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Owl City Sits Down With PureVolume

Posted by - 12:10 PM on 08/21/12
You can check out part two of PureVolume's video interview with Owl City here. In this segment, Adam Young talks about what it was like to work with Carly Rae Jepsen and Mark Hoppus on his new album The Midsummer Station, which is in stores today.
 
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12:18 PM on 08/21/12
#2
guitarguy211
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Been jamming it all weekend, and its awesome!
12:32 PM on 08/21/12
#3
Kris_Gontz9
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Mediocre Album, besides Embers and Dementia... (And Take It All Away i guess, that percussion is great).

Edit: Silhouette too, might be the best piano ballad he has ever performed. The rest of the album it's kind of bland, i was expecting the pop drive, but still mixed with Youngs peculiar melodies (In that sense, "All Things Bright and Beautiful" is a lot better).

This Interviews have been very good. I was quite interested in the whole process of his Albums coming together, and the dude seems like a humble person. Still interested in Owl City and maybe that post-hardcore Record he could be working on sometime.
12:48 PM on 08/21/12
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SILYW
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It's funny that a lot the comments from his fanbase on Youtube in regards to the new albums are negative.

For example: "I wish I would never have to say this, but I am disappointed in Adam :( these songs don't have the same feeling, he's like forcing his music now. What happened to his insane happy trance melodies that put you in a happy world of imagination? He IS mainstream now...there's no doubt about it. He was so original before, why didn't he stay that way? This just makes me miss his old stuff..."

When in all honesty his music hasn't changed that much, the only notable differences with the new album and his previous releases are the more dominant use of guitars, the production, little more more restraint on vocoder effects and slightly less vague and metaphorical lyrical concepts. Which I find is just a progression of him as artist and songwriter.

In no regards am I a big fan of his work although I do enjoy some of it, but this seems to be that TMS is his most consistent and cohesive release yet
12:55 PM on 08/21/12
#5
hiddentrack
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This album is better than his last effort. His vocals sound much cleaner and natural. He's really branching out with his style, too.
01:12 PM on 08/21/12
#6
Kris_Gontz9
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It's funny that a lot the comments from his fanbase on Youtube in regards to the new albums are negative.

For example: "I wish I would never have to say this, but I am disappointed in Adam :( these songs don't have the same feeling, he's like forcing his music now. What happened to his insane happy trance melodies that put you in a happy world of imagination? He IS mainstream now...there's no doubt about it. He was so original before, why didn't he stay that way? This just makes me miss his old stuff..."

When in all honesty his music hasn't changed that much, the only notable differences with the new album and his previous releases are the more dominant use of guitars, the production, little more more restraint on vocoder effects and slightly less vague and metaphorical lyrical concepts. Which I find is just a progression of him as artist and songwriter.

In no regards am I a big fan of his work although I do enjoy some of it, but this seems to be that TMS is his most consistent and cohesive release yet
I disagree with you.

It's as easy as Listening to his release on 2011 ("All Things Bright and Beautiful") and then The Midsummer Station and you can easily tell where's the difference. Both records are extremely pop driven, but the former is, in my opinion, the one who shows his growth as a musician and in the concept he's been working on since Ocean Eyes. This new one seems uninspired, bland and without that "creativity" he used to show on the songs. It do seem forced at times, specially on the lyrics of some songs, and i don't see the cohesiveness of it at all, unless you consider the "pop" element that kinda binds the album together as 1, though you can easily tell the standout tracks from the other ones.

I was specially surprised by the focus he put on the instruments of some songs, and that's something i always wanted to see in his records (The Drum line in Dementia or Embers), production-wise i think it's the same, he's always been "overproduced", but i find the use of vocoder annoying, specially when he never resorted to it in his past work, as far as i can remember (though the use of other vocal correction features were clearly there).

Other than this, i don't see why you think Progression is related to him writing less metaphorical songs; IMO that was a highlight of his work, and going from the heartfelt melancholy of Fireflies to "We don't even have to try, it's always a Good Time" can't be judged as progress. (though i enjoy both songs for what they are, the former it's just superior in every way to the later, and Matt Thiessen was involved as a Co-Write in both).
01:55 PM on 08/21/12
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SILYW
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I disagree with you.

It's as easy as Listening to his release on 2011 ("All Things Bright and Beautiful") and then The Midsummer Station and you can easily tell where's the difference. Both records are extremely pop driven, but the former is, in my opinion, the one who shows his growth as a musician and in the concept he's been working on since Ocean Eyes. This new one seems uninspired, bland and without that "creativity" he used to show on the songs. It do seem forced at times, specially on the lyrics of some songs, and i don't see the cohesiveness of it at all, unless you consider the "pop" element that kinda binds the album together as 1, though you can easily tell the standout tracks from the other ones.

I was specially surprised by the focus he put on the instruments of some songs, and that's something i always wanted to see in his records (The Drum line in Dementia or Embers), production-wise i think it's the same, he's always been "overproduced", but i find the use of vocoder annoying, specially when he never resorted to it in his past work, as far as i can remember (though the use of other vocal correction features were clearly there).

Other than this, i don't see why you think Progression is related to him writing less metaphorical songs; IMO that was a highlight of his work, and going from the heartfelt melancholy of Fireflies to "We don't even have to try, it's always a Good Time" can't be judged as progress. (though i enjoy both songs for what they are, the former it's just superior in every way to the later, and Matt Thiessen was involved as a Co-Write in both).


Obviously, there is notable differences between the latest two releases, I should've put more emphasis on the production in my previous statement as in my opinion it has improved leaps and bounds since the ATBAB. There is more richer and bigger soundscapes on TMS, with more noticeable bass roles within the album overall. ATBAB, seemed to be a continuation of Ocean Eyes, in which he would harmonise simple melodies several times (With the exceptions on Ocean Eyes: Fireflies, the latter half of Tip of the Iceberg and Vanilla Twilight) and clear example would be Deer In The Headlights.


In regards to cohesiveness, previous records have felt more like a collection of songs that were put to together in which the ideas where all separate in lyrical content and where supposed to be listened to as different pieces. TMS still roughly feels like a collection of song but they all follow a similar focus whether it be having stand out sections such the percussion or the fact that these tracks are supposed to be aimed at a mainstream audience. In the past Adam has put the focus in the lyrics and lead synth melodies, this time round his let other sections standout. How many times can could Adam develop upon the Ocean Eyes formula?


Yes he has always been overproduced, but it's very common among electronic based music. With this album he has certainly learnt his limits vocally and it's shows when he doesn't extensively use the vocoder to the point that he would've on Maybe I'm Dreaming (I'll Meet You There) or even as recently as Ocean Eyes (The Bird and the Worm).


Although some of the lyrics seemed forced on the new album, that's nothing new when it comes to Adam Young as a whole. Whether it be Sky Sailing, Owl City or any of his other projects. Take 'The Yacht Club' for example, a lot of the lyric passages in that seem forced and that he's trying too hard to come a quirky and imaginative:

I stood under the waterfall
With a Kiwi pineapple parasol
A Cinderella dropped a crystal ball
And made a concrete cavern
A caterpillar concert hall

Exactly what is the meaning in that? At least you know where you stand with tracks like good time, sure it isn't poetry but it's better than trying to interpreted and decipher a jumble of metaphors that probably have no relevant meaning other than to sound imaginative and 'colourful'.
03:30 PM on 08/21/12
#8
stollio
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People sure like to hate. This album sounds pretty great to me. I'm enjoying it a lot more than his last album. Light, happy music with high production values, smooth vocals, and some enjoyable melodies. It's quintessential Owl City.

There isn't an earth-shattering change in musical direction, but he's definitely trying out some new sounds, and keeps things interesting.
05:46 AM on 08/22/12
#9
Kohiek
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The thing that bothers me the most on the new album is the "Oh, Oh, Oh's" On half the album there is something like that in the chorus, or near it. Also Good Times is the worst Owl City song ever... The album isn't all bad, but it's his first album that is worse than the last one. :( Also, I want new sounds, but not at the cost of quality.

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