Wow. I am totally blown away be their album. Happened to catch them on conan the other day and was just blown away. The bring together so many different vibes from all over the map of great sounds in time. Production is cool but the huge verb thing can get a little old. What excites me most is that I only want to listen to the album from beginning to end, much like a dark side of the moon or zep 4. Anyway. Its great and Im excited to be excited.
The reverb can get to be too much at times, but it does suit the music. I don't think those songs would have the same impact if they were mixed dry. It's still definitely my record of the year....just brilliant from start to finish.
PS: The thing that struck me is that my favourite albums of 2008 have been recorded at home. Besides Fleet Foxes, Portishead - Third comes to mind. Brilliant album. Some recording and mixing/mastering has been done in commercial facilities , but nonetheless, a big part consists of excellent home work. Of course the home recording/pro hybrid approach is not a new phenomenon, but this is probably the first year that both of my fave albums are made this way, and they sound excellent.
Portishead has got one hell of a home studio. (actually it's like a big pro studio at home.) On the other hand; for lead vocals they didn't use their vintage u47 but a cheap $ 300 Rode. Of course, I'm not downplaying the importance of pro engineer/mix skills or pro gear. Just saying I'm thrilled by thought that it's possible for (some) recording musicians to make impressive sounding albums on a modest budget, not just "OK sounding" lofi albums or sample/synth based electronics.
I think a lot of bands would be better of if they would focus on playing and paying a pro engineer/studio to do the recording. But for some bands (and us listeners) the freedom of home recording is truly a blessing. Merry MboXmas! heh
From what I have read, the engineer/mixer/producer really tied it all together and kept the band from having sonically incoherent album. The band would cut whatever wherever and just send it to him. He did a fantastic freakin job if you ask me. Kudos to the engineer. Thank god they understand the value of what he brought to the table.
All really nice guys, at least they were when they came into record their demo at my studio before their full length, after their EP. I think a few band members didn't "make it" to the end of the production of the full length, and were replaced with new members that could pull of the harmonies and such. I also have a huntch that some of those tracks they did at my place are actually on the full length, but I could be very wrong about that.
Phil Ek did that record, and that guy is a pretty damn talented producer/engineer (also a super nice guy), although he definatly likes to keep productions fairly "safe" if you ask me.
They did do a bunch of work at London Bridge Studios, not sure if it was mixed there though.
The high ceilings of the Grand Palais (rather than the band being run through a reverb box) gives them an unbelievable sense of life that I think the album can miss from time to time. Despite the poor sound quality, I think the song shines through. And on an opposite note, the beginning where the band performs acapella sans any reverb just shoes how much talent these guys have.
Isn't he a beautiful guy? He put together my whole Abbey Road recording fantasy dream sequence for me and got Charlie Francis in to engineer. (Charlie being the other guy who moved to Wales to open a studio) Anyway, Martin, he's crazy insane for Fleet Foxes. Took the newborn baby to their show and asked them to autograph it's diaper!
+1 on bump. By far the best album in a long time...
The songs would have sounded great on a 4 track...but the production on this album is also awesome. The vocals are so spacious. Seems like I can look into the mix for miles. It really helps with the whole solemn, distant and fragile aesthetic of the album.
anyone know if thats a real plate verb being used?
here's a quote I found:
When I interviewed Stuart Hallerman of Avast! Recording a few months ago, he told me that a young band that was family friends of producer Phil Ek had just been in the studio and left a giant EMT 140 plate reverb. That band turned out to be Fleet Foxes, which has recently received four stars from Rolling Stone and hailed by critics as this generation’s answer to Crosby, Stills & Nash...
This album has been garnering rave reviews all around, and I must say, although I've always been into the big verb sound (I'm a shoegazer through and through) this album didn't quite peak my interest. The songs are well crafted but they never seem to stray from one vibe and it can get monotonous I find. But then again maybe that's what they were going for. Fantastic vocal harmonies however, it must be said. So cheers to the lads for making a much well received record. I still dig Glasvegas as album of the year 2008.