I reviewed this plugin when it was released, and you can read my thoughts in the UAD Manley VoxBox Review. The Manley Voxbox is possibly the ultimate vocal channel strip with a high-fidelity valve mic preamp, optical compressor, Pultec-style EQ, de-esser/Limiter. All these things you think aren’t good can be used as powerful material to enhance your life.Universal Audio has been recreating incredibly realistic emulations of some of the best hardware equipment that gets used on all the best recordings we love, giving music creators amazing tools for recording, mixing and mastering.Īs Universal Audio is running a fantastic Vocal Plug-in promotion with their Apollo Twin Audio Interfaces, I wanted to share with you some of the plug-ins I use all the time or my go-to choice for specific tasks. It’s a song to all the things that keep you moving forward with passion, all the things that can be used as fuel. “The more that I see the clock ticking, the more it gives me fuel. “That song is grappling with mortality,” says Manson. In the end, though, there’s power in the darkness, as the rhythmic throb and guitar crash of 'So We Can Stay Alive' shows. Nobody ever says, ‘Actually, I’m lost and I don’t have a fucking clue what I’m doing with the rest of my life and I’m frightened.’ ” Everybody’s fronting all the time, dancing as fast as they can, smiling as hard as they can, working on their brand. Because I feel like the musical landscape of late has been incredibly happy and shiny and poppy.
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“I love dark and dismal,” says Manson, who once made a hit single out of her admission that she was only happy when it rains. “Even ‘Empty,’ which has a big, anthemic guitar sound, has pretty dark lyrics.” “There aren’t really any upbeat pop songs,” say Vig. It sounds like Garbage, but we’ve done a new spin on it - some crazy riffs and bits in the bridge.”įrom the confessional opener, 'Sometimes,' to the pulsing static of the closer, 'Amends,' Strange Little Birds is a sweeping, cinematic record of a unified mood: darkness. “That song started with a jam in my home studio,” says Vig. We just started playing, following one another.” “We felt less limited in what we could try,” says Erikson. “We fell in love with immediacy,” says Vig. Lyrically and musically, says Manson, the album is “less fussed over” than any Garbage has made. They’re hot spots in my life, when I was afraid, or vulnerable, or didn’t behave at my best.” Each song, she says, addresses “different points in my life between me and a person I’ve loved. I used to feel so scared, and I think that was why I was so aggressive - but I’m much more willing to admit weaknesses than I was before.” For her, the retrospective feel of Strange Little Birds is more personal than musical. “And what I mean by romance, really, is vulnerability. Manson calls Strange Little Birds Garbage’s most romantic album. It’s a return to the freedom they had when working on their very first songs at Smart Studios in Madison, Wisconsin, more than twenty years ago, before they’d ever signed a label deal. Strange Little Birds is Garbage’s second album off their own label, STUNVOLUME. “It’s getting back to that beginner’s headspace.” In part, she says, that’s a result of not having anyone to answer to. “To me, this record, funnily enough, has the most to do with the first record than any of the previous records,” she says. Some will hear echoes of Garbage’s 1995 debut album in Strange Little Birds - including Manson herself. “There’s a lot of the teenagers that we were in this record.” “When you’re a teenager, you’re in a basement somewhere with your band, and you don’t know what you’re doing,” says Marker. But Garbage - long known for their meticulously crafted blend of dark, industrial noise, sci-fi pop melodies, whirlwind guitar, and tricked-out rhythms - was going back-to-basics for the first time. It was a fitting launching pad for an album that, over the course of the next two and a half years, would see the band finding a way forward by looking backward, tapping into the spark of their youths to try an uninhibited back-to-basics approach. So it’s got a bit of a trashy vibe to it.” “My home studio is just a room where I watch Packers games,” says Vig. The basement was Vig’s, perhaps one of the least elaborate home studios a multi-platinum producer has ever had. It began where so many bands first do: in a basement.
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Except the recording didn’t begin in a studio, per se.
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In the spring of 2013, the members of Garbage - Shirley Manson, Steve Marker, Duke Erikson and Butch Vig - gathered in Los Angeles to start work on their sixth studio album.