she’ll be using 7A sticks when she drums.

i ran into a bit of a roadblock involving the next album recently. i kind of knew it was coming. when you normally just record a bunch of stuff with no grand plan in mind, and decide that this time you’re going to map it all out beforehand and it must be brilliant, and challenging, and ambitious, and unlike anything you’ve ever done before…well…you’re asking for trouble.

after recording a few songs that i liked and considered album material, i found myself at a bit of an impasse. new songs kept on coming left and right, but most of them seemed too “normal” and “typically me-like” to fit on this next album. i think i recorded one song in the entire month of october. that’s slower than arthritic molasses by my standards. luckily it was a short-lived crisis, as recording some songs with travis reminded me that i work best when i just fly by the seat of my pants. because my ass has wings.

some people need to have an album written completely before they go into the studio, record demos of the songs to figure out how they want to arrange them, and then spend months — if not years — perfecting the performances / recordings / mixes / artwork / etc. me, i’m at my best when i record the bulk of an album in a mad burst of activity in the space of two or three weeks, don’t go into it with any concrete plans, and just let the music do what it wants to do, since it knows better than me what it should be anyway.

some of the best songs on the last few albums were either written in about five minutes and thrown together haphazardly, or more or less improvised into existence while recording (though not in the same way the old guys with dicks stuff was improvised). if i sit on an album and tweak it for a year or two, it will either turn into a giant mess that i will abandon when i finally lose interest, or it’ll be a 4-cd set by the time it’s finished. and option #2 there is probably going to become a reality one of these days in the not too distant future, but i digress…

two new songs kind of hammered home for me that i can do things that are different and more ambitious without getting bogged down in mapping it all out beforehand. one is still a work in progress recording-wise, while the other is finished and has just been mixed.

the one that i’m still working on was born as an interesting (to me, at least) acoustic guitar thing that has an odd rhythm to it, and i figured it would work well with a few tracks of leg-slapping feigning handclaps (since leg slaps seem to come out sounding much nicer when recording). i got the guitar take i wanted, only to realize too late that my guitar was in tune with itself but out of tune with everything else; the change in humidity had caused it to rise a bit in pitch overnight.

instead of changing the recording speed so that everything else would be slightly out of tune in order to be in tune with the guitar, i tuned it properly and then recorded a second guitar track, which made for a cool natural chorus effect. i’m not sure why i never thought to try this before. two guitars that are in tune with themselves but slightly out of tune with each other, mostly playing the same things, make for an interesting sound. the leg slaps gave the whole thing almost a flamenco-ish lilt.

i added bass, but the song seemed unsure of where to go. then i picked up a banjo, which is an instrument i’ve been neglecting lately, and just messed around a bit. i ended up coming up with a banjo part that altered the tone of the whole song, and it suddenly became a lot more interesting. it still needs some work — my drum part probably needs to be simplified a bit, it needs vocals, and i think i want to add a bit of piano and distorted guitar with violent tremolo — but it should be pretty spiffy once it’s finished.

for some reason, whenever i record a background/supplemental part on guitar or banjo or something with strings, i often find myself distant mic’ing it. i don’t know why. maybe i like getting more of the room in there, and not having any low end mud to contend with. maybe i just like playing around with different things tonally. or maybe, when my vocal mic is just staring at me expecting some action, i’m too lazy to walk four feet over thataway to grab an sdc, so i just stick the pearlman in omni, turn up the preamp gain, and go to town.

who knows where the truth lies? all i know is that i started doing this around the time i was recording AN ABSENCE OF SWAY, and it’s stuck. some frilly things like to be mic’d from a distance. and some of my favourite sounds have come from doing things the wrong way. some of the best electric guitar sounds i’ve captured didn’t even have the microphone pointing at the amplifier. i’m not sure if or when i’ll ever be moved to use anything more than the stereo ribbon mic on my drum set again, because it sounds like drums in a room, which is what i like to hear most of the time. the banjo part on that leg-slapping song was recorded with the mic nowhere near the banjo and double-tracked, and yet it sounds about ten times better than it would have if i had close mic’d the same performance and double-tracked it.

space is a funny thing. it’s more fun using odd mic-placement techniques to get things to sit where you want them tonally, instead of eqing everything to death. although, death by EQ would certainly be an event. “give him a 12dB boost at 18k! fry his ass!”

the song that is finished is a different affair altogether, and proof that i don’t need to really think about what i’m doing in order to do something different. it started out as nothing more than a percussion track, with two different gongs playing off of one another. i liked the way they sounded muffled in my hand instead of ringing out freely, and found two that i thought would work together nicely the way they were pitched. they also turned out to be in tune with one another but slightly out of tune with everything else. this time i did change the recording speed just a titch to get everything in tune.

after the gongs had been tracked, i added some bass and fender rhodes, a little improvised vocal silliness, and wasn’t sure what else to do. so i just tried a bunch of different stuff, because isn’t that what stuff is for? through a lot of improvisation and randomness, i ended up with an eight minute song called “skull jugglers” that is more of a soundscape than a proper song, though it isn’t really that either, because it keeps changing shape until it dies.

it starts off with about thirty seconds of guitar noise that’s as close as i’ve ever got to shoegazer territory. then there’s the gong-driven thing, which is mainly an exploration of a groove, with different sounds appearing and disappearing and reappearing. then all of that cuts out and a completely different piano thing kicks in, ambling around, building, finally cohering into something that starts to sound like a proper song (though an odd one — like some sort of demented mournful spiritual with marching band snare or something). and then that cuts out in favour of more random guitar.

while the music was taking shape, i ended up writing a bunch of lyrics that i kind of liked, but it turned out that the music didn’t want them for the most part. i guess the stuff about the words that we use to define ourselves developing minds of their own will have to wait for another song. i’d put the finished product up on spyspace or something, but i’d rather keep it under wraps for now. i’m sure something else new will be showing up there (or here) in the next little bit.

one of my favourite things about the song is tonal, again — in this case, it’s the sound of the fender rhodes later on in the song. my grunty paul tube amp and its tremolo give the double-tracked rhodes an almost vibraphone-like sound at times. i’m not sure why i don’t think to plug the rhodes into that thing more often. i also never thought to record d.i. electric guitar before — straight into the preamp, with no amp or amp simulator anywhere. i think it makes for an interesting guitar sound at the end of the song, before it doubles back on itself.

i now have no real concrete idea of what this album will sound like by the time it’s finished, but i suppose it’s better that way. the important thing is that it will be different from the last one, and the one before that, and so on. but i need to let it find its own identity, instead of trying to lead it around like a musical doggy. i don’t need no bitten hands.

one thing i can tell you is that there will probably be a number of fairly long songs. aside from the aforementioned track with multiple personality disorder, there’s another that’s 8 1/2 minutes long, and a few more that have yet to be recorded but should end up hovering somewhere around the 6-10 minute realm. it’s fun working with longer forms again, and completely subverting/avoiding conventional song structures. death to choruses! long live random segues and jarring jump-cuts!

i’m still aiming to have it done and release-ready sometime in december. we’ll see how that works out.

2 comments

  1. These songs sound interesting, I look forward to hearing the final release! Sounds like it might be out in time to be Merry Fucking Christmas II? You could send a copy to Sufjan to show him how far off the mark he was.

    Sorry about the slackness on the email front lately (i.e. months). I will get back on track soon.

  2. it’ll be the least christmas-y christmas album in the history of christmas!

    and no worries, lucas…i’ve been slacking pretty badly on the email front myself over here. so much to say, so many people to say it to, and not enough sets of lips…it’s the story of my wife.

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