Anberlin Band • Page 244

What’s most offensive to me is in the Apple Music credits Stephen isn’t listed as a songwriter or the original guitarist…

 

I'm not gonna harp on Monte, y'all are doing a good enough job of that, but wtf why is the kick drum bashing my skull in

 

I tried to listen to "A Feel Good Drag" thinking if the metalcore guy is gonna be even okay it'd probably be on that one, but nah. Dude does not fit with this bands instrumentals at all.

 

Wait, did he rewrite the bridge for Time and Confusion? I was wondering what they would do there without the feature.

EDIT: Sorry it was The Runaways, but it sounds like Maury is just singing both parts.

 

HOLY SHIT YOURE RIGHT.

Haha, this is the better master.

Swapping this now. Thank you. This has been driving me insane for years.

 

yeah, i have no clue why the master on the standard album was swapped, but i'm glad it's fixed here. the odd thing is that i only discovered it because there's a much longer gap on the standard album master between The Runaways and Time & Confusion, and i wanted to see if it was like that elsewhere (it's much better on this version too)

 

Me either, but it's been driving me insane. I had the volume change thing cranked up on the old version to at least do that. But this sounds infinitely better. And thankfully Apple Music still lets you swap the meta data and do this. And, now I can listen to the vastly superior version of this album.

 

for sure. i'm glad Apple Music still lets you control metadata like that. i was a huge proponent of Google Play Music for years on end, and was bummed when they switched everything over to YouTube Music and took that ability away. i'm glad Apple has that, personal uploads (case in point, i put New Fast Automatic as track 12), and better quality audio than Google will ever provide.

 

I have no sentimental connection to this album. Day Late sounded fine, listened to feel good drag and it just sounded like a significantly less impactful version.

Saw Stephen’s recent post and listened to a new interview with MEATY. Everyone in the band seems psyched and the shows seem to be going well. I’m still excited for a new album. I just don’t think this will go on longer than a couple years before Stephen comes back right where the EP’s left off and this whole era will have been a side quest with the addition of some fans. Also Aaron and Spencer from UO did an interview recently and said their anniversary shows brought in a boatload of cash ( much more than recent headliner shows) I’m sure this is also happening with Anberlin rn. It’s just the state of things in this scene and industry. I personally think the anniversary thing is tired, but aaron and spencer made a pitch that playing new songs on these tours really ramps up interest in new music which is cool I suppose.

 

so im still listening to my personal rip of NTFP from the CD from 20 years ago. Is this the good master or the bad master?

 

not entirely sure. play it side by side with the compilation master. all i know is that the streaming master for NTFP sounds bad.

 

if only Anberlin earnestly did that though. i know they're playing High Stakes at the moment (and maybe the 2 Matty songs from Vega), but regardless of the incarnation of the band, they've mostly favored NTFP through New Surrender in their setlists.

 

I hear this is happening with Emery right now, as well. They recently said they're making more money the last couple years as a band playing TWE and The Question anniversary shows. The 20 year anniversary stuff for bands/nostalgia seems to be generating decent income.

Unpopular opinion but if the other four Anberlin guys are actually making some money from all this, I'm really happy for them and they deserve it.

 

Dunno for sure, but these venues all seem to be the same size as they've been playing for years now and don't seem to be selling out, so I'm not really sure how the math would work on them making "boatloads" more.

I think the general consensus is people are happy with/want them to make money, that's the actual popular opinion. But how this was "sold" to longtime fans is what a lot of people think is weird. It wasn't very honest and it's been pretty weird to see some of the online comments about it.

 

Really. How interesting.

 

I think that post from Stephen, while to some degree earnest, was definitely a calculated move to try and plead with people to buy tickets / get on board with this.

 

For me it’s definitely the bad master because that’s been my copy as well for the last twenty years and I’ve allllllllways wondered why the hell it’s so quiet no matter how high I crank the volume. Thanks to @Michael Belt I too have discovered today that there is a better master out there in that terribly titled compilation. Doing God’s work. Wow this is refreshing.

 

I have no ill will toward anyone enjoying this new era of the band, but I saw a *top fan* on Facebook call him Marty while saying that he enjoyed the re-recording. Got a good chuckle

 

listened through it once. i will not be listening again

 

still haven't listened to this, but why the hell is Staggering Genius now 5 minutes long? does the song benefit from being extended like that?

update: gave only this one a listen, and it does not benefit from being this long in any way. maybe it would if it built to something melodically-interesting, but playing the same instrumental for 5 minutes with slightly different instrumentation each time just isn't intriguing. it feels like it might work better as a live interlude than a recorded track.

 

IMO would have preferred if they stuck with Stephen, only did limited tours, and kept putting out Amazing EP’s with really unique fan experiences like the COVID livestreams. Seems like this is a viable way for the four dudes to have stable income being in a band full time.

 

SMH doing Montel dirty like that

 

boatloads is me being slightly hyperbolic, but that australia long form pod they talked about how much more financially viable the safety tour was, and how it worked as a really nice spring board for the new album that was done a while back rather than the traditional approach. I personally would be psyched to see very few anniversary tours, but this made sense to me.

 

I've enjoyed bands doing re-records, mainly to hear updated production, and it's worked well at times (Four Year Strong's Enemy of the World comes to mind) but the production here seriously sounds worse. Matty being on here is one thing, but it's inferior from a production point too. Aaron Sprinkle is a great producer and I don't think this one really needed a new version.

 

Like, I adore the new TAITA. Truly think it brings something new and refreshing to the table. I'm glad it exists.