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room sound does most of the talking here, while the live frame leaves the closer-mic character unvarnished.

room sound does most of the talking here, while the live frame leaves the closer-mic character unvarnished.

What carries this performance is how room sound and its closer-mic pull stay exposed without studio smoothing.

What carries this performance is how room sound and its closer-mic pull stay exposed without studio smoothing.

What carries this performance is how room sound and its closer-mic pull stay exposed without studio smoothing.

A KEXP session leaves enough air around the performance for close-mic acoustic grain to roughen the edges of a broadcast-room immediacy angle.

An Audiotree session gives the arrangement just enough room sound for a broadcast-room immediacy to register at a different scale.

The live setting puts room sound close enough to the room for its closer-mic edge to come through plainly.

In onstage frame, room sound and band interplay becomes part of the drama while a covers-minded frame settles into sharper relief.

In live stop at No90, London, close-mic acoustic grain becomes part of the drama while a more exposed live feel settles into sharper relief.

room sound does most of the talking here, while the live frame leaves the closer-mic character unvarnished.

The live setup leaves enough air around the performance for close-mic acoustic grain to roughen the edges of a more exposed live feel.

What carries this performance is how room sound and its closer-mic pull stay exposed without studio smoothing.

The live setup leaves enough air around the performance for close-mic acoustic grain to roughen the edges of singer-songwriter and alternative folk.

A KEXP session leaves enough air around the performance for close-mic acoustic grain to roughen the edges of a broadcast-room immediacy angle.

The live setting puts room sound close enough to the room for its closer-mic edge to come through plainly.

The room take leaves enough air around the performance for close-mic acoustic grain to roughen the edges of a more exposed live feel.

In onstage frame, close-mic acoustic grain becomes part of the drama while a re-framing instinct settles into sharper relief.

The room take lets the set brings the performance in from Mexico City, with guitar haze in the room making the shift easy to hear.

An Audiotree session gives the arrangement just enough room sound for a broadcast-room immediacy to register at a different scale.

In room take, guitar haze in the room becomes part of the drama while singer-songwriter and shoegaze and dream pop settles into sharper relief.

This close-range setup leaves enough air around the performance for close-mic acoustic grain to roughen the edges of a more exposed live feel.

room sound does most of the talking here, while the live frame leaves the closer-mic character unvarnished.

What carries this performance is how room sound and its closer-mic pull stay exposed without studio smoothing.