Tom Pritchard's debut album (released on Indmill, November 21st 2008). 2008… Read Full Bio ↴Tom Pritchard's debut album (released on Indmill, November 21st 2008). 2008 Collected is at times sweeping and grand, at others intimate and calm, but always heartfelt and lovingly crafted. Tom mixed the album with great care to preserve the dynamics rather than crushing them akin to the current trend of the 'loudness war' (http://en.wikipedia.org/wiki/Loudness_war).
Supernova was well recieved by Future Music magazine, issue 202.
"Despite the most monumentally slow (is it switched on?) first minute the attention kicks in with the twang and the superb vocoded vocal. We're not certain whether Tom Pritchard can sing or not but this effected, pitch-locked treatment fixes any wobbly foibles that may have existed and lends the track a melancholy that no human could ever impart. It's like listening to the world's saddest robot while his batteries go flat. "The vocals were recorded through the microphone that came with my microKORG, although the vocoding is all Reason", Tom tells us. Meanwhile the ambient dome of synth pad and gorgeous Vangelis-like plucks and twangs show a variety and musicianship that keeps you hooked. And special mention to the great, solid drum sounds (incorporating an incredible 'squidge' that's obviously too loud in the mix - but we love it). "Until recently I was using brickwall limiting on everything and I started to feel that it was completely wrecking the dynamics in my music, so I've left the limiting to a minimum here and I think the track sounds better for it," Tom says. Couldn't agree more."
Supernova was well recieved by Future Music magazine, issue 202.
"Despite the most monumentally slow (is it switched on?) first minute the attention kicks in with the twang and the superb vocoded vocal. We're not certain whether Tom Pritchard can sing or not but this effected, pitch-locked treatment fixes any wobbly foibles that may have existed and lends the track a melancholy that no human could ever impart. It's like listening to the world's saddest robot while his batteries go flat. "The vocals were recorded through the microphone that came with my microKORG, although the vocoding is all Reason", Tom tells us. Meanwhile the ambient dome of synth pad and gorgeous Vangelis-like plucks and twangs show a variety and musicianship that keeps you hooked. And special mention to the great, solid drum sounds (incorporating an incredible 'squidge' that's obviously too loud in the mix - but we love it). "Until recently I was using brickwall limiting on everything and I started to feel that it was completely wrecking the dynamics in my music, so I've left the limiting to a minimum here and I think the track sounds better for it," Tom says. Couldn't agree more."
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