I brought the album back to my local record store I got it from and the manager "sampled" it on his Sony turntable at home and said it sounded fine. I guess he was nice enough to offer me a brand new replacement. I thought I'd try it first without cleaning, and a few seconds into the first song, exactly the same thing: swoosh every rotation in the left speaker, then disturbing surface noise as the song progresses. Absolutely unlistenable. No problem with any other record in my collection or the few used ones I acquired since the original purchase of this album. WTF? I'm convinced it's some sort of a manufacturing quality issue with the album in general, not just my copies, that is evident with a more resolving system. I'm very annoyed as I'm now stuck with a brand new double album of amazing music I cannot listen to. |
Moonglum: The first copy I got had one of the the labels off center, but other than that it appeared ok on visual inspection. I cannot say for sure the noise occurs in exactly the same spot as it was just pretty much every few seconds throughout the first side. It did seem to get a tad batter into the record, but still unlistenable and unacceptable for a brand new pressing.
The store has a Stanton or one of those DJ turntables that they use to play records with and some vintage speakers on the floor so I'm not sure how determinative it would be if the records sounded "fine." The manager said he had a "nice" Sony turntable at home so again I'm not sure how convincing his test was.
Raul: I too thought that the record revealed some deficiency or misalignment in my system, but all other records, both new and used, play without any problems.
Here is my take on this after a closer look: The first record released by Kate's record company, Fish People (aka Noble & Brittle), was "Director's Cut." The record was pressed in Europe. It sounds terrific. "50 Words for Snow," even though on the same label, was licensed to Anti, Inc. in the US. I'm convinced this is where the problem lies. They most likely did not pay enough attention to the quality of the vinyl pressing and botched the job. I don't know where Raul's and Atmasphere's copies came from, but I bet the copies manufactured in Europe sound fine. |
Raul: Does your copy have a big ANTI- logo next to the FISH People logo on the bottom of the back cover? And does it say under the logos, "2011 Noble & Brittle Ltd. trading as Fish People, under exclusive license to Anti, Inc. (LA address)"? |
Then I am at a loss to understand. I took the second album to the store today to listen to it on their Stanton turntable. Even with the background noise and the low-end equipment, the same defects were immediately audible. They acknowledged that the noise was too excessive for a brand new album and gave me full credit.
Raul and Atmasphere, have you actually listened to the album closely without any distractions? I find it hard to believe that I had bad luck with two different copies in a row. The defects were way too pronounced to be just a coincidence. I don't mind clicks and pops such as when you get a used record, but this was just a straight out unlistenable record.
I intend to obtain a copy released for the European market to put this to rest.
Thank you all who tried to help and offered their feedback. |
I got a response from the record company today. Surprisingly informative: Three different plates were cut trying to get it right at the factory, but the noise on the recording remained present because the recordings were mastered at a low volume; the version that was released was the best that they could get without having it completely remastered. It was approved by all parties involved and thus was released. So it's not just a few bad pressings, but all pressings due to the quality of the source material. Raul and Atmasphere, would you like to retract your responses? :) |
I just ordered a copy from the UK. It will be interesting to compare. I will report on the results once I receive it. |
I suppose both can be considered "original" pressings since they were released at the same time on both continents. For, what I assume, was a business reason, the American pressings were simply manufactured under license to an American company. I guess one could argue the European release is original since it's on the artist's label. What I'm very curious about is to see whether the source material used was the same and the European release is as noisy as the American one, as it should be, if the source material was indeed somehow compromised by the mastering process. I just find it very hard to believe that Doug Sax and James Guthrie would messed up a recording. These guys are icons in the industry. |
Moonglum,
Thank you for this wonderful post; please do not apologize! I am so happy to know that there are others on this forum who appreciate Kate as much as I do. I've been a big fan of hers since the 80s when I was still in my teens. I rekindled my deep appreciation for her work as I got back into vinyl a few years ago. What an artist.
I had tears coming down my face when I put on "This Woman's Work" on vinyl many years after hearing this song for the first time. Not many artists can make a grown man cry as he listens to his turntable...
I discovered "Aerial" a few months ago and I am absolutely enchanted by this album. I feel exactly the same way you do about it. It's not an album; it's an experience. How ridiculous is it that I only know it through youtube? I've tried to get it on vinyl but it commands a rather steep price of upwards of $130 every time it comes up for an action. I have been unable to find it anywhere else.
It's so amazing that this woman can experiment to such a degree and still create most unbelievable music. Yes, to me she could probably sing the phone book and it would sound great, but what she has done is so artistically unique and beautiful, she has no equal among female artists, in my opinion.
I don't want to turn this post into an ode, but I simply must say that "Sunset" from "Aerial" is probably one of the most beautiful pieces of music ever written. It's simply perfection. It humbles me realizing that someone can be so talented as to create something so sublime. |
Moonglum,
Thank you for the link to the BBC interview with Kate; it was great to hear her speak about her music, creative process, and touring. It amazes me that her huge popularity in the UK and Europe for decades has not seemed to affect her in any negative way.
I read somewhere that she was a fan of the analog sound and was dissatisfied with the recording quality of some of her newer albums. It must have been in the context of "Director's Cut." I own most of her albums, with the exception of "The Red Shoes" and "Aerial" and they sound amazing. The sound is full, rich, and organic. Perfectly analog.
I know "DC" is quite controversial and a lot of her die-hard fans outright reject it. Some were even angry that she dared to remake "This Woman's Work." I'm in the smaller camp that fully embraced the album. I think it's terrific. She managed to make the songs sound as great as the originals, but also different. To me they do sound like new songs so I completely agree with her that statement that she considers it a new album.
I'm now hoping that "Aerial" will be reissued at some point, just like "Hounds of Love" and "Sensual World." I'm baffled as to what happened with that album that it commands such ridiculous price. Almost all of her albums are rather easy to find used for less than $10. I have two copies of each I own, but "Aerial" is just impossible to find used, even on eBay. |
I'm still waiting for mine I bought last week from the UK, but it sounds promising based on your experience. |
Got the record today from the UK and just finished listening. Not the quietest vinyl in my collection, but far superior to the two American pressings I tried. Aside from some ticks and pops here and there, the records sound great; I was finally able to enjoy the subtlety and intimacy of Kate's arrangements. Just as I expected so I feel vindicated, but it cost me twice the price, unfortunately... |
