New Big Wreck Single!

Pretty cool that the late Brian Doherty wrote the riff to the track above "Bombs Away," and not Ian.

"It was a riff that Brian (Doherty) brought up during a soundcheck a few years back, and I had all but forgotten about it," he explains. "That riff is what you hear in the intro to the song, and gave birth to the ideas that now shape Bombs Away. The song has a relevance to the landscape of today. And another example of how Brian is still with us, in our songs, and our souls."

https://exclaim.ca/music/article/big_wreck_ready_new_ep_big_wreck_7_1_plot_canadian_tour
 
ak301 said:
Got the EP this morning, the production is fantastic

Some brilliant moments on there
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I’m very anxious to check it out. My only gripe with Big Wreck/Thornley stuff is that the mastering is always squashed to hell and back. I couldn’t even make it through ….But For The Sun because it’s just too much. Musically, it’s great, but it sounds like they bounced the music tracks down and left everything on the Master Bus, layed vocals over that and then put a bunch of stuff on the Master Bus, essentially mastering it twice.

Blows my mind because you know Ian spends a good amount of time dialing in tones specific to the songs and there are so many great fucking guitar tones, but why the albums end up brickwalled and smashed to shit I’ll never understand.

Even listening to ….But For The Sun quietly, it’s just distorted to hell and back.

I never cared about that stuff until I learned how to mix and my ears got a bit more sensitive, but once you notice it, it doesn’t go away.
 
RevDrucifer said:
I’m very anxious to check it out. My only gripe with Big Wreck/Thornley stuff is that the mastering is always squashed to hell and back. I couldn’t even make it through ….But For The Sun because it’s just too much. Musically, it’s great, but it sounds like they bounced the music tracks down and left everything on the Master Bus, layed vocals over that and then put a bunch of stuff on the Master Bus, essentially mastering it twice.

Blows my mind because you know Ian spends a good amount of time dialing in tones specific to the songs and there are so many great fucking guitar tones, but why the albums end up brickwalled and smashed to shit I’ll never understand.

Even listening to ….But For The Sun quietly, it’s just distorted to hell and back.

I never cared about that stuff until I learned how to mix and my ears got a bit more sensitive, but once you notice it, it doesn’t go away.
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/Baroness Purple. They destroyed that album and any dynamics it could have had.

The loudness wars is one of the worst facets/trends in modern production. I HATE IT!
 
la noise said:
Does Ian get any deductions for having Chad Kroeger guest vocal on a Big Wrech track?? Just asking. ;)
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Cheekily: yes. There are grants available that scale based on the quantity of Canadian talent used in the recording, production, and marketing of music in Canada (see FACTOR but there are others but they do not appear directly in the grant recipient list for the past two years) . And the accessibility of the content to Canadian radio stations follows MAPL conventions. It's better, in Canada, for them to have Chad sing on a track than James Hetfield.
 
axl-fx said:
Chad was writing songs on Ians previous Thornley project as well of TOADM, Default etc.

I'm not a Nickelback fan but they did work their asses off
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I know he's had a MASSIVE impact on the Canadian hard rock scene, especially
with the bands you mentioned and them coming state-side. :)

I went to see Shinedown at a club in 2005 and the opening band was already playing,
and I thought "Hey, that's Nickelback."

It was TOADM. Ended up talking to them after the show and told the bass player that.
He chuckled about it. He mentioned how hard they had to work on their vocals and that
the similarities were not happenstance. Cool dudes. But that Kroeger-formula is evident.
 
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