairly pedestrian beat that segues into a potentially nice trance workout that ends before it really gets a chance to go anywhere.
"Born Slippy (Telematic)" - A hybridization of "original" and "NUXX"; a vocal-free trance workout that explores some basic variations on a simple pattern.

I quite like both. After "Insides" I'd listen to either Leftfield album, Beaucoup Fish or Everything Everything. I should probably buy the other Underworld albums, I have heard them but don't own them.

I think every Underworld album is strong, though they do seem to front-load their albums a bit, I think. The weaker stuff on Underworld albums always seems to be near the end.

Counterexample: "Kittens" is near the end of _Beaucoup Fish_.

I have to say fuck Leftfield. They were only ever a convenient re-working of the dance scene with more familiar elements for dinner party and TV sports show theme consumption. They've never done anything that wasn't utterly generic to the time it was made, and as such never produced anything as transcendent as Orbital.

Underworld are just boring techno with ranting over the top. They're just the follow-on iteration to Finitribe. Gold Chains are the new Underworld.

a) even at their most hardcore (and I'd say that by their second album they were already very removed from where "'ardkore" was concurrently), Orbital were always primarily about the melody-harmony-texture thing rather than the rhythms. Yeah their rhythms were frequently great and/or slamming, but they rarely sound like the focus of the track. It's one thing to use well- programmed beats and breaks, but its quite another to make them the point of the exercise.

b) "Are We Here" is clearly intended as a token jungle track. Its sound, approach and desired effect are all at marked odds to the rest of Snivilisation and everything they had done prior. In contrast The Prodigy's junglistic tendencies sound unconscious, a purely coincidental accident of proximity.

The fact that the "Are We Here?" is brilliant suggests two things to me - firstly, that your "hardcore gone sensitive" theory is correct, and secondly that Orbital could have easily made rhythms their focus all along and had a very different but equally interesting career.

But like Gareth I also have a special fondness for the behometh that is "Nothing Left" - in some ways a pinnacle still for maximalist (danceable) techno.

Juan Atkins "The Fusion" is pretty killer too.

http://www.rockness.co.uk/

RockNess is extremely proud to announce that LEFTFIELD will return with a live performance at this summer's festival - a first for over 10 years and a stunning exclusive for the fast-rising Most Beautiful Festival in the World, staged on the shores of iconic Loch Ness in the Scottish Highlands.

Acknowledged as one of the most influential exponents of electronica of all time - LEFTFIELD were one of the first truly great crossover acts, trailblazing into previously unexplored territory and carving a path for a raft of great artists including Underworld, The Chemical Brothers and The Prodigy. The sheer brilliance of the band's debut album Leftism - a startling piece of work that even now remains peerless - firmly sealed a place in dance music history. Fusing epic soundscapes with intoxicating rhythms and guest vocalists including John Lydon, LEFTFIELD created a mind melting adventure deserving of the sweeping acclaim and lofty nominations bestowed upon LEFTFIELD.

An official statement from LEFTFIELD is expected soon.

http://www.mmalinker.com/forum/images/smilies/icon_rolleyes.gif

what i meant was http://www.mmalinker.com/forum/images/smilies/icon_rolleyes.gif

i'm confused by your rolleyes.gif. if i posted on every thread i thought was boring, i'd have a billion posts by now. anyway, Leftfield rule. i hope they do a full tour.

Quite enjoying the new Leftfield. Hardly groundbreaking, of course but very well put together. Their/his attention to sonic detail is always a pleasure.

I listened to it once and thought a lot of it sounded like an uncanny recreation of a DJ Hell album c. 2004. Of course a lot of the tracks may literally have been hanging around for that long. The Sleaford Mods one was dire.

I was extremely disappointed in the Leftfield album. They'd be better served collecting the remixes they did for other artists from 92-94.

on the flip side I've been enjoying the new sorta-Orbital album from Paul (called 8:58), it rests a lot on his laurels but it's entertaining, particularly "Nearly There" which is full on Orbital madness. some other good tracks too.

i like leftfield ok, never really cared for orbital. suppose i want to start with orbital, where would I start?

start with the green album, listen sequentially

if you want to just hit the green highlights: "Chime", "Satan", "Belfast", "Choice"

i like "halcyon" ... ultimately though orbital remind me of something like plaid ... pretty, but no strong rhythmic backbone. maybe I need to listen more

Of the first four In Sides is definitely the one.

pretty, but no strong rhythmic backbone

uh waht

let's set aside Snivilization and In Sides for a second; have you never heard "Satan"?????

https://www.youtube.com/watch?v=nbs6GvLeEXQ

Love the beat on 'I Wish I Had Duck Feet'

Snivilisation/InSides are basically front to back incredible imo; earlier work very much excellent but not quite on that level

basically Orbital 2 -> The Middle of Nowhere is one of the best run of albums in anyone's discography

xp yeah those two work best as albums I think, the first two are both excellent but each is less of a coherent whole than the subsequent two

xp it's up there with tom waits, prince and stevie as far as i'm concerned, yeah

xxp - definitely. don't listen to any comps or anything, just those 4 albums front-to-back. I think Wonky is about that good as well. Green is absolutely not a good place to start, though the singles are must-haves.

I'm trying to figure out what Orbital songs you could possibly have encountered to form the impression that they have no strong rhythmic backbone

Cheapo box of the first 5 Orbital albums

their albums probably deserve the full reissue treatment like Underworld, lots of good alternate versions, remixes, live tracks etc. to be brought together

I just saw reissues for Green and Brown. Not sure if they're official or not. The sleeves have been redone and are kind of gross, so I assume they are official.

This thread reminds me that after going gaga over it, I hadn't actually played anything off Wonky in years besides the title track and "New France". Rectifying that right now.

I think it's fair to say Orbital's music generally isn't particularly rhythmically showy or 'sick'. Mostly very straightforward, not even especially syncopated. Although that could be one definition of "solid". The breakbeat stuff on Snivilisation seemed sweet and naive compared to what was happening in Jungle a year or two previously.

As someone currently on an Orbital listening binge, I can't find a single song of theirs that doesn't feature rhythmic and melodic syncopation from any point in their career.

Okay "Quality Seconds" doesn't have rhythmic syncopation in it but the entire melodic theme is a simple syncopated figure repeated for a minute; that is the first one I've found that isn't using syncopation in both the rhythm section and the melodic lines.

This thread reminds me that after going gaga over it, I hadn't actually played anything off Wonky in years besides the title track and "New France". Rectifying that right now.

i revisited wonky recently! it rules so much

Not intended as a damning criticism, it's just what they do. Rhythmically I think it is mostly quite simple, and not what i'd call highly syncopated. There also isn't much variation in fills and turnarounds for instance. Not to say it isn't well done or appropriate.

There's some insanity being talked about here re Orbital but I see DJP has already done my work in response and more comprehensively.

I'm not saying there's no beats just that the beats that are there seem like an afterthought compared to the pretty melodies

I actually half-addressed this over a decade ago upthread, but the idea that Orbital lacks a strong rhythmic backbone seems rooted in an assumption that melodic detail and rhythmic detail are in a zero sum game with one another. I think it's true that when one thinks of an archetypal Orbital track, typically it's the melodies that come to mind. In truth though the focus of their work isn't really on melody per se so much as the idea of interplay at all levels - melodic / textural / rhythmic.

So from one perspective what you don't typically get from an Orbital track is the minimalist intensity of really stripped down house and techno (or drum and bass, where the friction between just one or two elements (say, a beat and a riff) is writ large and dominates your sensory awareness. Orbital zoom back out to show you layer upon layer, and yeah the rhythm typically comprises only one or two of several, but to castigate them from that seems rather to miss the point - it strikes me as the equivalent of saying that a film with good acting is problematic because the good acting necessarily distracts from the cinematography somewhat.

My sense has always been that Orbital were mostly aware of this. Upthread ages ago I talked about "Are We Here" and how it sought to replicate the kind of melodic/textural interplay they're famous for almost solely at the rhythmic level by swiping ideas from jungle. What's interesting about this is the specificity of how they "get" jungle for this purpose: possibly a rip-off of A Guy Called Gerald, though impressively on-point if so - Gerald only struck on these ideas in 1993 with "Nazinji-Zaka" and "The Glok Track" and "Take Me", and along come Orbital with a slowed-down jazzsteppin-in-space take on same within 12 months. And kudos to them for realising how perfectly that approach fit their aesthetic, treating the breakbeat samples as the warp and weft just like they'd ordinarily treat arpeggios. And then that darkside moment which is like every Foul Play remix of 1993/1994 playing simultaneously.

https://www.youtube.com/watch?v=BQT08NFsf4w

Having done this, Orbital evidently never felt the need to try it again, but In Sides is quite remarkable for the casual intricacy of the rhythms and how they intersect and interact so fluidly with the melodic and textural motifs.

Middle of Nowhere is similar but perhaps more interesting to me for how Orbital superficially appear to retreat to more straightforward electro-tilted mid-pace techno rhythms, but actually across all the music in their discography the melodies and rhythms and textures never felt as completely and indivisibly intertwined as they do here, like on "Spare Parts Express" how the rhythm almost imperceptibly transforms from burbly electro to a kind of tom-heavy 'ardkore breakbeat when the tune goes all gothic organ darkside, then flips back for the coda. Or how on "Know Where To Run" they imagine rave emerging directly from Cabaret Voltaire and bypassing house altogether: scrungy industrial snares --> the breakdown with the single drum beat --> the rave-synth section with this almost Jamaican syncopated kick driving home the chord changes. Maybe best of all the sheer hyperactivity of "Nothing Left", like four Mad Mike Banks tracks playing simultaneously.

No I think Vahid is right in a way, with the exception of the Brown album (which is totally the one you should start with), and a couple of obvious exceptions (Are We Here?, I Wish I Had Duck Feet), you don't often get a sense that the beat is the foundation stone of everything. Unlike a lot of techno you don't get a sense that they're starting with the beat and composing upward from there (even the drippier end of Kompakt is constructed like this), Orbital tracks are often anchored around a melodic hook and the job of the beats is to interweave with that. Even Chime is propelled by the synth chords, and it's also a case for the mid-period stuff, even things like The Girl With The Sun In Her Head that literally build from the beat up. The result of this is that they can often be rhythmically quite limber without the beats ever forming the main focus of the music.

Plaid works as a comparison in that regard, except they often used that resultant rhythmic freedom to do more with meter than most of their contemporaries (virtually everyone except Autechre).

The take-home from this thread is that no one cares about that boring new Leftfield album.

(xpost)

does this not sound just like early plaid?

http://youtu.be/70tO7EyHLNA

good track, would be much improved by a booming think breaj

think break, not breaj

It does but in the way that a lot of c. 1992/1993 UK house did, I would have thought? I mean it's a lot like "Smokebelch II" in that regard, yeah?

Half the good of 'Monday' is the rawness of the 909 being used in that 'breakier' way while slower than in most rave and techno stuff of the time.

This isn't even a competition as far as I'm concerned: it's Orbital. Their second album alone urinates all over anything Leftfield have ever done from a huge height, and it's aged supremely well... and that's before we get to Snivilisation and In Sides.

The one I've been playing a ton lately is Middle of Nowhere, and upon relistening to it you can really see why things went south for them after that, they threw everything they had at it. It's such a dense and intricately constructed album even if it's not as much as 'leap' as their last three. They do tons of stuff well but they really had the best hooks out of any of 'em, and when you listen to a track like "Spare Parts Express" it's almost as if they're showing off.

I guess I'm going to have to pick up that orbital box set and educate myself

Leftism is one of the best albums ever

The Blue Album is a nice return to form for them, and while some were not a fan of them embracing their older sound with a touch of nostalgia I loved it. Also the single "The Gun is Good" is probably one of the best things they've ever done, with the hilarious use of some Zardoz samples that makes for a perfectly oddball thing to drop in the middle of a set.

That said, In Sides and Snivilization are bonafide masterpieces. With Brown and Middle of Nowhere being really excellent bookends. Few bands of any genre can offer that, and most definitely Leftfield and Underworld can't.

I'd put Underworld above Leftfield too!

This is a dumb argument but I think Brown is a masterpiece or whatever, it's a perfect dance album. The next two moved further away from dance into (what became) more traditional home listening electronica. They are stupendous of course. But Brown is special for deploying their unique talents in such a straight-ahead raved-up way, rather than the cinematic approach of the next two.

xp

I understand what you mean, but I think that Orbital 2 is equally perfectly suited to "traditional home listening"

yes of course

That said, In Sides and Snivilization are bonafide masterpieces. With Brown and Middle of Nowhere being really excellent bookends. Few bands of any genre can offer that, and most definitely Leftfield and Underworld can't.

Disagree strongly on Underworld - I think every album they've done is brilliant, outside of perhaps A Hundred Days Off (and their early discs if you want to get technical). More than that they've got some of the best non-album material I've heard from any group - not just their most famous singles, but also deep gems like "Thing in a Book", "Oich Oich", "Parc", and a bunch of the Riverrun stuff. Their run from '93 to '99 is basically untouchable, IMO. I'd put Orbital over pretty much everything else, though.

Some sort of Leftism announcement tomorrow.

Tour/expanded reissue?

http://www.leftfieldmusic.com/

https://leftfieldsplash.com
Leftism remaster 2CD and tour.

The 2 times I saw Leftfield in the space of a few months (Glasgow Barrowlands then T In The Park 96) remain the 2 best gigs I've ever been to.

CD2 is just 11 "brand new" remixes which is slightly disappointing.

i got a 2cd version of leftism not long after the album came out with an extra cd of remixes then.
but i think they were reversions done by the band as opposed to other folks.
ahh .. this :

https://www.discogs.com/Leftfield-Leftism/release/72724

leftfield are headlining the one festival i go to this year, and i am looking forward to it.
mk1 saw them last year at boomtown, and said they were one of the highlights

I listened to Leftism recently and it's showing its age in a way that albums like In Sides and Middle of Nowhere aren't.

I listened to it recently and thought it was great! Maybe the setting helped - on the river beach in London on a summer night through crappy portable speakers with cheap lager and a small driftwood fire.

I listened to Leftism recently and it's showing its age in a way that albums like In Sides and Middle of Nowhere aren't.

Ha, I feel exactly the opposite way. Could listen to Leftfield anytime - haven't felt the urge to listen to Orbital in years.

Spectacular remaster! (Haven't dared listening to the remix cd though)

The remixes are v disappointing.

i only liked 2 of the remixes at most

The passage of time has been very kind to Leftism.
The Zomby remix is cool.

What a weird thread. They're not even remotely the same thing.

Leftfield v Orbital v Underworld

The only Leftfield thread that came up in search, really. Just thought I’d stir the pot a little bit. Underworld are probably more consistent, Orbital’s peak output reached the highest pinnacle, but Leftfield’s best stuff has aged pretty well.

This is the one I called “‘ardcore” which was admittedly a bit generous but I could work in a mix. Too heavy on the drum rolls. The bassline is really havin’ it tho.

https://www.youtube.com/watch?v=Sc1wxrP-85Q

I.C.P. - Free & Equal (Leftfield Remix)

*it could work in a mix.

I could not.

orbital wins even against the orb!

That's alright, not what I was expecting from the juggalo / dub house disco intersection.

orbital wins even against the orb!

Orb are more irreplaceable to me, they're in this weird unique space where seriousness and humor aren't different

Orbital's best stuff is absolutely timeless but The Orb feel way more influential - so many artists I dig had a phase where they tried to imitate them - plus they've got way more music out and are cranking out quality records even today. By contrast Orbital have only done one good album in over 20 years (Wonky) and even that one leans heavily on nostalgia, whereas The Orb always push forward somehow

If this is a three way fight between orbital, the orb and leftfield, then, in the long run, the orb win out for me, I'm always surprised how much I enjoy 'the adventure beyond the underworld' stuff when it crops up on shuffle plays, truly timeless, a lush sample-delic palette that has some awesome grooves. Orbital and Leftfield were/are special for gigs and festival times but for pure 'home' listening fun, the orb can still conjour that a bit of that magic that isn't just nostalgia, unlike the other two

Orbital almost always feel like they’ve had one idea for the track, managed it in time for lunch, and then finished up. There’s not enough depth/complexity there.

that is.. just so wrong
starting with the assumption you can’t make a deep/complex track in time for lunch.

“out there somewhere” not deep/complex?

funny enough paul did say something about starting on chimes, then heading to a pub for a few, coming back and finishing the track

maybe on the first album though. I've always thought of that as one where you could cut the length by a third without losing any of the tracks

The first album is fine but they’d yet to really start going for it complexity-wise - you can hear them really stretch their wings on “Lush” on the second album and then the USA version of “Impact”, like they’re working out their defining aesthetic while you listen.

there is such a level up in confidence between the green and the brown album

yeah incredible that they were recorded a year apart. that is a hell of a leap

last two posts otm

Apart from "Belfast", I don't like the first album much. Brown through Middle of Nowhere is pure brilliance

Orbital's '94 Glastonbury set is on iPlayer at the moment (along with a huge amount of other Glastonbury sets). Not much to look at but they dance goofily and cool version of 'Sad But True' with extended intro making the Selecter sample sound extra dirty, transitioning smoothly from the slowed down end of 'Forever' right into it, at the expense of '...Duck Feet', but then right into 'Impact' and 'Remind' after that. No 'Lush' though surprisingly.

Leftism sounds less dated today than it did a decade ago.

they're both shite, textbook student house and techno. What you want is the real brain frying hard acid on labworks, dj.ungle fever/structure, and magnetic north, noisy and a low key criticism of the club that Orbital couldn't manage. Let the bad times roll.

The Power of love? You bet.
https://www.youtube.com/watch?v=3EPkj2ROBUI

Did you write this review on discogs too?

Dj.ungle Fever WAS Cologne. Then the the overwhelming miasma of endless pretend genres of masturbatory boredom tightly grasping the throat of the Techno community today intruded their unwanted, fake faces and never let go.

nah, not me. Although I think what killed techno was endless splits, rather than detroit-inflected minimalism, which was initially refreshing amongst hardcore and acid gear, as a kind of heads down no nonsense back 2 basics jackin sound. See the Black Scorpian technotron ep and Ian Pooley Celtic Cross ep, as well as Robert Hood internal empire. All totally uncompromising.

it was good when trance sounded like this, like a coldly cosmic take on EBM. But then Sasha Digweed and people like Leftfield, Underworld had to come in and invent prog trance which was like soppy indie goldsmiths graduates of the 90s crying on the dancefloor to Be as One. And orbital was their chillout music of choice. Yuck. https://www.youtube.com/watch?v=-bCVLHkh5p4

.. anyway, i need to correct myself, paul wrote chimes _before_ going to the pub.

that and other interesting bits here: https://www.soundonsound.com/people/orbital-recording-chime-london-studio
and here: https://www.soundonsound.com/people/classic-tracks-orbital-chime

this particular quote is interesting in the context of green album -> brown album -> snivilisation -> insides progression, it wasn't just growth in terms of confidence level but intent also. this is after the brown album:

"We're a lot more anxious about things now," admits Phil. "We've now got the responsibility of getting a track finished 'cos it's going to be on a record. You become more analytical of your stuff." Paul: "I still have to fight with that idea — the last month has been quite bizarre, with us trying to work out what the next record should sound like. For example, I've been trying to dodge using a constant 909 bass drum 'cos a lot of our records over the last four years have got that. But then I think, 'Hey, if we were at home making music then I wouldn't hesitate to use that if I wanted to.' You know what I mean? And I'm forever trying to draw the line somewhere and work out why, if we weren't making records would we have used it? Because we just felt like it! Now we think twice about it; you start to think 'Hey wait a minute, isn't that just getting pompous?" Phil: "Consequently you're in the studio, set to do your next recording, and you end up spending three weeks just talking about it!"

leftism feels like it's trying so hard to prove something while pretending it doesn't

new leftfield

SAD!