Музыка и песни Faint, The / Faint, The на CD

Things that don't make sense at first often make sense later. In the creation of art, when the process is left up to the subconscious mind, when there is no preconceived concept, patterns still always emerge. Themes and recurring images, blurred in the moment later become clear. This is the case with The Faint's sixth album Doom Abuse, an unexpected but also inevitable addition to their compellingly unusual catalogue of music. To understand the album and its raw, visceral aesthetic you have to understand its birth story. You have to understand that after touring for a year on their 2008 self-release album Fasciinatiion, an album that took several years to write and produce, The Faint ceased to exist. The musicians were burned out, uninspired and could no longer find the most important element of any musical creation: fun. They went their separate ways, pursued other sorts of music in other projects, sometimes together and sometimes separately, and learned new ways of channeling sound. They remembered what drove their songwriting in the first place. Then in the Spring of 2013, The Faint existed again. Anxious to make new music the band recorded a 4-song white label 12" they referred to as ,Preversions". That music, primal and punk rock in its approach, became the unplanned blueprint for Doom Abuse. The band booked time with longtime collaborator Mike Mogis to mix the album before even really having songs written. There was no specific concept, just a sense of wanting to capture moments of real passion and invigorated glee. Whatever came out while writing in the band's Omaha studio and rehearsal space would become their next album. Since much of Fasciinatiion was made sitting behind computers, the musicians wanted to embrace a live sensibility and collective rawness. A lot of the record was created live in the room, with ??irst takes and ??irst ideas taking precendent. "We didn't second guess things," Clark says. "We just went with it. It feels more real. We wanted to see what we happened to play and just capture it. And leave the mistakes in." "We focused a lot less one the finished product of this record than we did on the spirit of it," Dapose adds. "The spirit was low-fi mixed with hi-fi, feedback and noise mixed with songwriting. There are some real consistencies in the songs, but it was really about a feel in general. Everything's a lot faster on this record, it's more rocking Record Label: SQE Style: Independent

Remastered 2CD/DVD package with 8 panel digipak and 48 page book / CD version limited to 5,000 copies Extensive booklet with photos from the band's archive and new liner notes by Marc Hawthorne Six bonus tracks from the era, including live show favorite "Take Me To The Hospital" and a cover of early Bright Eyes track "Falling out of Love at this Volume". DVD with archival footage from the band, live projection videos from the era's tour dates, the "Agenda Suicide" video directed by MK12, and more. Do you remember a time before the words "dance" and "rock" were linked by a hyphen and the synthesized sounds of the '80s were a regular part of the modern musical landscape? The members of The Faint do, because they were there when it started to happen. In fact, you could even say they're one of the main reasons it happened at all. Saddle Creek is set to reissue one of the crown jewels of the movement, an album that over time has proven to be as influential as it is exhilarating: The Faint's third album, 2001's Danse Macabre. It all seems like a natural progression now, but the release of Danse Macabre's predecessor, 1999's Blank-Wave Arcade, was a sea change for the Omaha group, showcasing a fondness for dance beats and dark keyboards while completely moving away from the indie-rock songs found on its debut, 1998's Media. Seeking a unique sound was becoming a regular occurrence in Omaha at the time, which led to a slew of phenomenal local releases, including Bright Eyes' I'm Wide Awake, It's Morning and Cursive's The Ugly Organ. The nine-song Danse sizzled with perfectly aggressive synth lines, Todd Fink's menacingly effected vocals, infectious beats, bits of industrial and goth, and, at the heart of it all, strong songwriting featuring the kind of minor-key melodies that make singing along inevitable. To top it off, upstart engineer and producer Mike Mogis perfectly captured The Faint's sound and attitude despite never previously working on an electronic record Record Label: Saddle Creek Style: Rock

2LP/2CD/DVD package with 180 gram vinyl pressed at RTI, custom tip-on gatefold jacket, and 12 page book. LP version limited to 3,000 copies Extensive booklet with photos from the band's archive and new liner notes by Marc Hawthorne Six bonus tracks from the era, including live show favorite "Take Me To The Hospital" and a cover of early Bright Eyes track "Falling out of Love at this Volume". DVD with archival footage from the band, live projection videos from the era's tour dates, the "Agenda Suicide" video directed by MK12, and more. Do you remember a time before the words "dance" and "rock" were linked by a hyphen and the synthesized sounds of the '80s were a regular part of the modern musical landscape? The members of The Faint do, because they were there when it started to happen. In fact, you could even say they're one of the main reasons it happened at all. Saddle Creek is set to reissue one of the crown jewels of the movement, an album that over time has proven to be as influential as it is exhilarating: The Faint's third album, 2001's Danse Macabre. It all seems like a natural progression now, but the release of Danse Macabre's predecessor, 1999's Blank-Wave Arcade, was a sea change for the Omaha group, showcasing a fondness for dance beats and dark keyboards while completely moving away from the indie-rock songs found on its debut, 1998's Media. Seeking a unique sound was becoming a regular occurrence in Omaha at the time, which led to a slew of phenomenal local releases, including Bright Eyes' I'm Wide Awake, It's Morning and Cursive's The Ugly Organ. The nine-song Danse sizzled with perfectly aggressive synth lines, Todd Fink's menacingly effected vocals, infectious beats, bits of industrial and goth, and, at the heart of it all, strong songwriting featuring the kind of minor-key melodies that make singing along inevitable. To top it off, upstart engineer and producer Mike Mogis perfectly captured The Faint's sound and attitude despite never previously working on an electronic record Record Label: Saddle Creek Style: Rock