A brief hypefactor update: I spent the past two days writing choruses and tracking guitars for two hype songs, although I cannot tell you which ones because I haven't a clue about song titles yet. I can say with certainty that one of them is not the track mentioned earlier by F.J.: "They've Just" ("They've just... what?" I ask.) I have a feeling that one may be rejected, or removed and used as a new track in its own right, but we shall see this weekend.
One element of the new recordings that diverges wildly from "The Distracted Lover" is the amount of production and layering going on in the songs, especially in terms of the live instruments. For one track - a slower, funkier number with a brooding verse - I layered seven tracks of guitar on the chorus alone, from acoustics to 12-strings to a harmonized six string. This practice, while complex, thickens up the sound, adds texture with multiple instruments and incorporates new melodies into an otherwise straightforward riff.
After I write the basic tune for a track, I put on a pair of headphones and listen to the song on repeat, searching for gaps in the part that can be filled in with new melodies and riffs. The listener will rarely be able to pick out an individual part when listening to the completed track, but each contributes to the melody, however subtley.
I am in the middle of writing a retrospective of "The Distracted Lover" recording sessions for the hypefactor Web site, much of it focusing on the creative process and the progression of each song. To jog my memory, I listened to the record on repeat while writing, and I am amazed at times by the sonic simplicity of the entire EP, both to its benefit and detriment. During the 2001 sessions - my first major undertaking as an engineer and songwriter - we rarely multitracked any individual instrument more than twice. While this was not a conscious choice (and more a product of our own inexperience), it ultimately complimented the song structures, which were simplistic to begin with. This time around, however, everyone in the hype gang is striving for something less obvious: melodies up front, but bolstered by highly experimental production. Sound design in particular has become a major part of the process, with F.J. leading the charge.
While I am on the subject of musical sophistication, I have a few words about Gustavo Cerati. First, this is a man whose production values have grown exponentially throughout his career, and never once at the expense of solid songwriting. If you listen to his most recent solo work - "Siempre Es Hoy" and "Bocanada" - you will understand what I mean. The songs have infinite sonic depth, layering part upon part upon part, and always to the benefit of the basic melody. Were there a Frederick Law Olmstead of music, Cerati would be it; his simple, engaging songs rarely belie the great technical sophistication behind their creation.
While watching Cerati live at Webster Hall on Wednesday night, I was amazed that his band - two keyboardists, a female singer, a bassist and a drummer - succeeded in replicating a great deal of that complex production live. Every effort was made to properly play the album live while also adding new sounds and melodies. The moody "Bocanada" material was notably elegant as Cerati and band completely recast those tracks in a rock framework. I cannot wait for the bootlegs of this tour. Viva!
31.7.03
"It lived up to the Hype"
All you have to do is read my previous Cerati review and apply it to last night here in NYC, with a few noted changes:
1. You would think with the amount of money Webster Hall rakes in thanks to the millions of tourists, Long Islanders and Tunnell People they bring it weekly, the could turn on the freaking aircon.
2. Crowd was MUCH better than LA, a rarity in NYC.
3. Cerati thankfully didn't play the rap song from his album, which would have sent Ash home screaming bloody murder.
4. He altered the middle part of his set to fit on some more reworkings from his previous record Bocanada. Ace.
I'm glad Ash and B got to see this so they have a good understanding as to where I am at in my head musically.
Meanwhile, Chemlab should be done as I type. Looking forward to the final mixes, track order, etc. Now the fun beings. Web site and merch are discussed with Louche
And finally, back to HF2, which has been itching at me. Lots of new plug ins, courtesy of Ash for me to play with in Cubase. FUN.
F
1. You would think with the amount of money Webster Hall rakes in thanks to the millions of tourists, Long Islanders and Tunnell People they bring it weekly, the could turn on the freaking aircon.
2. Crowd was MUCH better than LA, a rarity in NYC.
3. Cerati thankfully didn't play the rap song from his album, which would have sent Ash home screaming bloody murder.
4. He altered the middle part of his set to fit on some more reworkings from his previous record Bocanada. Ace.
I'm glad Ash and B got to see this so they have a good understanding as to where I am at in my head musically.
Meanwhile, Chemlab should be done as I type. Looking forward to the final mixes, track order, etc. Now the fun beings. Web site and merch are discussed with Louche
And finally, back to HF2, which has been itching at me. Lots of new plug ins, courtesy of Ash for me to play with in Cubase. FUN.
F
29.7.03
"it's a total rock scene"
Lots of catching up today...
Chemlab is in the home stretch. It's down to a few days, for real. Jared is at work with the Crackers to tweak and settle on a tracklisting. My views on that are in. In the meantime, the powers that be at the label have given the album a big thumbs up after hearing the bulk of it.
Now the business begins, so it's emails and phone calls the bulk of the day. OXIDIZER is now slated for either the third or fourth week in October. There is initial discussion about a track appearing on a compilation, though that's not confirmed. It might possibly end up being the machine porn epic SCORNOCOPIA or the in your face rollercoaster rocker PULSE (aka WHITE ROOM BLACK NOISE though we're not sure which title to use yet).
I've asked Ash to get involved on an aggression remix for Chemlab, not just because I know he would do something incredible, but because I'd love to see Ash get his hands dirty in the machine world for a bit. I need to get him hooked back to a computer and away from guitars just for a bit.
Defcon Gilez (my pal and promoter of our UK extravaganza in 01) informs me the band he manages, Needleye, are remixing the aggression and could have something in a few weeks. These guys are hard and nasty. They are hurrying to wrap it up because have just drafted in a producer of some noteriety, also a friend of mine (and well known to industrial fans around the world and known especially to my advisor/lawyer/agent), to produce their new demo. I can't say who though!
I'm a man of many secrets, sorry. the only reason I get to hear this stuff (and keep my day job) is because I'm good at keep it secret.
It's no secret that Cerati is tomorrow night!
F
Chemlab is in the home stretch. It's down to a few days, for real. Jared is at work with the Crackers to tweak and settle on a tracklisting. My views on that are in. In the meantime, the powers that be at the label have given the album a big thumbs up after hearing the bulk of it.
Now the business begins, so it's emails and phone calls the bulk of the day. OXIDIZER is now slated for either the third or fourth week in October. There is initial discussion about a track appearing on a compilation, though that's not confirmed. It might possibly end up being the machine porn epic SCORNOCOPIA or the in your face rollercoaster rocker PULSE (aka WHITE ROOM BLACK NOISE though we're not sure which title to use yet).
I've asked Ash to get involved on an aggression remix for Chemlab, not just because I know he would do something incredible, but because I'd love to see Ash get his hands dirty in the machine world for a bit. I need to get him hooked back to a computer and away from guitars just for a bit.
Defcon Gilez (my pal and promoter of our UK extravaganza in 01) informs me the band he manages, Needleye, are remixing the aggression and could have something in a few weeks. These guys are hard and nasty. They are hurrying to wrap it up because have just drafted in a producer of some noteriety, also a friend of mine (and well known to industrial fans around the world and known especially to my advisor/lawyer/agent), to produce their new demo. I can't say who though!
I'm a man of many secrets, sorry. the only reason I get to hear this stuff (and keep my day job) is because I'm good at keep it secret.
It's no secret that Cerati is tomorrow night!
F
28.7.03
The Wiggle Room
Back home at last...But I would like to vent against Apple and their hardware for a moment. How the HELL could they make a laptop battery that lasts only a few hours? This obviously was not designed for the bi-coastal types such as myself. Thousands of feet in the air, somewhere in the middle of the US today, I was in full swing on a new HF song called (at this moment) "THEY'VE JUST...". It has some haunting acoustic fingerpicking by Ms. Emmett, some broken beats courtsey of Baby B and Ash, and some melodic bassness from yours truly. Simple and moving. Anyhoo, I was just hitting my stride with the song , and the damn battery runs out. Time FLIES. I was so pissed. Luckily, S.O. was on hand to make sure the flight attendants provided me with enough tea to last the rest of the flight.
Apple, you can make a 30 gig freakin' Ipod, why can't you make a 4-5 hour battery? Douches!
Because of my bicoastal travels, Louche and I miss each other via Email today. He is in Chicago handling "the details", which I think is the nice way of saying "the record label bullshit". There are certain matters that need my attention, I'm told. I had a stop-over in Cleavland and while I honestly have no clue as to where Cleavland is in proximity to Chicago, I was tempted to just say fuck all and head over to Cracknation. But honestly, I am glad NOT to be part of "the details". Jared informs me that the thing I was concerned about in my previous MOGblog update is not the case, but I await the full story. I think there is some last minute manuevering to throw some more on the album, which has a firm cut off in the can deadline of...um..."sometime this week". It all depends on how much "wiggle room" there is. Look, if it makes the album better, go for it, I say. In the meantime, I am told Inivisible is quite "hot" for the new Chemlab album, now all they have to do is promote the shit out of it and treat it like the event it is. This album is a blockbuster and the second Summer of Hate is upon us (even though the record comes out this fall).
I have agreed to do a remix for my pals in K-NITRATE. However, I will not be remixing K-Nitrate, but will be remixing their side-project Audio War, which I have never heard, but I am sure is loud and nasty. Could be good! The Russians have sent me a note letting me know they are hard at work on thier aggression remix. I am salivating for that one cause I think it will be amazing if they do it the way I think they will!
I have come home to find Cerati tickets waiting for me. He plays here in NYC on Wed. Thank God!
F
Apple, you can make a 30 gig freakin' Ipod, why can't you make a 4-5 hour battery? Douches!
Because of my bicoastal travels, Louche and I miss each other via Email today. He is in Chicago handling "the details", which I think is the nice way of saying "the record label bullshit". There are certain matters that need my attention, I'm told. I had a stop-over in Cleavland and while I honestly have no clue as to where Cleavland is in proximity to Chicago, I was tempted to just say fuck all and head over to Cracknation. But honestly, I am glad NOT to be part of "the details". Jared informs me that the thing I was concerned about in my previous MOGblog update is not the case, but I await the full story. I think there is some last minute manuevering to throw some more on the album, which has a firm cut off in the can deadline of...um..."sometime this week". It all depends on how much "wiggle room" there is. Look, if it makes the album better, go for it, I say. In the meantime, I am told Inivisible is quite "hot" for the new Chemlab album, now all they have to do is promote the shit out of it and treat it like the event it is. This album is a blockbuster and the second Summer of Hate is upon us (even though the record comes out this fall).
I have agreed to do a remix for my pals in K-NITRATE. However, I will not be remixing K-Nitrate, but will be remixing their side-project Audio War, which I have never heard, but I am sure is loud and nasty. Could be good! The Russians have sent me a note letting me know they are hard at work on thier aggression remix. I am salivating for that one cause I think it will be amazing if they do it the way I think they will!
I have come home to find Cerati tickets waiting for me. He plays here in NYC on Wed. Thank God!
F
25.7.03
Always is NOW
It’s no secret that I have a tendency to exaggerate a bit, hence the origin of the name Hypefactor (though that’s for another time). However, I am not exaggerating when I write that the seeing the Gustavo Cerati gig here in LA last night was a life changing experience. Lv23 (who redefines DANCE FEVER), Bradley J. Fox and I were all were blown away.
I wont get too deep into it, but quite frankly, the man is a genius. He has an uncanny ability to write incredible and emotional songs that perfectly marry modern electronics to rock instruments and pop structure. It was a flawless 2-hour performance .The Palace here in LA has a REALLY large stage, so Cerati was able to take full advantage of the space. He was enthusiastic and animated and seemed to genuinely enjoy himself. He is such a thrilling musician to watch and is an incredible guitarist. You can’t help but be drawn in. He’s retained most of his excellent band of young musicians from the last tour (including his multi-talented sidekick, Falvius) and they were incredibly tight . Together, they were able to push the current songs to new heights while redefining the old songs to fit the current Cerati sound. It also helps to have a very young and hot back up singer (who I’m told is Cerati’s MUCH younger girlfriend…brilliant) to make sure the lads pay attention. It’s also the first time I have seen a drummer almost as incredible as mine. Everything about this show was first class and the music, as always, was inspiring. These guys are used to playing arenas in other parts of the world, and the entire presentation and dedication to perfection reflects that. Lv23 went to soundcheck and confirmed our belief that Cerati is a TYRANT when it comes to making everything sound perfect. He even went up to the soundbooth to mix certain things himself when he was unhappy with the mix.
Unfortunately, there is one thing that Ash will hate in the set, and I intend to ask him to get me a drink or something at Webster hall next week when I know this particular song is about to start.
For someone who has been in the business over 20 years, Gustavo Cerati continues to evolve and in my eyes, can do no wrong. In the same way seeing Revenge in 1989, the Sisters in 1991 and Ministry in 1992 effected me so significantly at 20, Gustavo Cerati defines the musical path I choose to make in at 30.
In other news, Oxidizer has taken an interesting turn and might possible have a last minute guest appearance. I don’t know if I necessarily agree with this move, but we have to see how it plays out. Jared might be in Chicago by the time you read this sorting through everything. When talking to the producer today, I complimented him on the programming in a song called SCORNOCOPIA, a song I thought I had nothing to do with the writing of. He then informed me that it was I who did the programming that started the song and the melody was mine. This instance of me forgetting something like that is not an isolated incident. This happened I think on the first HF CD as well. I would walk into the studio and say “man, I love that, good job!” and then be told I did the part a week before. Do I have musical Alzheimers? Shit!
F
P.S. I wish I had seen Dave Gahan in NYC just to have something new to argue about with your Saintface Comrades ;-)
I wont get too deep into it, but quite frankly, the man is a genius. He has an uncanny ability to write incredible and emotional songs that perfectly marry modern electronics to rock instruments and pop structure. It was a flawless 2-hour performance .The Palace here in LA has a REALLY large stage, so Cerati was able to take full advantage of the space. He was enthusiastic and animated and seemed to genuinely enjoy himself. He is such a thrilling musician to watch and is an incredible guitarist. You can’t help but be drawn in. He’s retained most of his excellent band of young musicians from the last tour (including his multi-talented sidekick, Falvius) and they were incredibly tight . Together, they were able to push the current songs to new heights while redefining the old songs to fit the current Cerati sound. It also helps to have a very young and hot back up singer (who I’m told is Cerati’s MUCH younger girlfriend…brilliant) to make sure the lads pay attention. It’s also the first time I have seen a drummer almost as incredible as mine. Everything about this show was first class and the music, as always, was inspiring. These guys are used to playing arenas in other parts of the world, and the entire presentation and dedication to perfection reflects that. Lv23 went to soundcheck and confirmed our belief that Cerati is a TYRANT when it comes to making everything sound perfect. He even went up to the soundbooth to mix certain things himself when he was unhappy with the mix.
Unfortunately, there is one thing that Ash will hate in the set, and I intend to ask him to get me a drink or something at Webster hall next week when I know this particular song is about to start.
For someone who has been in the business over 20 years, Gustavo Cerati continues to evolve and in my eyes, can do no wrong. In the same way seeing Revenge in 1989, the Sisters in 1991 and Ministry in 1992 effected me so significantly at 20, Gustavo Cerati defines the musical path I choose to make in at 30.
In other news, Oxidizer has taken an interesting turn and might possible have a last minute guest appearance. I don’t know if I necessarily agree with this move, but we have to see how it plays out. Jared might be in Chicago by the time you read this sorting through everything. When talking to the producer today, I complimented him on the programming in a song called SCORNOCOPIA, a song I thought I had nothing to do with the writing of. He then informed me that it was I who did the programming that started the song and the melody was mine. This instance of me forgetting something like that is not an isolated incident. This happened I think on the first HF CD as well. I would walk into the studio and say “man, I love that, good job!” and then be told I did the part a week before. Do I have musical Alzheimers? Shit!
F
P.S. I wish I had seen Dave Gahan in NYC just to have something new to argue about with your Saintface Comrades ;-)
24.7.03
Ich habe soviel Wanderlust
As an addendum to my comrade Matt's post about Saintface, via the American Heritage Dictionary...
wan·der·lust
n.
A very strong or irresistible impulse to travel.
------------------------------------------------------------------------
[German : wandern, to wander (from Middle High German) + Lust, desire (from Middle High German, from Old High German. See las- in Indo-European Roots).]
wan·der·lust
n.
A very strong or irresistible impulse to travel.
------------------------------------------------------------------------
[German : wandern, to wander (from Middle High German) + Lust, desire (from Middle High German, from Old High German. See las- in Indo-European Roots).]
Rock 'N' Mode
One of the common denominators among the members of the MOGpac is that we are drawn to new music by performers who have been at the game for the better part of twenty years. The music industry being what it is in 2003 - and excuse me for being that guy who believes there are fewer and fewer significant new artists being promoted in this age - much of our discussion revolves around performers from the 1980s and 1990s that are still releasing solid recordings.
There are risks involved in this practice, namely, severe disappointment (example: 2002's "Release" by the Pet Shop Boys.) But there are plenty of veterans out there writing material that is passable, charming, even brilliant ("Music of the Spheres" by Ian "Auto Tune" Brown.)
Dave Gahan, the Depeche Mode singer-turned-solo artist, is no slouch performer or singer. But "Paper Monsters" - his solo debut recorded while on hiatus from the Mode - proves that Dave can write a convincing pop album on his own terms. So convincing, in fact, that Martin Gore would be a dunderhead if he relegated Dave to the vocal booth on the next Mode record.
Based on "Papers Monsters" and Dave in concert - Matt and I had the pleasure of seeing him at the Hammerstein Ballroom yesterday, along with a severely intoxicated crowd - I would go so far as to argue that the solo Dave Gahan delivered what Depeche and bands of their ilk should have been doing for the past six years. The record is dark and intoxicating, the show is rowdy and defiant, and the whole package is cast in the form of stunning songwriting and production.
Dodgy lyrics aside, Dave on record is everything only hinted at in modern Depeche: brooding ("Hidden Houses"), romantic ("Stay"), sage ("Hold On.) It works alone with a bottle of red wine, or when your S.O. is in for the evening.
To stunning effect, "Paper Monsters" live is exactly what it should be: a rawk 'n' roll show. The uptempo numbers are booming, raucous affairs with Dave dominating the stage, while the album's moodier tracks are steamrollers, slowly building to a crescendo. Much like Al Jourgensen of Ministry, Dave's newfound physical and mental health grounded the show - he looks alive, youthful, energized - and his band feeds off the energy of a 41-year-old man convincingly acting 21 on stage.
To be noted: Dave even managed to enrich Mode standards - "Never Let Me Down Again," "A Question Of Time," "Personal Jesus" - that have had the life beaten out of them by retro radio, DJs and the band themselves. The dancefloor reinterpreted by a rock band. Synthpop this was not.
The watershed point of the show, however, was the second encore: Mode classics played on stand-up bass, acoustic 12-string guitar, acoustic drums and keyboards. Suddenly, "Enjoy The Silence" didn't sound dated anymore. Regardless of what you think of "Paper Monsters," Dave deserves credit for single-handedly reinvigorating his band's back catalogue.
There are risks involved in this practice, namely, severe disappointment (example: 2002's "Release" by the Pet Shop Boys.) But there are plenty of veterans out there writing material that is passable, charming, even brilliant ("Music of the Spheres" by Ian "Auto Tune" Brown.)
Dave Gahan, the Depeche Mode singer-turned-solo artist, is no slouch performer or singer. But "Paper Monsters" - his solo debut recorded while on hiatus from the Mode - proves that Dave can write a convincing pop album on his own terms. So convincing, in fact, that Martin Gore would be a dunderhead if he relegated Dave to the vocal booth on the next Mode record.
Based on "Papers Monsters" and Dave in concert - Matt and I had the pleasure of seeing him at the Hammerstein Ballroom yesterday, along with a severely intoxicated crowd - I would go so far as to argue that the solo Dave Gahan delivered what Depeche and bands of their ilk should have been doing for the past six years. The record is dark and intoxicating, the show is rowdy and defiant, and the whole package is cast in the form of stunning songwriting and production.
Dodgy lyrics aside, Dave on record is everything only hinted at in modern Depeche: brooding ("Hidden Houses"), romantic ("Stay"), sage ("Hold On.) It works alone with a bottle of red wine, or when your S.O. is in for the evening.
To stunning effect, "Paper Monsters" live is exactly what it should be: a rawk 'n' roll show. The uptempo numbers are booming, raucous affairs with Dave dominating the stage, while the album's moodier tracks are steamrollers, slowly building to a crescendo. Much like Al Jourgensen of Ministry, Dave's newfound physical and mental health grounded the show - he looks alive, youthful, energized - and his band feeds off the energy of a 41-year-old man convincingly acting 21 on stage.
To be noted: Dave even managed to enrich Mode standards - "Never Let Me Down Again," "A Question Of Time," "Personal Jesus" - that have had the life beaten out of them by retro radio, DJs and the band themselves. The dancefloor reinterpreted by a rock band. Synthpop this was not.
The watershed point of the show, however, was the second encore: Mode classics played on stand-up bass, acoustic 12-string guitar, acoustic drums and keyboards. Suddenly, "Enjoy The Silence" didn't sound dated anymore. Regardless of what you think of "Paper Monsters," Dave deserves credit for single-handedly reinvigorating his band's back catalogue.
23.7.03
"YOU'RE ONLY YOUNG ONCE, BUT YOU CAN STAY IMMATURE FOREVER"
I'm burning new Chem-Mixes now again. Ive been through more blank discs than I own CD's this week. I can't write any more about how much I love this album, cause it's all I write about. i want you all to have it...
Today, Grandpa Al makes Grandpa Factor's day when he writes on his website: "WE START ON THE COCKS AND MINISTRY CD'S IN THE STUDIO STARTING AROUND AUG.15 (PRE-PRODUCTION) WE HAVE CONFIRMATIONS FROM: OGRE, GIBBY HAYNES,CHRIS CONNELY, LUC VAN ACKER, AND OF COURSE, PAUL, LOUIS, MIKEY, MAX, REY, AND MYSELF. WE ALSO ARE GETTING LUXA PAN RECORDS UP AND RUNNING TO RELEASE A LOT OF THE OUT OF PRINT STUFF. (PAIL HEAD, 1000 HOMO DJ'S, OLD COCKS, ACID HORSE, BLACKOUTS ETC. ETC. ETC.)"
I just literally had two conversations with two different people about how they should be doing this shit. Well done Al!
Cerati tomorrow. It's gonna own like no other.
F
Today, Grandpa Al makes Grandpa Factor's day when he writes on his website: "WE START ON THE COCKS AND MINISTRY CD'S IN THE STUDIO STARTING AROUND AUG.15 (PRE-PRODUCTION) WE HAVE CONFIRMATIONS FROM: OGRE, GIBBY HAYNES,CHRIS CONNELY, LUC VAN ACKER, AND OF COURSE, PAUL, LOUIS, MIKEY, MAX, REY, AND MYSELF. WE ALSO ARE GETTING LUXA PAN RECORDS UP AND RUNNING TO RELEASE A LOT OF THE OUT OF PRINT STUFF. (PAIL HEAD, 1000 HOMO DJ'S, OLD COCKS, ACID HORSE, BLACKOUTS ETC. ETC. ETC.)"
I just literally had two conversations with two different people about how they should be doing this shit. Well done Al!
Cerati tomorrow. It's gonna own like no other.
F
22.7.03
"Wow F, this sounds more like Chemlab than Chemlab!"
Unfortunately, Raw at the Staples Center didn’t happen last night, but after a Looooong weekend at the San Diego Comic Con, I need all the rest I can get. 70,000 people and half a million square feet of Comic Con over the course of 4 days can be very draining. Poor S.O. has to deal with a ton of new toys and such in the apt, but I made sure that some of my purchases were NIGHTMARE BEFORE CHRISTMAS related (it’s like her favorite film EVER).
For you genre film buffs, you may have read about a fan-film called BATMAN: DEAD END, which had quite possibly the biggest non-studio buzz at the Con. It was all over the net that this was the “best Batman film ever made” and that perennial fanboy demi-gods Kevin Smith and Alex Ross gave it their stamps of approval. A still leaked to the Internet looked just like Alex Ross’ interpretation of Batman. Naturally, my curiosity was piqued, so I set out to see this alleged “masterpiece”. Well, needless to say, it was quite the letdown, not because it’s bad, but because it is basically a costume/monster/fx reel for some commercial directors, not an actual three-act film. It’s like a student film with an unlimited budget. What they don’t mention is that it’s Batman vs. Aliens vs. Predator and an excuse to show-off the crew’s talents as a creature shop. I found it laughable, honestly, though the hundred plus fan boys and girls cheered as if Jesus had risen from the grave in front of them. Snooze. My suggestion is to buy the animated MYSTERY OF THE BATWOMAN DVD later this year to get a good Bat-fix. However, if you want to see DEAD END, check it out at:
http://www.theforce.net/theater/shortfilms/batman_deadend/
Finally got around to start working on Hypefactor today. The process is slow and I don’t see it picking up in it’s pace, really. We’re writing some very complex stuff and the bulk of my time is sorting through the many different guitar and bass parts to see what works best together. It’s a fun process, especially when you have such a rich amount of material to choose from, but it’s certainly time consuming. Also, I don’t want to rush this one; I want to be able to make sure I deliver a solid first round of arrangements.
In other news, the latest (and almost last) round of Chem-mixes has come in from Cracknation. This was the biggest bulk of new mixes in quite some time, so there is quite a lot to absorb. What’s most interesting about these new mixes is how the crackteam has pushed the machine rock envelope to a new level. The record is very warm, but chock full of machine manipulation. It’s gotten into that weird twisted cyber territory…and I mean that in a good way. Jared is flying into Chicago this week to wrap it up with the boys. I, however, will remain in LA before heading back to NYC next week, which is smart anyways, as too many cooks in the kitchen at such a crucial point could be counter-productive and quite honestly, based on what I have heard so far, I don’t think I could add much as they seem to have it nailed.
For the record, I played a recent rough version of the album for my lawyer/agent/advisor who back in the day was an advisor and trusted confidant of the lab and she was blown away by Oxidizer’s “chemlab-ness”. This is a huge vote of confidence, cause if it sucked, or didn’t sound like Chemlab, she would be the first to tell us.
Cerati in 2 days. Too good.
F
For you genre film buffs, you may have read about a fan-film called BATMAN: DEAD END, which had quite possibly the biggest non-studio buzz at the Con. It was all over the net that this was the “best Batman film ever made” and that perennial fanboy demi-gods Kevin Smith and Alex Ross gave it their stamps of approval. A still leaked to the Internet looked just like Alex Ross’ interpretation of Batman. Naturally, my curiosity was piqued, so I set out to see this alleged “masterpiece”. Well, needless to say, it was quite the letdown, not because it’s bad, but because it is basically a costume/monster/fx reel for some commercial directors, not an actual three-act film. It’s like a student film with an unlimited budget. What they don’t mention is that it’s Batman vs. Aliens vs. Predator and an excuse to show-off the crew’s talents as a creature shop. I found it laughable, honestly, though the hundred plus fan boys and girls cheered as if Jesus had risen from the grave in front of them. Snooze. My suggestion is to buy the animated MYSTERY OF THE BATWOMAN DVD later this year to get a good Bat-fix. However, if you want to see DEAD END, check it out at:
http://www.theforce.net/theater/shortfilms/batman_deadend/
Finally got around to start working on Hypefactor today. The process is slow and I don’t see it picking up in it’s pace, really. We’re writing some very complex stuff and the bulk of my time is sorting through the many different guitar and bass parts to see what works best together. It’s a fun process, especially when you have such a rich amount of material to choose from, but it’s certainly time consuming. Also, I don’t want to rush this one; I want to be able to make sure I deliver a solid first round of arrangements.
In other news, the latest (and almost last) round of Chem-mixes has come in from Cracknation. This was the biggest bulk of new mixes in quite some time, so there is quite a lot to absorb. What’s most interesting about these new mixes is how the crackteam has pushed the machine rock envelope to a new level. The record is very warm, but chock full of machine manipulation. It’s gotten into that weird twisted cyber territory…and I mean that in a good way. Jared is flying into Chicago this week to wrap it up with the boys. I, however, will remain in LA before heading back to NYC next week, which is smart anyways, as too many cooks in the kitchen at such a crucial point could be counter-productive and quite honestly, based on what I have heard so far, I don’t think I could add much as they seem to have it nailed.
For the record, I played a recent rough version of the album for my lawyer/agent/advisor who back in the day was an advisor and trusted confidant of the lab and she was blown away by Oxidizer’s “chemlab-ness”. This is a huge vote of confidence, cause if it sucked, or didn’t sound like Chemlab, she would be the first to tell us.
Cerati in 2 days. Too good.
F
21.7.03
My night with Saintface...
My "lovely underage girlfriend" and I were the sole MOGpackers to represent the most recent Saintface show on Saturday day night. The gig was held in what used to be known as the "the Cooler" on 14th btw 9th and Washington (sidenote: my only memory of the Cooler was an AFI gig I was supposed to see there in November, 1999. I was so anxious for that show as it would have been the first time in two years that i had seen them. Unfortunately, I never made it to the show. I had gone home after work and was halfway out my door when I received a phone call from then recent ex-gf, who since is being referred to as "the hussy". She started a fight and held me up just long enough to have to miss the show. I then had to resort to seeing AFI the following night in SUFFOLK COUNTY at a biker bar. That's a whole other story. But upon seeing how small and nicely set up the COoler is, I was angered all over again...feeling 21 again...something that my lovely companion cannot claim.). The space is set up in a very cool way. Decent size stage that is rather low to the ground, couches and stools in the actual performance area; a separate bar area (yes Frank, they had Stella); and a totally separate lounge type area. Very cool space.
My companion and I got to the venue at 11.30, just to time to catch the last two songs of the final support act, The New Years. I have to say - I liked them. Their look definitely needs polishing (bass player was sporting a sleeveless t (surfer style) and an eyebrow ring), but the sound was pretty good - hipster rock with more of an edge and even the occasional post-hardcore drone. I look forward to checking them out again.
For the main event, Peter Saintface made sure he wouldn't remember it. Aside from that the band was tight playing mostly new tracks probably heard at the Mercury Lounge gig a few weeks back (by the by - they're back there in August - on a Saturday night. Well done!), and included one entirely new "under-rehearsed" track. I wish I could describe it for you but I'm too tried. The set overall was very good eventhough I don't get to hear my faves from back in the '00.
One lighter point of the evening: two Poontang girls made an appearance along with some Dutch dude who was there to have "fun!". No names, but when Peter sang a few words and pointed to one IP gal, she swooned hardcore. When the same happened to me, I felt overwhelmed with wanderlust.
Dave Gahan on Wednesday night. Looking forward. Scary thing about this show: I checked ticketbastard.com this morning and tix were still available on the floor of the Hammerstein!!! Crazy, but he apparently plays some fun stuff, so I am excited.
"til the end"
M.
My companion and I got to the venue at 11.30, just to time to catch the last two songs of the final support act, The New Years. I have to say - I liked them. Their look definitely needs polishing (bass player was sporting a sleeveless t (surfer style) and an eyebrow ring), but the sound was pretty good - hipster rock with more of an edge and even the occasional post-hardcore drone. I look forward to checking them out again.
For the main event, Peter Saintface made sure he wouldn't remember it. Aside from that the band was tight playing mostly new tracks probably heard at the Mercury Lounge gig a few weeks back (by the by - they're back there in August - on a Saturday night. Well done!), and included one entirely new "under-rehearsed" track. I wish I could describe it for you but I'm too tried. The set overall was very good eventhough I don't get to hear my faves from back in the '00.
One lighter point of the evening: two Poontang girls made an appearance along with some Dutch dude who was there to have "fun!". No names, but when Peter sang a few words and pointed to one IP gal, she swooned hardcore. When the same happened to me, I felt overwhelmed with wanderlust.
Dave Gahan on Wednesday night. Looking forward. Scary thing about this show: I checked ticketbastard.com this morning and tix were still available on the floor of the Hammerstein!!! Crazy, but he apparently plays some fun stuff, so I am excited.
"til the end"
M.
18.7.03
"You might remember us..."
I waited a few days before posting this, but the other night my lawyer/agent/advisor and I ventured to an obscure part of California called Costa Mesa to see the reunited original 5-piece Duran Duran in what was supposed to be their first US show in 18 years (unfortunately they threw in a club gig in LA the night before, thus making this the SECOND gig in the US in 18 years).
It is no secret that Duran Duran are the first band I was ever a true fan of quite possibly the most important band in my life. And perhaps, with the exception of Skrew, believe it or not, I have seen Duran Duran more than any band. However, I never saw the original lineup as I was too young, so my first experience seeing Duran Duran live, was the NOTORIOUS era 3-piece line up at Madison Square Garden in 1987 (also the first for my lawyer/agent/advisor, though I didn't know her then!). For those of you old enough to remember, being a male duran duran fan in the 1980's was about as cool as being pro-hitler in the 1940's. Branded a "fag", "homo" or anything else for years as a teenager because I didn't love Motley Crue or Twisted Sister, I as Dan Hamill will attest, remained a loyal Duran Duran fan for 2 decades. And I never waivered once.
So obviously this gig in Costa Mesa was important to us. I'm not even sure what my expectations were, but they were shattered and surpassed by the third song (mostly cause the sound blew until that point, but I chalk that up to being in an outdoor amphitheatre). I realized that at that point that for the past 18 years I have seen nothing but Duran Duran cover bands, cause THIS is the real deal.
First, I was shocked at how good they look (always important), but nothing could prepare me for the incredible chemistry the original line up has and tremendous talent that the two members I had never seen perform, Andy and Roger Taylor, have oozing out of them. What they bring to the table is unbelievavle.
It also no secret that to me John Taylor, co-founder of Duran Duran, is without a doubt THE single most underrated bassist of his generation (and inadvertanty inspired the "Factor" name. Now reunited with Roger Taylor, his spirtual other half, the Duran rythmn section is second to none. I had been hoping since the day he left Duran in 1997 that John Taylor would return to the fold, and seeing him here made realize that he is the heart and soul of the band. And it's biggest fan. Every band needs that member who is unconditional in their love for the band. I can relate.
They played the hits, they played album tracks such as NEW RELIGION and CARELESS MEMORIES with the energy that musicians half their age couldn't muster, and they played new songs that potentially rival the best of their back catalog. They also played some hits from their post Andy/Roger period and again, the two returning members added their own unique touches to songs such as COME UNDONE and ORDINARY WORLD that were fantastic.
And did I mention how good they look?
Back in New York recently, the VH1 "I LOVE THE 80'S" (I DONT love the 80's btw) poked fun at the alleged limited keyboard playing skills of Nick Rhodes, which only goes to show how stupid people are. Nick Rhodes pretty much invented the Duran "sound". When SAVE A PRAYER starts, and thousands of people swoon, who do you think created those synth sounds that tug at your heart and make you a big pile of mush? Genius. That I say Fuck You to the singer out of Def Leppard who wishes he had a quarter of Nick Rhodes' talent. Pour some sugar on THIS, you bitch.
I don't wanna even get into the brilliance of Simon LeBon, who's voice has improved tremendously over the years and represents a lost generation of uninhibited, sexy frontmen who combine talent with charisma to cast a spell over their audience. He has charisma to spare and is full on.
By the 3rd song I realized we were seeing something very very special. By the encore, my lawyer/advisor/agent said to me "what MORE can they do?" and yet they do even more. These guys are playing for keeps and are very obviously determined to cement their legacy. I have never seen a band like this before. There is a reason this band has sold 70 million records. This isn't a comeback, this is something beyond that. It's not nostalgic. I don't know what this is, but this was one of the best gigs I have ever seen.
F
It is no secret that Duran Duran are the first band I was ever a true fan of quite possibly the most important band in my life. And perhaps, with the exception of Skrew, believe it or not, I have seen Duran Duran more than any band. However, I never saw the original lineup as I was too young, so my first experience seeing Duran Duran live, was the NOTORIOUS era 3-piece line up at Madison Square Garden in 1987 (also the first for my lawyer/agent/advisor, though I didn't know her then!). For those of you old enough to remember, being a male duran duran fan in the 1980's was about as cool as being pro-hitler in the 1940's. Branded a "fag", "homo" or anything else for years as a teenager because I didn't love Motley Crue or Twisted Sister, I as Dan Hamill will attest, remained a loyal Duran Duran fan for 2 decades. And I never waivered once.
So obviously this gig in Costa Mesa was important to us. I'm not even sure what my expectations were, but they were shattered and surpassed by the third song (mostly cause the sound blew until that point, but I chalk that up to being in an outdoor amphitheatre). I realized that at that point that for the past 18 years I have seen nothing but Duran Duran cover bands, cause THIS is the real deal.
First, I was shocked at how good they look (always important), but nothing could prepare me for the incredible chemistry the original line up has and tremendous talent that the two members I had never seen perform, Andy and Roger Taylor, have oozing out of them. What they bring to the table is unbelievavle.
It also no secret that to me John Taylor, co-founder of Duran Duran, is without a doubt THE single most underrated bassist of his generation (and inadvertanty inspired the "Factor" name. Now reunited with Roger Taylor, his spirtual other half, the Duran rythmn section is second to none. I had been hoping since the day he left Duran in 1997 that John Taylor would return to the fold, and seeing him here made realize that he is the heart and soul of the band. And it's biggest fan. Every band needs that member who is unconditional in their love for the band. I can relate.
They played the hits, they played album tracks such as NEW RELIGION and CARELESS MEMORIES with the energy that musicians half their age couldn't muster, and they played new songs that potentially rival the best of their back catalog. They also played some hits from their post Andy/Roger period and again, the two returning members added their own unique touches to songs such as COME UNDONE and ORDINARY WORLD that were fantastic.
And did I mention how good they look?
Back in New York recently, the VH1 "I LOVE THE 80'S" (I DONT love the 80's btw) poked fun at the alleged limited keyboard playing skills of Nick Rhodes, which only goes to show how stupid people are. Nick Rhodes pretty much invented the Duran "sound". When SAVE A PRAYER starts, and thousands of people swoon, who do you think created those synth sounds that tug at your heart and make you a big pile of mush? Genius. That I say Fuck You to the singer out of Def Leppard who wishes he had a quarter of Nick Rhodes' talent. Pour some sugar on THIS, you bitch.
I don't wanna even get into the brilliance of Simon LeBon, who's voice has improved tremendously over the years and represents a lost generation of uninhibited, sexy frontmen who combine talent with charisma to cast a spell over their audience. He has charisma to spare and is full on.
By the 3rd song I realized we were seeing something very very special. By the encore, my lawyer/advisor/agent said to me "what MORE can they do?" and yet they do even more. These guys are playing for keeps and are very obviously determined to cement their legacy. I have never seen a band like this before. There is a reason this band has sold 70 million records. This isn't a comeback, this is something beyond that. It's not nostalgic. I don't know what this is, but this was one of the best gigs I have ever seen.
F
15.7.03
Losing sleep over drum loops
Literally. As I type this at 4:40 a.m. on Tuesday, I am burning discs of the new hypefactor sessions for F.J. to work on during his two-week California sojurn. This is the beauty of the modern home recording system - provided that he has the necessary files, F.J. can mix, modify and arrange any work we do in the studio while he is traveling or out of town. When flying, the majority of us sleep or watch "Miss Congeniality" on the in-flight movie. The ever-efficient F.J., on the other hand, mixes. By the time he and I are both back in the same ZIP code, there will be a whole slew of changes and things will develop from there.
Conveniently, I am off to Chicago tomorrow for a week-long holiday with a couple of the crew from school. I'll have copies of the new material along so that I can write more guitar parts at home, which will then be recorded and fleshed out in New York come the end of July.
After Monday night's session, I began the tedious process of editing the new material and programming some drum loops. The synthetic drums are often the most difficult element to get right in a song's backing track. The reason: They must suit the song's purpose and be completely unique in tone and character. Dance music being, well, everywhere, the bar has been raised for rhythms because the tired ones are embarassingly obvious (hinting at laziness on the producer or programmer's part.) But the great ones - here I'll cite Telefon Tel Aviv, a current hypefactor favorite - stick in your head as much as a shimmering guitar hook.
The time-consuming editing process is a significant departure from The Distracted Lover sessions at Sauna (my old apartment on Water Street at the Fulton Fish Market.) When F.J. and I met after pre-production in June 2001 to share our material, the arrangements of the five songs we chose to record changed very little during the next year. As a result, we only recorded what was needed - there was almost nothing in the way of extraneous takes or arrangement concepts. This time around, however, neither of us brought finished songs to the table at the start of the recording process. The six embryonic songs with which we are working emerged from hours of jamming in the studio, all of which was recorded direct to disk. As a result, a single song may have hundreds of takes and structural ideas associated with it, all of which will be picked through at some point.
I have more to tell about Monday night's session, but I'll post about that after my flight and a belated Bastille Day celebration in Chicago. And for you squeamish types who never tried steak tartare, get over it!
Conveniently, I am off to Chicago tomorrow for a week-long holiday with a couple of the crew from school. I'll have copies of the new material along so that I can write more guitar parts at home, which will then be recorded and fleshed out in New York come the end of July.
After Monday night's session, I began the tedious process of editing the new material and programming some drum loops. The synthetic drums are often the most difficult element to get right in a song's backing track. The reason: They must suit the song's purpose and be completely unique in tone and character. Dance music being, well, everywhere, the bar has been raised for rhythms because the tired ones are embarassingly obvious (hinting at laziness on the producer or programmer's part.) But the great ones - here I'll cite Telefon Tel Aviv, a current hypefactor favorite - stick in your head as much as a shimmering guitar hook.
The time-consuming editing process is a significant departure from The Distracted Lover sessions at Sauna (my old apartment on Water Street at the Fulton Fish Market.) When F.J. and I met after pre-production in June 2001 to share our material, the arrangements of the five songs we chose to record changed very little during the next year. As a result, we only recorded what was needed - there was almost nothing in the way of extraneous takes or arrangement concepts. This time around, however, neither of us brought finished songs to the table at the start of the recording process. The six embryonic songs with which we are working emerged from hours of jamming in the studio, all of which was recorded direct to disk. As a result, a single song may have hundreds of takes and structural ideas associated with it, all of which will be picked through at some point.
I have more to tell about Monday night's session, but I'll post about that after my flight and a belated Bastille Day celebration in Chicago. And for you squeamish types who never tried steak tartare, get over it!
14.7.03
Listen, I'm going to play on your record tonight and you're more than welcome to come"
Guess, what? Today, I was invited to come play on my solo record. How cool is that? I get a call from Ash telling me he's going into the studio to work on my album and I'm more than welcome to come. Jesus, ok. Thanks for the invite (I mean that in good fun).
As I type, Ash and Brandt are working on guitar parts for our more Cerati sounding track. Ash is giving us those dreamy e-bows that I love and Brandt is....Marring the song up a bit, if you know what I mean. I wanted this to be a rocker, but they are pulling it into a very cool direction.
I, having recorded my bass and guitar parts for this particular tune, get to stare at some wrestling while listening to the lads record. The last time I did something similar, the song "J-BAR" was written, so I am going with the flow. And the flow is quite good.
An updated version of www.hypefactor.com is up and running. Check it out.
S.O. and I had lunch with the legendary Paris Trout today. Paris is an ace Chicago soundman, road manager and basic jack of all trades. I first met him when he was an engineer on the aggression's FLOOD album, and he has since moved on to be an in-demand soundguy. Whenever he is in town, he makes a call and we hook up for a bite or a drink. I can't tell you how enjoyable his company he is. He's a great guy and I'm always happy to spend time with him. We urged him to get the Year of the Rabbit album, which is out tomorrow, and has been in constant rotation at MOGworld for a few days now. GET IT.
I'm happy to report that PIRATES OF THE CARIBBEAN does not suck. it's good clean fun. Gore Verbinski, who also directed THE RING, is quickly becoming one of America's best mainstream directors. Hell of a director.
The world of Chemlab is quiet today.
The MOGpac reunion at the German Beerfest this weekend was very enjoyable and it was good to see the entire crew make it out (big ups to The Kidd for making it for a bit despite his bowel problems). Though I came home smelling like a homeless man, it was good to get the Pac gather on one big park bench at the retirement home to drink pitches of beer .
Happy Bastile Day, and don't think we didn't have dinner at Les Halles tonight, cause we DID. mmmmmmm.
F
As I type, Ash and Brandt are working on guitar parts for our more Cerati sounding track. Ash is giving us those dreamy e-bows that I love and Brandt is....Marring the song up a bit, if you know what I mean. I wanted this to be a rocker, but they are pulling it into a very cool direction.
I, having recorded my bass and guitar parts for this particular tune, get to stare at some wrestling while listening to the lads record. The last time I did something similar, the song "J-BAR" was written, so I am going with the flow. And the flow is quite good.
An updated version of www.hypefactor.com is up and running. Check it out.
S.O. and I had lunch with the legendary Paris Trout today. Paris is an ace Chicago soundman, road manager and basic jack of all trades. I first met him when he was an engineer on the aggression's FLOOD album, and he has since moved on to be an in-demand soundguy. Whenever he is in town, he makes a call and we hook up for a bite or a drink. I can't tell you how enjoyable his company he is. He's a great guy and I'm always happy to spend time with him. We urged him to get the Year of the Rabbit album, which is out tomorrow, and has been in constant rotation at MOGworld for a few days now. GET IT.
I'm happy to report that PIRATES OF THE CARIBBEAN does not suck. it's good clean fun. Gore Verbinski, who also directed THE RING, is quickly becoming one of America's best mainstream directors. Hell of a director.
The world of Chemlab is quiet today.
The MOGpac reunion at the German Beerfest this weekend was very enjoyable and it was good to see the entire crew make it out (big ups to The Kidd for making it for a bit despite his bowel problems). Though I came home smelling like a homeless man, it was good to get the Pac gather on one big park bench at the retirement home to drink pitches of beer .
Happy Bastile Day, and don't think we didn't have dinner at Les Halles tonight, cause we DID. mmmmmmm.
F
12.7.03
This aint your father's Chemlab, but it IS your father in laws!
The Chemlab artwork continues to shape up into something very special. It's been a big thumbs up all around. You'll see soon!
In the meantime, more rough mixes arrive. This morning, via IM, Jamie and I review and discuss. We're on the same page, which is good. Because of the time difference, Jared will respond later. Almost there. Meanwhile, Jason's father in law, Russ, who is an excellent songwriter and a dynamic guitar player, came in to Cracknation to play over a Chemlab song called "Force Quit". He laid down a KILLER guitar solo that takes the song up to a new level. Russ comes from that Lennon/McCartney school of songwriting and guitar playing and he understands the ins and outs of a song. The stuff he plays swerves through this song like a bird. Well done and kudos to Jason for bringing Russ in.
A rough version of www.hypefactor.com is back up and running. I have some new designs for it that should hopefully go up soon as well. Brandt should be appearing on here soon to give more perspective to all things Hype.
I refuse to discuss my utter dislike for THE LEAGUE OF EXTRAORDINARY GENTLEMEN. Anna Poontang is responsible, though I would have seen the movie eventually. I'm dying to see PIRATES. Hopefully I won't be disappointed.
Back to the mixes and then a mogpac reunion..at a retirement home. ;-)
F
In the meantime, more rough mixes arrive. This morning, via IM, Jamie and I review and discuss. We're on the same page, which is good. Because of the time difference, Jared will respond later. Almost there. Meanwhile, Jason's father in law, Russ, who is an excellent songwriter and a dynamic guitar player, came in to Cracknation to play over a Chemlab song called "Force Quit". He laid down a KILLER guitar solo that takes the song up to a new level. Russ comes from that Lennon/McCartney school of songwriting and guitar playing and he understands the ins and outs of a song. The stuff he plays swerves through this song like a bird. Well done and kudos to Jason for bringing Russ in.
A rough version of www.hypefactor.com is back up and running. I have some new designs for it that should hopefully go up soon as well. Brandt should be appearing on here soon to give more perspective to all things Hype.
I refuse to discuss my utter dislike for THE LEAGUE OF EXTRAORDINARY GENTLEMEN. Anna Poontang is responsible, though I would have seen the movie eventually. I'm dying to see PIRATES. Hopefully I won't be disappointed.
Back to the mixes and then a mogpac reunion..at a retirement home. ;-)
F
11.7.03
Funky Funky Funky ASH
Well the guest stars SHINED last night, even though Ash forced us to record in the dark.
Ash, of course, comes armed to the hilt with gear and Robin shows up being Robin, so you know it's going to be a fun evening. My only demand as "boss" is that we lay down Robin's fingerpicking piece that I have been in love with. Other than that, it's free reign for anyone to do whatever they want. Ash JUMPS for the bass guitar. I'm not kidding when I say JUMP.
So you put all these rockers in a room and what do you get? Soundtrack music!! moody, atmospheric soundtrack music.
We wrote two songs, both of which sound like music for film, something I have been aching to do for sometime, but never really pursued. Ash's current obession is the bass guitar and his attention to it SHOWS, as he lends a unique rythmn to the material, which leaves me free to indulge in my Peter Hook fantasies, but at a new and subdued level. Robin is a master of the acoustic. Her fingerpicking piece, now titled "They've Just...", is excellent. Brandt and I stared at each other a few times, knowing that we had something, new, special, different and excellent to add to HF2. When Ash is telling me to record strings, you know we're on a roll. I forgot how fun it was to sit in a room with a bunch of friends and just create music. And it helps that the music is amazing!
Hopefully, this will be JUST the first round with these two...
Chemlab artwork is rolling in and is MASSIVE. Like an idiot I first hated the cover image, wrote Jared to say so, and then an hour later I was in love with it and feeling like an idiot. Anyway, it fits the album perfectly and the guy doing this, Mike, at Burnlab is solid. The contributor to this album and the fan in me both now want this album DONE so I can just hold it and play it for my friends. I'm dying to give a copy of the Chemlab to the kidd and yes, even Mark Mohtashemi.
F
PS: Big ups to the Great Grendali for his hard earned SMACKDOWN 2 Ladder Match victory of the The Legend yesterday. It will go down in history as one of the all time great matches!
Ash, of course, comes armed to the hilt with gear and Robin shows up being Robin, so you know it's going to be a fun evening. My only demand as "boss" is that we lay down Robin's fingerpicking piece that I have been in love with. Other than that, it's free reign for anyone to do whatever they want. Ash JUMPS for the bass guitar. I'm not kidding when I say JUMP.
So you put all these rockers in a room and what do you get? Soundtrack music!! moody, atmospheric soundtrack music.
We wrote two songs, both of which sound like music for film, something I have been aching to do for sometime, but never really pursued. Ash's current obession is the bass guitar and his attention to it SHOWS, as he lends a unique rythmn to the material, which leaves me free to indulge in my Peter Hook fantasies, but at a new and subdued level. Robin is a master of the acoustic. Her fingerpicking piece, now titled "They've Just...", is excellent. Brandt and I stared at each other a few times, knowing that we had something, new, special, different and excellent to add to HF2. When Ash is telling me to record strings, you know we're on a roll. I forgot how fun it was to sit in a room with a bunch of friends and just create music. And it helps that the music is amazing!
Hopefully, this will be JUST the first round with these two...
Chemlab artwork is rolling in and is MASSIVE. Like an idiot I first hated the cover image, wrote Jared to say so, and then an hour later I was in love with it and feeling like an idiot. Anyway, it fits the album perfectly and the guy doing this, Mike, at Burnlab is solid. The contributor to this album and the fan in me both now want this album DONE so I can just hold it and play it for my friends. I'm dying to give a copy of the Chemlab to the kidd and yes, even Mark Mohtashemi.
F
PS: Big ups to the Great Grendali for his hard earned SMACKDOWN 2 Ladder Match victory of the The Legend yesterday. It will go down in history as one of the all time great matches!
10.7.03
'WHO THE F**K IS IN THE DRESSING ROOM?
Hypefactor day 3: Reviewed B's guitar work since the last session. SOLID. Because of new additions to songs, I had to go back and change or improve upon some of my previously recorded basslines. Started a new tune that now takes us into the Cerati territory I have been hoping to go into. There is a nice groove to this one and a great light synth line that meshes well with the live instruments. Makes you bop yer head as it goes along. Finally got my hands on a guitar instead of a bass for a change to write some leads. Had been dying to do that since THE MOTIVE. Great Wall was eaten. We have six songs in the hopper now. Tomorrow the guest stars arrive.
I just realized you might not know who Cerati is. Go NOW to www.cerati.com. The man is a genius and an inspiration. Check him out. NOW. You'll thank me.
Chemlab artwork decisions to be made this weekend. I'm excited to see the options. The artwork is being done by a guy named Michael who has an excellent website www.burnlab.com (no relation to Chemlab). In the meantime, the conversations now turn to tracklistings and where to place the sutures. The Deadline might get pushed a week to make sure everything is perfect. I think thats a VERY wise idea.
S.O. has just made me tea. Sweet girl!
F
I just realized you might not know who Cerati is. Go NOW to www.cerati.com. The man is a genius and an inspiration. Check him out. NOW. You'll thank me.
Chemlab artwork decisions to be made this weekend. I'm excited to see the options. The artwork is being done by a guy named Michael who has an excellent website www.burnlab.com (no relation to Chemlab). In the meantime, the conversations now turn to tracklistings and where to place the sutures. The Deadline might get pushed a week to make sure everything is perfect. I think thats a VERY wise idea.
S.O. has just made me tea. Sweet girl!
F
9.7.03
Where's Me Mic???
Jamie Duffy calls tonight to discuss Chemlab. In the almost decade I have known him, I don't recall him this excited about a project. He and I are rivet geeks to the end. We share that bond. I know. Needless to say the new mixes are coming from his twisted brain and deft hands, so my cup of tea is hoisted in his honour for a job well-done...(so far. the record ain't done yet).
Today, i see the first print ad for Chemlab in Outburn. This shit is REAL now. Also in this issue is an ad for the aggression and Hypefactor. I'm sure it will take the label the same amount of time to figure out that Hypefactor is one word as they did realizing the Kidd is my younger brother. rrr
Ash calls tonight to discuss Hypefactor. Ash, along with the in-demand Ms. Emmet, will bring much to the table this week. He updates me on Ass Cobra. I update him on HF and Chemlab. We express our mutual excitement for the Cerati gig on the 30th. I predict some great music to come out of the aggression's "Power Station/Arcadia" phase.
Matt Gentile posts the first non-F.J. blog entry. THANKS. Matt is correct, I did in fact throw a temper tantrum regarding a new STAR WARS video game, which is NOT for PS2, but for the dreaded X-BOX (christened by me that very night as a "F**K BOX). Matt and his lovely underage girlfriend invite me to drink beer with them and old German people this weekend.
Brandt IM's to say "I'm laying guitars down for you bitch". Now THAT is progress.
Matrix's remix of the aggression song "THE LION's DEN" gets airplay on CYBERAGE RADIO (http://www.cyberage.cx). Very exciting.
S.O. goes out for the evening with the ladies. I stare at the Episode 3 WebCam. I watched them do makeup tests for Kit Fisto. You have no clue who that is, right? Oh I do! I love having a 5 year old cousin who, like me, has an encyclopedic knowledge of all things STAR WARS.
Back to the studio for tomorrow for HF Day 3.
F
Today, i see the first print ad for Chemlab in Outburn. This shit is REAL now. Also in this issue is an ad for the aggression and Hypefactor. I'm sure it will take the label the same amount of time to figure out that Hypefactor is one word as they did realizing the Kidd is my younger brother. rrr
Ash calls tonight to discuss Hypefactor. Ash, along with the in-demand Ms. Emmet, will bring much to the table this week. He updates me on Ass Cobra. I update him on HF and Chemlab. We express our mutual excitement for the Cerati gig on the 30th. I predict some great music to come out of the aggression's "Power Station/Arcadia" phase.
Matt Gentile posts the first non-F.J. blog entry. THANKS. Matt is correct, I did in fact throw a temper tantrum regarding a new STAR WARS video game, which is NOT for PS2, but for the dreaded X-BOX (christened by me that very night as a "F**K BOX). Matt and his lovely underage girlfriend invite me to drink beer with them and old German people this weekend.
Brandt IM's to say "I'm laying guitars down for you bitch". Now THAT is progress.
Matrix's remix of the aggression song "THE LION's DEN" gets airplay on CYBERAGE RADIO (http://www.cyberage.cx). Very exciting.
S.O. goes out for the evening with the ladies. I stare at the Episode 3 WebCam. I watched them do makeup tests for Kit Fisto. You have no clue who that is, right? Oh I do! I love having a 5 year old cousin who, like me, has an encyclopedic knowledge of all things STAR WARS.
Back to the studio for tomorrow for HF Day 3.
F
8.7.03
We just wanna play...
This recent trend of exclusivity among game producers is REALLY beginning to irk me. I own a GameCube and an XBOX - why? because certain games come out on certain platforms. Owning the GC is key, however, because more obscure titles have been released (like Eternal Darkness) that are brilliantly fun and very challenging - it's not the juvenile machine most non-believers think it is (besides, how juvenile is the next Rogue Squadron).
My good friend and fellow gamer FJ (PS2 owner, btw) and I enjoyed an evening last night filled with professional wrestling and a couple of S.O.'s and one G. Aside from a good match or promo or two, the highlight was watching the game ads and wondering which platform it was going to be on. the first was the aforementioned "SW - Rogue Squadron" - exclusive to GC; the next was "WM XIX" - exclusive to GC. The third was more exciting: "SW - The Knights of the Old Republic". The suspence was near painful...XBOX. FJ then let out a few unmentionables as he relayed his disgust with the platform exclusivity that is over taking the gaming world. We then got a few kicks because the red neck trucker game is available for all platforms - FJ was happy to see he got something.
I send this plea out to the game companies and developers of the world...have a heart. don't make us spend more money than we can already afford to go out and buy the latest gear just to play ONE or TWO games. Make it a level playing field for the consumer. Don't be dicks.
M.
My good friend and fellow gamer FJ (PS2 owner, btw) and I enjoyed an evening last night filled with professional wrestling and a couple of S.O.'s and one G. Aside from a good match or promo or two, the highlight was watching the game ads and wondering which platform it was going to be on. the first was the aforementioned "SW - Rogue Squadron" - exclusive to GC; the next was "WM XIX" - exclusive to GC. The third was more exciting: "SW - The Knights of the Old Republic". The suspence was near painful...XBOX. FJ then let out a few unmentionables as he relayed his disgust with the platform exclusivity that is over taking the gaming world. We then got a few kicks because the red neck trucker game is available for all platforms - FJ was happy to see he got something.
I send this plea out to the game companies and developers of the world...have a heart. don't make us spend more money than we can already afford to go out and buy the latest gear just to play ONE or TWO games. Make it a level playing field for the consumer. Don't be dicks.
M.
The Electro Bull Durham Blues
In between the new Hypefactor sessions (and until the new aggression remixes come in), my musical attention turns to Chemlab. Granted, my role at this point is cheerleader (and sounding board for Jared), but the focus is still on the music and giving my input towards making this the best possible Chemlab is a major priority. Being asked to work on this album has been like getting called up to the Majors after being in the Minor Leagues for a decade. Like Bull Durham (maybe). So I feel some pressure and I know, as my S.O. will attest, that this pressure is totally self-inflicted.
The newest round of Chem-mixes came my way today and the progress is shockingly good. I’m so impressed by what is coming out of Chicago. The Cracknation crew, as producers, have really stepped up to what could be their best produced album to date (The last ILC record being my favorite thus far). As a musician who has written and performed on the record, I am happy with the results. Also, I am satisfied that these songs and sutures appeal to the massive Chemlab fan I have been for most of my adult life.
Chemlab has a unique fanbase, and my concern is that regardless of how good the album is (and it’s REALLLLLLY good), the “kids” (as we call them) will still find fault with it because certain people are not involved or it doesn’t sound like 1994, etc. I’m shocked sometimes how hardcore fans of bands cannot accept musical evolution. I like evolution. I’m one of those people who likes Depeche Mode’s SONGS OF FAITH AND DEVOTION more than MUSIC FOR THE MASSES and U2’s ACHTUNG BABY more than THE UNFORGETTABLE FIRE (Robin will kill me for saying that). Growth is fun when it works like it did with those two Flood-Produced albums. Love and Rockets went dance, and went crap. The open-minded will love the new Chemlab. The fools stuck in 1994 can never ever be pleased.
F
The newest round of Chem-mixes came my way today and the progress is shockingly good. I’m so impressed by what is coming out of Chicago. The Cracknation crew, as producers, have really stepped up to what could be their best produced album to date (The last ILC record being my favorite thus far). As a musician who has written and performed on the record, I am happy with the results. Also, I am satisfied that these songs and sutures appeal to the massive Chemlab fan I have been for most of my adult life.
Chemlab has a unique fanbase, and my concern is that regardless of how good the album is (and it’s REALLLLLLY good), the “kids” (as we call them) will still find fault with it because certain people are not involved or it doesn’t sound like 1994, etc. I’m shocked sometimes how hardcore fans of bands cannot accept musical evolution. I like evolution. I’m one of those people who likes Depeche Mode’s SONGS OF FAITH AND DEVOTION more than MUSIC FOR THE MASSES and U2’s ACHTUNG BABY more than THE UNFORGETTABLE FIRE (Robin will kill me for saying that). Growth is fun when it works like it did with those two Flood-Produced albums. Love and Rockets went dance, and went crap. The open-minded will love the new Chemlab. The fools stuck in 1994 can never ever be pleased.
F
6.7.03
Hello, Jared, It's me Chris Walken!
The first round of Hypefactor guest stars have been contacted and have agreed to pop into the studio this week to bring their unique stylings to the table. Knowing these first two guest stars quite very well and knowing what they are capable of, I'm psyched and honoured to have them come in. I stopped into the studio today to handle some Chemlab stuff (nothing major, just a few things Jared asked me to put together), and of course I had to pause to listen to this weekends musical results. I'm jazzed. Completely by fate and fate alone, my cameo at the studio today coincided with a delivery from Great Wall. An almost tearful reunion.
Going back and forth with the Chemcrew about the mixing and now the bullshit associated with releasing the album (i.e. artwork, credits, publishing, yadda yadda) begins. I heard the instrumental demo of a song called ATOMIC AUTOMATIC and I'm particularly pleased with how it's sounding. VERY Chemlab, very heavy, very nasty. mmmm. Jason sent me an update from the CrackStudio to tell me Mr. Duffy's dirty little paws have gotten a hold of some of these songs. I don't think anything pleases me more than a motivated Jamie Duffy. As this record develops, my confidence in the production team grows. Chemlab is in good hands.
And to top off the evening, I just found out that 88.7 WRSU FM, New Brunswick, NJ radio is spinning the track INFRINGEMENT from the Hypefactor EP. Nice!
Should be a busy week. Lots of studio time planned. Maybe someone from the MOGpac will write as well ;-)
F
Going back and forth with the Chemcrew about the mixing and now the bullshit associated with releasing the album (i.e. artwork, credits, publishing, yadda yadda) begins. I heard the instrumental demo of a song called ATOMIC AUTOMATIC and I'm particularly pleased with how it's sounding. VERY Chemlab, very heavy, very nasty. mmmm. Jason sent me an update from the CrackStudio to tell me Mr. Duffy's dirty little paws have gotten a hold of some of these songs. I don't think anything pleases me more than a motivated Jamie Duffy. As this record develops, my confidence in the production team grows. Chemlab is in good hands.
And to top off the evening, I just found out that 88.7 WRSU FM, New Brunswick, NJ radio is spinning the track INFRINGEMENT from the Hypefactor EP. Nice!
Should be a busy week. Lots of studio time planned. Maybe someone from the MOGpac will write as well ;-)
F
Exist!
Day 2 of the new Hypefactor sessions were again productive and successful. The rocker I mentioned yesterday has developed nicely. It now has a hard chorus and some sweet wah wah guitars. Upon reviewing the material so far, which is now up to 5 songs worth, I'm noticing a Joy Division undertone to it. Not in an obvious way, like say, with Interpol, but more in modern context. At the end of the day, we pinpointed what additions are going to be needed for these songs, and that is mostly some guitar work. Once that is done, hopefully before my next LA jaunt this month, I will then take the songs and begin arranging. While thinking ahead, I realize that we need to quicken the pace with the second batch of songs. I want it to move a bit faster in places. But this is all embryonic, but the melodies are strong and so far it's a real big step forward. It was fun just sitting there reading NME while saying "yes" or "no" to potential drum loops. Rough, innit?
I am sickened by the news reports of terrorism at a rock festival in Moscow. I think it's no secret that MOGpac is very pro-Russia and the thought of such violence in that part of the world, especially after having just played there, effects all of us. The fact that this was an act of violence against kids at a rock concert makes this even worse.
The day ended with G and I checking out TERMINATOR 3. I was shocked at how intentionally goofy it was. Arnold is given tons of one-liners, and most are quite funny, but it takes you right out of the drama. Its hard to take seriously. It's also Cameron By Numbers. It's entertaining, but it doesn't really add anything new to that universe. The Birdinator (as I call her), is just a normal hot blonde. Nothing special, so you never accept her as a threat. I see birds like this in LA all the time. When they introduced Robert Patrick in T2, he was unusual looking and you never saw these FX before. Now its just some actress and the same FX. They needed to find an otherworldly knockout who looks like no one else, sorta like Angelina Jolie when you first saw her. The one positive was that the guy who plays John Connor, who I believe is Nick Stahl, is a million times better than that crackhead Ed Furlong, who I doubt could have carried this movie the way Stahl does. The movie was fun for sure, but Cameron ain't losing any sleep.
Though I am. Back to the Lab tomorrow. I think.
F
I am sickened by the news reports of terrorism at a rock festival in Moscow. I think it's no secret that MOGpac is very pro-Russia and the thought of such violence in that part of the world, especially after having just played there, effects all of us. The fact that this was an act of violence against kids at a rock concert makes this even worse.
The day ended with G and I checking out TERMINATOR 3. I was shocked at how intentionally goofy it was. Arnold is given tons of one-liners, and most are quite funny, but it takes you right out of the drama. Its hard to take seriously. It's also Cameron By Numbers. It's entertaining, but it doesn't really add anything new to that universe. The Birdinator (as I call her), is just a normal hot blonde. Nothing special, so you never accept her as a threat. I see birds like this in LA all the time. When they introduced Robert Patrick in T2, he was unusual looking and you never saw these FX before. Now its just some actress and the same FX. They needed to find an otherworldly knockout who looks like no one else, sorta like Angelina Jolie when you first saw her. The one positive was that the guy who plays John Connor, who I believe is Nick Stahl, is a million times better than that crackhead Ed Furlong, who I doubt could have carried this movie the way Stahl does. The movie was fun for sure, but Cameron ain't losing any sleep.
Though I am. Back to the Lab tomorrow. I think.
F
5.7.03
Since yesterday was Day 1 for the new Hypefactor material, I've decided to keep an ongoing journal about this record so a year from now I can look back and see what this album eventually started as and how much it either changed or stayed on course. Plus I want to see how scattered my brain really is when it comes to doing what I love the most, which is making music.
Day 1 was very productive. Surprisingly actually. It was very casual and the ideas were flowing. The first Hypefactor record started from songs that either Brandt or myself had already written and we would play over what already existed. This time it was starting totally from scratch usually from a simple 4 measure drum or synth loop. Already the sound is different. We've got four tracks in embryonic form and they seem darker, a little depressing, though the last song we started working on was a rocker. I'm interested in seeing that one come together.
Having not written on my own (i.e. not in a band atmosphere or with a producer riding me) in quite some time, it was a pleasure to just sit and play bass. I had spent the last year or so either just doing remixes, writing for Chemlab, or writing with the aggression in the rehearsal space (where Ocionic and Wedding Song were born), so I wasn't sure if I could immediately get back into the swing of writing for myself. However, I was more than ready and never really stopped for a second (other than the customary Wendy's break. thats when you KNOW I'm in the zone). I think it was the same thing for Brandt, who is a lot quicker of an engineer these days. I was jumping from bass to keyboards like a kid who needs ritalin and he kept up withour losing a beat.
Today is day two. I'd like to think we can pump out maybe 2 more. Once we have about 6 ideas down, I want to start bringing people in to add over this stuff. I hear things and I'll say "this needs (insert name here)" Last time, we didn't do the guest star thing till later in the process. This time, I want people to be in the early stages to help shape the songs. At the same time, I would like to have different people come in trigger a few new ideas. For example, Robin has guitar piece I want to lay down and Ash has an ambient piece I fell in love in when I accidentally downloaded it off his hotline account. I hope to bring in some non Mogpackers as well some OLD schoolers. We shall see.
The other benefit to this is that the studio is down in my old seaport neighborhood, so I am looking forward to my reuniting with the greatest Chinese take out of all time, Great Wall. A wonderful thing indeed.
More after day 2!
F
Day 1 was very productive. Surprisingly actually. It was very casual and the ideas were flowing. The first Hypefactor record started from songs that either Brandt or myself had already written and we would play over what already existed. This time it was starting totally from scratch usually from a simple 4 measure drum or synth loop. Already the sound is different. We've got four tracks in embryonic form and they seem darker, a little depressing, though the last song we started working on was a rocker. I'm interested in seeing that one come together.
Having not written on my own (i.e. not in a band atmosphere or with a producer riding me) in quite some time, it was a pleasure to just sit and play bass. I had spent the last year or so either just doing remixes, writing for Chemlab, or writing with the aggression in the rehearsal space (where Ocionic and Wedding Song were born), so I wasn't sure if I could immediately get back into the swing of writing for myself. However, I was more than ready and never really stopped for a second (other than the customary Wendy's break. thats when you KNOW I'm in the zone). I think it was the same thing for Brandt, who is a lot quicker of an engineer these days. I was jumping from bass to keyboards like a kid who needs ritalin and he kept up withour losing a beat.
Today is day two. I'd like to think we can pump out maybe 2 more. Once we have about 6 ideas down, I want to start bringing people in to add over this stuff. I hear things and I'll say "this needs (insert name here)" Last time, we didn't do the guest star thing till later in the process. This time, I want people to be in the early stages to help shape the songs. At the same time, I would like to have different people come in trigger a few new ideas. For example, Robin has guitar piece I want to lay down and Ash has an ambient piece I fell in love in when I accidentally downloaded it off his hotline account. I hope to bring in some non Mogpackers as well some OLD schoolers. We shall see.
The other benefit to this is that the studio is down in my old seaport neighborhood, so I am looking forward to my reuniting with the greatest Chinese take out of all time, Great Wall. A wonderful thing indeed.
More after day 2!
F
4.7.03
It's a national holiday. Everyone is travelling or bbq'ing or taking it easy. Of course, I will have none of that as I am literally packing up the bass to get started on the new round of Hypefactor songs. Should be fun and interesting.
Chemlab update: First from Chicago: Vocals are done and the album is officially in the mixing stage now. I think Mr. Duffy has gotten his hands on a few of the tunes so you KNOW good things are happening. From NY: I spent a few hours at Brandt's studio yesterday going through a cassette tape that Jared gave to me containing two full sides of old Chemlab demos from their East Side Sessions. There is so much incredible stuff on this mother. I immediately wrote Jared a threatening letter that we eventually had to go back to some of the songs that never saw the light cause there is a ton of good ideas on this that were never completed. Man, gimme some of the drugs they were on back then making this awesome music!
As usual, I have gone out and bought far too many discs lately. Everything from new Ogre (really good), Hate Dept (snooze), Type O Negative (a good return to form). But nothing and i mean NOTHING beats the long awaited live album from Primal Scream, called "Live in Japan". This Japanese only release is without a doubt one of the best live albums I have ever heard and I can't stop listening to it. if you are even remotely a fan, this is worth seeking out. As a hardcore fan of this band, I am blown away. I saw them earlier this year and loved it, but this disc surpasses that by a million times. It's one of those rare albums that makes you wanna go and be in a band. Incredible.
In other incredible news, the GENIUS that is Gustavo Cerati is doing a rare tour of the United States this month. To say there are happy faces in the MOGcamp would be an understatement. I'm seeing him in LA as well. DONT MISS HIM. What a trip to LA this is gonna be: the reunited Duran Duran, The San Diego Comic Con, Raw at Staples center (thanks AL), and Cerati, plus Brad Cramps bachelor party. oh yeah, I will work too ;-)
Have a good, safe holiday, kids.
F
Chemlab update: First from Chicago: Vocals are done and the album is officially in the mixing stage now. I think Mr. Duffy has gotten his hands on a few of the tunes so you KNOW good things are happening. From NY: I spent a few hours at Brandt's studio yesterday going through a cassette tape that Jared gave to me containing two full sides of old Chemlab demos from their East Side Sessions. There is so much incredible stuff on this mother. I immediately wrote Jared a threatening letter that we eventually had to go back to some of the songs that never saw the light cause there is a ton of good ideas on this that were never completed. Man, gimme some of the drugs they were on back then making this awesome music!
As usual, I have gone out and bought far too many discs lately. Everything from new Ogre (really good), Hate Dept (snooze), Type O Negative (a good return to form). But nothing and i mean NOTHING beats the long awaited live album from Primal Scream, called "Live in Japan". This Japanese only release is without a doubt one of the best live albums I have ever heard and I can't stop listening to it. if you are even remotely a fan, this is worth seeking out. As a hardcore fan of this band, I am blown away. I saw them earlier this year and loved it, but this disc surpasses that by a million times. It's one of those rare albums that makes you wanna go and be in a band. Incredible.
In other incredible news, the GENIUS that is Gustavo Cerati is doing a rare tour of the United States this month. To say there are happy faces in the MOGcamp would be an understatement. I'm seeing him in LA as well. DONT MISS HIM. What a trip to LA this is gonna be: the reunited Duran Duran, The San Diego Comic Con, Raw at Staples center (thanks AL), and Cerati, plus Brad Cramps bachelor party. oh yeah, I will work too ;-)
Have a good, safe holiday, kids.
F