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There's harmonic distortion, there's textural density, and there's a rhythmical density. In the end, it turns out that density does not equal volume." To unpack the mechanics of density, English broke with his habit of creating his musical releases alone. http://www.csl-az.com/simple-answers-on-prudent-secrets-for-doctor-home-loan-canberra-australia/ Cruel Optimism features the work of almost a dozen collaborators. English worked with each musician individually and then combined their input, generating up to seventy channels on some songs. (Some of those channels are simply multiple takes of one part.) Swans guitarist Norman Westberg recorded at English's home studio in Brisbane; English went to Austin to record with percussionist Thor Harris (another Swans alumnus); drummer Tony Buck and saxophonist Mats Gustafsson sent their recordings in. English re-amped many of the individual elements, meaning the performances were played through another amplifier and re-recorded, as if the music was being performed again, anew. Cruel Optimism operates something like a drug that titrates itself. At first, it is a blanketing presence, a thing that overwhelms and disorients. You hear white noise, fine rumbling strands, high echoes. The sources feel obscure and obscured.
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