Saturday, January 30, 2016

"When Collins accidentally played his reverbed drums through the microphone that producers use to talk back to musicians in a studio, the result was a startling ka-pow, which the producer Hugh Padgham heightened by suddenly 'gating' (cutting off) the sound to achieve a dizzying effect; it’s like being rocked by a jab that flicks out of nowhere and disappears just as quickly. There’s technological invention all over the track: Collins’s voice was run through a gizmo called a limiter, its parameters carefully set so his words seemed to slide in and out of focus. He also used a vocoder, at times, to sound even more like an unearthly soul. . . .Seemingly out of nowhere, the drums hit like a hail of plastic bullets, and the chorus is cut free to ascend to yet another stage of emotionally wrecked spectacle."

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