And you can buy single articles as PDF for a pound or so, so the business model is quite enlightened.Īpologies for the sales pitch, I really don't mean it that way I've just learned so much from SoS. Its major downside is that it's so ungodly expensive: a single issue is close to €10 in Holland! But the eSub options are very affordable, and every article older than six months can be read online for free. Just consider the page count (even if half of it is ads, alright). plenty fine too, and Tape Op is especially cool because of its DIY angle and the fact that it's free (Europe too guys), but every edition of SoS is like a small bible of sorts. I mean, I find useful and entertaining stuff in EQ and Mix et al. To me, that's a major sign of the magazine's accessibility (and they don't seem to dumb stuff down much, either). For starters, ever since I started recording music up to now, that's over a decade of growing knowledge, broadening horizons and narrowing interests (as you limit your interest somewhat to things specifically relevant to you), my joy in reading SoS hasn't changed much overall. Some of you may know this already, and I have no connection to them whatsoever, but I'm a huge fan of Sound on Sound. Well, like a boutique mellotron with a really clumsy keyboard and keys that all stick. Posted by Faze at 4:17 AM on Įxogenous: " The process is a bit like a Mellotron." ![]() I don't think I've ever listened to it through to the end. One of the low points in the history of pop. It was the end of the line for 10cc, it was the corpse of a band washing up on the beach. When you listen to the crisp, virile, snappy tunes that made 10cc's first two albums so exciting, when you've thrilled to the exciting arrangements of songs like "Wall Street Shuffle," and melodic plot twists of "Oh Effendi," "Clockwork Creep" and "Hotel," and even enjoyed the occasional atmospheric (but never dull) ballad like "Old Wild Men" or "Somewhere in Hollywood," then you turn to the mindlessly simple, pointlessly drawn out "I"m Not in Love", you can't help but think here is a band that has absolutely run out of ideas and is now trying to emulate the production values of Richard Carpenter (brother of Karen Carpenter and master of the vocal wash), only without a great song (not even as good as the least of the Carpenters' songs) to lavish its attention on. A song whose melody barely develops, but seems to take forever to state its lame theme, then states it again, and again, all the time smearing the aural lens with this vaseline production. ![]() this big, slow, blurry mess that dragged along at an agonizingly slow pace, leaving a trail of glistening slime behind the obvious and witless ironicism of its lyric. We adored and memorized every line, every abrupt turn in melody, every parodic twist of fast-paced gems like "The Dean's Daughter" and "Rubber Bullets." Then came "I'm Not in Love," this. It was a total step off the edge of the cliff in terms of quality. ![]() Here's another perspective: As 10cc fans beginning with their first album, and through the incredible "Sheet Music" album, my buddies and I were absolutely appalled when "I'm Not in Love" hit the airwaves.
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