It's time for record store day again and I want to talk about the need for better mastering and cutting and manufacturing on the new vinyl being created today.
So many of the new records I buy, whether reissues or brand new recordings by current bands, are noisy. Surface noise. Yes, sometimes it is caused by the COLOR of the vinyl, because diff colors have diff chemical makeups and there for give differing playback ability (white is actually much closer to plastic and tends to sound the noisiest because it is really not the correct medium to be retaining sound) (and multi colored can have issues due to the diff colors not melting at the same temps and then not taking the information from the stampers as well as they should due to temp differences).
However, a lot of the issues with newly manufactured vinyl come from a lack of knowledge in the mastering and plating phases, and from how quickly records are being turned out. handling them too quickly means mistakes - scratches happening before the albums are sleeved, vinyl not cooling slowly enough and then warping but still being sleeved and sold.....
When I first became aware of Coil in 1996, Love’s Secret Domain was already both legendary and inaccessible. Legendary because it loomed large in the Coil discography as the moment when that most esoteric of underground British groups came closest to a breakout, an album with crossover potential beyond the post-industrial ghetto. However, because I came to Coil rather late, and because I lived at that time in a cultural backwater, Love’s Secret Domain remained a tantalizing enigma. The album could not be found on shelves, and because it was out of print, it could not be special ordered from my local import-friendly alternative record store.
- Written by: Jonathan Dean
- Parent Category: Opinions & Editorials
- Category: Deep Thoughts
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In the early 1990s, those scrawny awkward years that formed the genesis of my adolescence, I didn't give one solitary fuck about Coil. Nirvana were mere seconds from breaking into the mainstream and, growing complacent with my parents' classic rock and protest folk collection, I immersed myself in college rock mixtapes provided by my older cousin and Victoria's Secret catalogs stolen from the mailbox. Experimental music was as foreign to me then as any country, and I had no appetite for a challenge like Love's Secret Domain, nor was I even aware of its existence. The closest I had come to it at that point were the few doozies on The Beatles' self-titled double album, and I was more inclined to flip the record than endure them.
I'll never forget my first encounter with Coil. I was flipping through used CD bins in my hometown of Austin, TX, in 2005 and came across a pristine copy of Horse Rotorvator—the 1988 CD pressing on Force & Form, alternate cover art—it was beautiful. I promptly went up to the register, paid the $5.99 sticker price, raced home, and popped the CD into my stereo to ensure it played without skipping. This was a phenomenal find—Coil's Horse Rotorvator! The next weekend, I went back to the record store and shopped again. On the way home, I swung by the Post Office and mailed Horse Rotorvator to some sucker on eBay who had paid me $80 for the privilege of finding it for him. Yesssss!
Twenty years ago this month (July 1991) Love’s Secret Domain was finally released by Coil. Ten years ago the album was remastered and reissued in time for Coil’s first (and what was to be their last) US appearance and today the duo at the heart of it all are no longer with us in this existence. To honor the album’s birthday, we’re featuring reflections on the album this week and words from a few of those who were involved.