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The very DNA of Shrines may seem common today, but ten years ago, it was decidedly novel. It’s just kind of the flow of things changing.” Roddick agrees, nothing that “we were really inspired by the things that were happening a few years before we were a band as well. “There was something in the air back 20,” says James about the creation of the record. And Corin Roddick’s production has evolved from the barebones 808s and seismic bass drops to a more expansive and open-ended sound, accompanying James’ stories with appropriate textures and ideas.īut something about Shrines still exists in its own universe these limiting factors, like lyrical content, drum sounds, and song structures, created a vacuum of space, a brand new arena for pop music that dazzled and hypnotized.
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Megan James’ lyrics moved from the poetic-yet-mildly-disturbing lore of Shrines to stories and narratives that were even more personal, finding a myriad of ways to reflect powerful emotions with increasing levels of detail and vulnerability. When you look at Purity Ring’s output following Shrines (2015’s Another Eternity, 2020’s WOMB, and most recently, their EP Graves, which was released back in June of this year), they rightly expanded outwards after all, a group can only harness a sound within these “rules” before inevitably breaking them. Indeed, Shrines - which celebrates its tenth anniversary today, July 20th - is an album that represents Purity Ring operating with only their essentials, forging a path that would later define the sound of modern pop, if only for a portion of the last decade.
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“All the drums sound a certain way, all the vocals sound a certain way, all the synths… we created a strict palate of things that sort of worked together and tried to make as many different kind of musical ideas within that palette,” Roddick tells Consequence. Honestly, I haven't been into hip hop since I was a teenager but listening to 808s again reminded me just how fucking good Ye is.Purity Ring‘s Megan James and Corin Roddick describe their debut album, Shrines, as one with very strict rules.
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Then seems to have this choir patch sing the main melody, then sort of double (with some variation) Mr Hudson and Williams and then there is one final part below that just filling some of the gaps in the harmony. If you cut the centre in Amazing, you can hear those two singing with one being deepened and also some kind of tape string sound playing the little melody the piano and soprano voice also play on the hook. He has Mr Hudson and Tony Williams back up the sort of tenor range voices and digitally drops one of their voices by an octave in SYW and Amazing I think to make those really deep parts. Obviously he has a fairly unrealistic choir patch on something which he uses in Say You Will, Amazing and I think it's really subtly there in See You In My Nightmares. Just take WTHB, you've got a synth lead near the end and two different synth basslines along with the cello and 808s. I know he owns a few Moog monophonic synths but he definitely had a lot of polys in there so, not sure exactly what but ye. You can hear some vintage analogue synths in in too. Pretty sure he used something like an R8 for the toms in Say You Will. I think the guy ended up using a TR-707 or 727 (Welcome To Heartbreak), an RC-78 (Welcome To Heartbreak),TR-808 and TR-909 (Paranoid) as well as Japanese Taiko drums (Amazing, Love Lockdown, Coldest Winter), one example of a drum sample (Bad News).