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Actually checking the SPFreaks forum to check for Sven’s comments on the PI deluxe release… hurry up dude!
Jeroen, did you hear the 2012 remix? Actually a major change to the original mix. Not like the 2011 Starla remix where changes were minor imo.
Extended outro with Billy screaming his guts out is nice
[/quote:3bo9ayak]coming up sir, first a job interview to do, then get the records and then there will be the evaluation
will be getting the LP for the hi-fidelity of the initial record and of course the deluxe edition for the bonusses.
it still sucks they decided to not put those out on vinyl though…this afternoon the LP and deluxe cd will be mine and i will let you know my thoughts.
i didn’t know video existed for that raymond revue bar performance. cool.[/quote:1zmtayrz]
if i recall OK there’s a very short segment of this performance on Fruit Bad Salad II…
I never managed to find the full tape for the show but at least bit were recorded and now finally one of the nicest songs sees the light of day…
Thanks Craig for the very interesting piece and interview with Stan!!!
OK, I might have a monster turntable set-up but no issues whatsoever here with the vinyl issue of Oceania; no distortions, all clean as a whistle
Typo, it is going to be a replica cassette. CD 3 (must be DVD) looks very interesting too! Or did they really play these songs multiple times?
[/quote:22agrm5m]they did!
check it out: http://www.splra.org/wiki/index.php?tit … 988-11-19Bi wonder what the last seven tracks on the dvd are, though.
20 – Blue
21 – Offer Up
22 – The Joker
23 – Slunk
24 – Dancing In The Moonlight
25 – Snap
26 – Hello Kitty Kat[/quote:22agrm5m][/quote:22agrm5m]No they did not.
Multiple false starts into the song it was….
i really like Mike in this interview and am not sure if there are any good stills from this tape…
A few songs sound very Zwan-ish and in a good way. [/quote:2rncrc7d]
yes it’s VERY much Zwan in music and VERY much Zwan/Zeitgeist in production…. [/quote:2rncrc7d]
No, it’s certainly not like Zwan, at least not MSOTS or live Zwan… And yes production/mixing is as poor as on MSOTS & Zeitgeist…
edit typo[/quote:2rncrc7d]
having now heard the full songs it’s a lot less ZWAN-like indeed.
productiion agreed; is very Zeitgeist-ish but the drums do sound awesome…i’m not talking about unlisted tracks.
i’m talking about what this tape was supposed to be. until now, we had no idea what tracks were on this "first demo tape" owned by joe s. of the metro. but we’ve heard about it. and one of the things that were said, is that it contained tracks that weren’t out there. now it becomes clear that that was false information.[/quote:30axqrk4]it does exist.
i have seen it and some more.
there are indeed totally unknown songs there.
he must have mixed up the year.
Bleed was played in Chicago 21 for sure.
it’s no coincidence he played it yesterday.
and yes: TSP did exist in very early form since late 1987.
BC + JI with drum machine and sometimes Ron Roesing.Chicago 21 was just JI on guitar and BC on bass with drum machine.
take a look at what else they are selling. look close at it. im guessing this is the Q101 copy.[/quote:16notvvx]
i now know for sure that this is the Q101 copy, but for another reason than you. (i still don’t understand how you concluded this.)[/quote:16notvvx]me too and i just can not believe they are doing this!!!
as per BC’s reaction on Twitter: exactly right you just said Bram.
he still has copies left, the ones given out were gifts NOT TO BE SOLD!!!!
i can imagine BC will up the ante to re-acquire this one too…I must say though: this is a VERY used copy judging per the labels et al.
you can only play these acetates around 25 times before degradation hits big time!
so what are you buying then???well at least BC knows the offer still stands and holds to this very day.
will see…i think he means the machina stickers were separate.[/quote:2mvzffo6]
that’s also what i understood.so not only did he buy a daphne descends promo for 9 euro, including shipping; he also got some free machina stickers on top of it.
that sounds like a decent deal to me.
[/quote:2mvzffo6]awesome deal…
if those were glued to the promo the value would have quite been lower, but now— amazing deal!!! superb in fact, congrats!
is the real thing.
is most likely NOT the Metro-copy though.
i just can not see Joe sell this now.
at least: not without BCs permission and then it would have been for charity.who’s copy this is?
i don’t know, but i surely don’t have enough money to acquire this for the collection right now…
so them Frenchies didn’t even use up all their DD promos on Adore and used them with a MACHINA sticker a second go around? funny?!
would love to see the scans though
concerning Isis (the band): i had the same idea as I own the albums…
sucks to see BC rip off titles et cetera from a somewhat indie-metal like type band…
plus: it’s an awesome band per se and in its own right!
—
the pyramids and all… yep, Isis, Egypt, Oceania, there we go with the whole cult like thing…
—
yes it’s VERY much Zwan in music and VERY much Zwan/Zeitgeist in production….
zeitgeist-like production but i like the sound of the new songs live very much…
the Lisbon show was amazing…you know what would be very cool imho….
A FIRST INSTANCE OF A SONG COMPILATION
i.e. all the very first moments of Today, BWBW et cetera in jams or demos or whatever…
rhen let’s see if there’s a demo of something of Today before Markthalle, Hamburg on tape somewhere which would set the historical record straight…
damn dude…
my laptops both crapped out and i missed it all…!congrats on behalf of Gerliene and myself of course!!!!
all the best to mother, child and the father: WE LOVE YOU!!!!WTF indeed?
That pic should be on our site btw.[/quote:2j7nhp7y]
ref. copy for use in a commercial…
i tend to remember Disarm was used in a car commercial back then…
would make some sense to cut a ref copy then…don’t they also try to destroy test pressings when they no longer need them?
maybe there simply aren’t any test pressings anymore for a lot of releases.and i think that if you’re in the situation where you simply can’t tell, and where plenty of white label promos are known to exist, there is no reason to call it a test pressing. there is no point, and it’s most likely false.
the chance that it actually is a test pressing (i.e. pressed for the specific purpose of checking the quality) is tiny. first of all, one would have to assume that once the pressing was approved, they used the handful of test pressings as promos, instead of keeping them or destroying them. this is not a given. on top of that, the amount of test pressings is small compared to the amound of promos they pressed afterwards.[/quote:3euho3i9]1. I don’t think those are per se destroyed, but discarded: yes. as was the case with the Tristessa 7" TPs. they were found by accident. i.e.: these were forgotten about. no longer of use, so forgotten…
2. agreed. provenance is everything. if it comes from the inside of the band or producer or label or from a mastering company such as Townhouse for example, you bet it will be legit as a TP. otherwise, you just can not tell and most most most likely it will be from the very first batch of the commercial pressing which is made with white labels to be used as promos.
yeah, that’s my point. maybe i do own a test pressing and then it just got passed on as a white label promo. for these particular releases (SD 12" singles), i think any test pressings were handled this way.
i used to own two copies of the machina 2LP promos. both IDENTICAL, except one read test pressing and one was blank. it was handwritten on the white label. i sold the one that said test pressing, because i like clean copies.
so, to me anyway, there is no difference (with respect to those two examples).
but like i’ve said before, if you take the tristessa 7", for a specific example, that’s a test pressing because it was never meant to serve any promotional purposes (or porpoises, for that matter). it’s gotta be impossible to know if any of these SD 12" wlps are test pressings versus wlps. i can go get a sharpie right now and turn my wlp into a test pressing. know what i mean?
one copy of my peel sessions comes with a reaction report. a piece of paper attached to it to describe any errors. but even that is just a piece of paper attached to the outside of a normal-looking wlp. does that make it a test pressing then?
i also have a dj report for my stand inside your love 12" wlp, but i wouldn’t reclassify that as a test pressing. even though it very well could be. i guess it depends on the ultimate use of the vinyl.
i think the cherub rocks are all test presses mixed in with wlps. i don’t think you can distinguish the two. at least, no one has been able to yet…???[/quote:26ejc2qg]
1. yep: it’s very difficult with the SD 12"s. at least there was no WL promo for the SD 7"s so those are all test presses.
2. anyone, indeed, could have just written ‘test pressing’ on a WL LP for MACHINA, correct. Still, sometimes these TPs don’t yet have the matrix stamper or another matrix code than the finished and approved one and that could be a clue. I don’t think, as far as I know, this applies to TSP, but this is known for others band in collectors circles.
3. you might be able to tell the difference…
normally a true TP will not come with a generic sleeve or a sheet with info or bio/promo. these are usually in non-production sleeves and could come with a reference / check sheet for quality inspection of the pressing. these tend to get lost sometimes. especially in the UK WL promo 12"s were widely used in advance promotion. this has something to do with copyrights too in a way.however: think about it….
if it SOUNDS like the official commercial release, the chance is immense these WL promo 12"s are in fact stamped from the same master. because: you would not want to promo out a non- approved copy/master, right? now, it’s pretty likely the mastering / pressing plant does a sterling job and the TP is right away approved. normally there are 5 – 10 TPs for any given release to be checked. if these are OK-ed then production is started. first with the WL 12"s promos and then with the commercial release form. so sonically there might be a way to tell any difference, however slight…
i know for a fact there’s a TP for MACHINA on which the A SIDE was not playable due to the massive bass levels in TEG. even now it’s massive, still. BC had them recut the A SIDE, at least. when confronted with the massive bass levels, BC in person told me: "well tough luck, it was even worse with the first cut"…
there are also releases (haven’t checked for TSP though) in which the matrix codes don’t match up for example, the A SIDE has a different code when compared with the B SIDE. normally these will match as the stampers for a pair. just imagine the codes do match on a WL copy but don’t on the first pressing of the commercial release, then the WL is definately a TP. that’s a clue somewhere down the line a new master / stamper was made with another matrix code.
4. Tristessa -> the 5 red ones are all true TPs, indeed.
5. PS -> a reaction form might indeed point in the direction of a TP. depends an which kind of form it is.
6. SIYL WL 12" -> the DJ sheet to me only confirms it was used as a WL promo 12". for TP use they would have used a different quality check form.
7. for the CR 12" -> if the TP was OK-ed first time around, then it’s virtually impossible to tell any difference, unless you know the lineage / provenance for sure. if the matrix codes are the same as the commercial release, then this would look like the first TP was perfect already. still: technically, the TPs and WLs will not have been mixed up, because the WLs were pressed only after the OK on the TPs. can you tell now? i guess not, onyl, maybe if you can hear any difference…or for sure know it’s the TP, because of the provenance.
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