almost better, but not out the woods yet. I’m hoping to be in the next few days. I am itching to get back to work and miss the f*ck out of drawing. Luckily, my sketchbook has been by my side. Bein’ sick is for the birds!
Good news: Dad is home! Bad news: Poor guy has 3 broken ribs. Thank you everyone for your well wishes, good vibes, kind thoughts, and prayers. We were getting ready for a crummy thanksgiving in the hospital w/ him… but thankfully- he’s home! Thanksgiving indeed. <3 to you all.
Throughout the ‘20s, records progressively became louder to take advantage of the proliferation of gramophones that had no volume knob. The phrase “put a sock in it” actually references cramming a sock into the horn of a gramophone to stifle the sound on louder recordings. Phil Spector’s Wall of Sound could be considered a volume fad of his time, wherein analog recording techniques and miniature orchestras were used to get a larger sound than otherwise possible on AM radio. Many classic punk albums–particularly The Sex Pistols’ Never Mind the Bollocks–actively embraced loudness without dynamic range, maybe out of some nihilistic approach to recording sound or to cover up Sid Vicious’s inability to play bass.
While The Sex Pistols may not have cared much about dynamic range, the current phase of the volume fad happens to mimic their nihilistic sensibilities, albeit doing so intentionally at the mastering stage of recording. Many of the new artists that suffer the most from compression also imitate The Sex Pistol’s shrill punk-rock approach to recording quality and style: pop-punk bands like Fall Out Boy, Green Day, and My Chemical Romance; pop with punk choruses like Pink, Avril Lavigne, and Kelly Clarkson; metal, punk, and hard-rock bands like Rise Against, Kid Rock, Rob Zombie, Andrew W.K., Slipknot, and Megadeth. The trend has even bled over into a number of hip-hop albums like Kanye West’s Yeezus.