First things first, thanks to the Quizmo website, I have created "Test Your MOGness" quiz for the members of the MOGpac. This quiz is designed mostly for the 8 or so people that would possibly get it, but dammit of those 8 people who have taken it thus far, there has been much amusement. It really takes the piss out of the whole crew. Further to the 24 Quiz discussed previously, Brandt took it and was Tony, and Ash took it and was Michelle, Tony's wife. If you know these people, this makes perfect sense. Then Dan Hamill took it and was Kim Bauer, Jack's daughter, which in this silly world of ours, makes even sense that G himself would be a hot chick...
Moving on...
Being as burnt out as I am from the recent LA adventure and then subsequent real life work related matters that have kept me from home this week, I was excited to have a good nights rest yesterday and then hit the studio for a solid (half day) or work. We began with the computer-based grunt work of adding the new parts Leo did in LA for OUR FAITH to the original song file. I loved the arrangement Leo and I conceived for the song, so it was my job to get that in shape. Arrangement is one of my strong points, so while this may be a boring job for some, this is my bread and butter. It didnt take too long, but I wanted to spend some time going through everything thats been recorded for the song to see what would stay and go. By doing this, I was able to create a cool blend of the original (recorded with Jamie Birthday Boy Duffy) and the new version (recorded with Leo). We got us a hot song here.
Next was more fun, as I finally got to get my musical hands on the latest track, DESCRIPTIVE, which I had yet to do anything but arrange. As I type, I'm waiting for B to send over the mp3 of it, but we created a new intro that has all the elements of the chorus, minus the guitars, but with the addition of some F-Bass. Brandt wants this song to end as a fade, so we added this bass to the fading chorus at the end. Inspired, I began writing some lyrics down so I wouldn't forget while B added some synth and strings to the chorus. I'm really loving this song, and while I don't think it fits on the album (and was never intended to be), I am enormously proud of what my mates did here and I hope we can play this baby live.
Upon discussing where we are at with the albun, it's been decided to start vocals earlier than planned as the drum editing is going to slow for my tastes (however, this will bring us nothing short of perfection thanks to B). So I should be back there on Monday starting this.
It was too nice outside after a few crap days of weather, so B and I hit the record shop for our usual round of spending way too much. Got the new MOJO/NME special on The Smiths and seeing Oasis on the cover of the new Q made my day.
Later that night, Irene, G and I went to see SHREK 2. I am not a big fan of the first one, which I liked, but damn this second one is HILARIOUS, thanks in part to really funny voice work from Antonia Banderes and Rupert Everett. Really funny, go see it.
And now I must prepare for the long awaited Pizza-Off event in which Irene and my dad will battle to see who makes the better Pizza here at MOGworld. My dad, who doesnt cook is about to get his ass handed to him I think, as Irene makes a damn fine Pizza. The Winner in all this is ME, who gets to eat all of this!
F
26.5.04
The Following Blog Takes Place Between the Hours of 11pm and 12am. Events Occur in Real Time
So while arranging the song B, Ash, Robin and Charles wrote, DESCRIPTIVE, we paused to eat some Great Wall and watch the Season Finale of 24, which was really good. Not great, but really good. Jack's breakdown at the end was a good way to end it. The War goes on and Jack Bauer will not tire! Anyhow, The show's not back on till January and I have a feeling it will be a very different show. Seasons 1 and 2 were classic and quite frankly, Season 3 had a lot to live up to and occasionally delivered. It's time to change up the formula. However, speaking of season finale's, SMALLVILLE was awesome and they re really shaking up that show in a good way. They got rid of a lot of characters supposedly and had a well crafted cliffhanger. Kudo's to that writing staff.
I took a quiz that was called "Which 24 Character are you most like" and this was the answer: "You are MOST like JACK BAUER. Your motives are pure, but your tactics are ruthless, fearless and uncompromising. You value loyalty, honour and tradition. You don't trust people easily, but when they do earn your trust, you are loyal to them, sometimes to a fault. You are quick-witted, resourceful and a bit of a badass. You love danger and taking risks, but will not hesitate to put yourself on the line for your beliefs and the people you care about."
I think i AM a bit of a badass, though I hope I don't have a heroin habit by next season.
As for the new song, it's damn good and the kids have left me a lot to work with. I don't know if they will love the arrangement, but you can't make everyone happy. I already have vocal melodies for it. It gets quite electronic in the middle, which I love. It will be great for the single.It needs some more meat on it, though I'm not sure what it needs yet or if even I'm the man to do it. Regardless, this track is certainly worthy of the HF catalogue. My compatriots are a mean force.
Meanwhile, Brandt gave me a new edit of CREATION PHASE where the intro was significantly chopped. The song has much more punch now, which really takes it over the top (a good thing). it makes sense. Also, he recorded some extra guitars for LENINGRAD, which were good but needed proper placement, so we spent sometime on that. Now that song's just about perfect.
Brandt will now be spending the next week plus editing drums. Closer and Closer. We need to be careful not to start overthinking shit.
While I am a newcomer to THE SOPRANO's, my love for Drea De Matteo is everlasting. Watching her get beat up and now supposedly killed on that show is too much for me. I have a feeling which she appears next season on the FRIENDS spin-off JOEY, I doubt we will see Matt LaBlanc smacking her around.
And finally the newest issue of the BATTLE ROYALE manga has arrived, so I'm off!
F
I took a quiz that was called "Which 24 Character are you most like" and this was the answer: "You are MOST like JACK BAUER. Your motives are pure, but your tactics are ruthless, fearless and uncompromising. You value loyalty, honour and tradition. You don't trust people easily, but when they do earn your trust, you are loyal to them, sometimes to a fault. You are quick-witted, resourceful and a bit of a badass. You love danger and taking risks, but will not hesitate to put yourself on the line for your beliefs and the people you care about."
I think i AM a bit of a badass, though I hope I don't have a heroin habit by next season.
As for the new song, it's damn good and the kids have left me a lot to work with. I don't know if they will love the arrangement, but you can't make everyone happy. I already have vocal melodies for it. It gets quite electronic in the middle, which I love. It will be great for the single.It needs some more meat on it, though I'm not sure what it needs yet or if even I'm the man to do it. Regardless, this track is certainly worthy of the HF catalogue. My compatriots are a mean force.
Meanwhile, Brandt gave me a new edit of CREATION PHASE where the intro was significantly chopped. The song has much more punch now, which really takes it over the top (a good thing). it makes sense. Also, he recorded some extra guitars for LENINGRAD, which were good but needed proper placement, so we spent sometime on that. Now that song's just about perfect.
Brandt will now be spending the next week plus editing drums. Closer and Closer. We need to be careful not to start overthinking shit.
While I am a newcomer to THE SOPRANO's, my love for Drea De Matteo is everlasting. Watching her get beat up and now supposedly killed on that show is too much for me. I have a feeling which she appears next season on the FRIENDS spin-off JOEY, I doubt we will see Matt LaBlanc smacking her around.
And finally the newest issue of the BATTLE ROYALE manga has arrived, so I'm off!
F
24.5.04
Sit Down And Shut Up!
As I got up to grab some iced tea from the fridge (now a staple at Birdcage to cut down on Wendy's bills), the searing pain in my arms reminded me of something I forgot to mention in my previous post: the MOGpac's first appearance at the Tournament Of Champions dodgeball league.
I will keep the history and details about this event to a minimum, as I hope Mattagement (an organizing principle of MOG Athletics) will go into specifics about that here. But a few key observations:
- The MOGpac should probably spend weekends brushing up on their skills, as the team went one for five, despite a good showing during our warmup session outside MLK Jr. High School.
- A defensive/catching game is probably the way to go because, with few exceptions, we throw like girls. Sorry ladies.
- The MVP award for the day belongs to Charles LaBarbara, who went one-on-one against a chick and brought the MOGpac its only victory of the championship. The ref would take umbrage at Charles' name being used in the same sentence as MVP, but he's not here right now, so fuck it.
- The only team the 'pac beat has a player who the crowd referred to alternately as Tolkien or a Hobbit. I am not sure what this says about us.
- The "Nastiest Smack" award goes to Robin Emmet, who took one for the team square in the chest when she was the only one left on the court. Not even FJ's frequent spatula attacks could have prepared the poor girl for that hit, which resonated throughout the gym. While we lost that match, the hecklers booed the opposing team for beating up on a lone girl. Do moral victories exist in dodgeball?
- The MOGpac received its most savage beating at the hands of a team named after a Spinal Tap album. We hath smelt the glove, and the stench was foul.
- If you are a team of irate alpha males, calling yourselves the "Richard Ryders" is an unfortunate decision.
The good news is that we met a couple of other dodgeballers who were competing for the second time at the tournament, and their team made it to the playoffs after a one-and-five showing the month beforehand. Indeed, miracles do happen. Now all we need are t-shirts.
I will keep the history and details about this event to a minimum, as I hope Mattagement (an organizing principle of MOG Athletics) will go into specifics about that here. But a few key observations:
- The MOGpac should probably spend weekends brushing up on their skills, as the team went one for five, despite a good showing during our warmup session outside MLK Jr. High School.
- A defensive/catching game is probably the way to go because, with few exceptions, we throw like girls. Sorry ladies.
- The MVP award for the day belongs to Charles LaBarbara, who went one-on-one against a chick and brought the MOGpac its only victory of the championship. The ref would take umbrage at Charles' name being used in the same sentence as MVP, but he's not here right now, so fuck it.
- The only team the 'pac beat has a player who the crowd referred to alternately as Tolkien or a Hobbit. I am not sure what this says about us.
- The "Nastiest Smack" award goes to Robin Emmet, who took one for the team square in the chest when she was the only one left on the court. Not even FJ's frequent spatula attacks could have prepared the poor girl for that hit, which resonated throughout the gym. While we lost that match, the hecklers booed the opposing team for beating up on a lone girl. Do moral victories exist in dodgeball?
- The MOGpac received its most savage beating at the hands of a team named after a Spinal Tap album. We hath smelt the glove, and the stench was foul.
- If you are a team of irate alpha males, calling yourselves the "Richard Ryders" is an unfortunate decision.
The good news is that we met a couple of other dodgeballers who were competing for the second time at the tournament, and their team made it to the playoffs after a one-and-five showing the month beforehand. Indeed, miracles do happen. Now all we need are t-shirts.
Descriptive
I admit I was supposed to write this post days ago, but I am back to editing drums for Exit Strategies and keeping everyone up to date went on the backburner for a few days. So please excuse my poor sense of timing.
But as FJ wrote yesterday, while he cavorted with industry types in Los Angeles on Wednesday, the Factor Corp. board met at Birdcage to hammer out the foundation of the band's first new song in seven months. The recording was planned at my encouragement, and I admit it is nonsensical to dive into a new recording while we are waist-deep in edits and overdubs for the full-length. That being said, the fans will be treated to a new hypefactor release this year before the album - I'll leave it up to FJ to fill in the details when he sees fit - and we wanted to include something exclusive. This track will most likely be it.
The directive for the song, per FJ, was to compose something emphasizing electronics rather than guitars. Guitars drive the melodies and rhythms of Exit Strategies, with few exceptions, and we both thought it would be clever to do something radically different here. A number of structural ideas and potential "blueprints" for the tune were bandied about via IM before F left for Los Angeles, and the general consensus was to fashion a pop song whose melody and atmosphere are driven by rhythm loops and synth melodies. I refined some structural ideas further while listening to some NewOrder b-sides from their Get Ready era, both of which were synth-based tracks recorded during that band's otherwise rockist period.
And as always happens with this band, plans and ideas rarely materialize as intended, and for the better. The core of Robin, Ash and I were joined by Ass Cobra bassist Charles LaBarbara the evening of the session, much to Robin's surprise and delight (as she and Chaz get along swimmingly). Ash and I cued up some loops we had prepared in Ableton Live, while Charles played bass and Robin played synth drums on her Roland electronic kit... a first for us. As Charles' funky bass part came together, however, both Ash and Robin drifted toward guitars, and they recorded some dark, chordy progressions of which I am quite fond. Ironically, no electronics (aside from the basic loops and Robin's drums) were tracked that evening. Not what I had intended by a long stretch, but the result felt right.
I took that direction one step further the next day while jamming along to Robin's drums and Charles' precise, machine-like bass line, which will probably form the verse/chorus structure for the tune. Their playing had such unexpected drive to it that I tracked some acoustics and a brisk, zingy electric riff in a few hours of inspiration. I also pulled in a lot of new loops from a prep session I had done earlier in the week, many of which may stay pending FJ's arrangement overhaul. As I wrote to F today, the song is only 10 to 15 percent of the way there, so it could be a reggae song by the time we are wrap it up next month. But the song in its current form has far more verve than I anticipated, and I am thrilled with the direction it has taken thus far.
A substantial part of the song's feeling derives from Charles' bass part, which I think is one of the best things this group has committed to tape in some time. There are countless studio moments - Ash's guitar riff in the bridge of "Exist," FJ's bass in "Clean Up," Robin's drumming on "Solar" - where I thank my lucky stars I play in this band, and Charles' performance on Wednesday was of that quality. I, for one, hope (and think) this will not be his only appearance on a hypefactor recording.
The last time I posted I promised to say something about ex-industrialist Chris Connelly's new record, Night Of Your Life, which came out last week. FJ and I had the luxury of digesting a pre-release copy of this album for a matter of months, and after listening to the finished product I still believe Connelly has not recorded anything this brilliant since Blonde Exodus, if not Shipwreck. This feat is all the more impressive considering that those records were recorded with full bands, while producer/longtime collaborator Chris Bruce and a keyboardist are Connelly's only accompaniment on Night Of Your Life. Bruce, a wildly talented multi-instrumentalist and member of Seal's backing band, deserves a huge amount of credit for providing the lushness this batch of tunes required. Given hipsters' penchant for singer-songwriter types these days, I will never understand why "Stella Stand Up And Take Your Man" is not a massive hit. Other than a certain record label's penchant for blowing goats. Oh, and the cover art, all of which was shot in Scotland, is sublime and worth the price of admission alone.
Edits and overdubs continue this week, and if all goes well vocals start on one or two songs next week. Stay tuned.
But as FJ wrote yesterday, while he cavorted with industry types in Los Angeles on Wednesday, the Factor Corp. board met at Birdcage to hammer out the foundation of the band's first new song in seven months. The recording was planned at my encouragement, and I admit it is nonsensical to dive into a new recording while we are waist-deep in edits and overdubs for the full-length. That being said, the fans will be treated to a new hypefactor release this year before the album - I'll leave it up to FJ to fill in the details when he sees fit - and we wanted to include something exclusive. This track will most likely be it.
The directive for the song, per FJ, was to compose something emphasizing electronics rather than guitars. Guitars drive the melodies and rhythms of Exit Strategies, with few exceptions, and we both thought it would be clever to do something radically different here. A number of structural ideas and potential "blueprints" for the tune were bandied about via IM before F left for Los Angeles, and the general consensus was to fashion a pop song whose melody and atmosphere are driven by rhythm loops and synth melodies. I refined some structural ideas further while listening to some NewOrder b-sides from their Get Ready era, both of which were synth-based tracks recorded during that band's otherwise rockist period.
And as always happens with this band, plans and ideas rarely materialize as intended, and for the better. The core of Robin, Ash and I were joined by Ass Cobra bassist Charles LaBarbara the evening of the session, much to Robin's surprise and delight (as she and Chaz get along swimmingly). Ash and I cued up some loops we had prepared in Ableton Live, while Charles played bass and Robin played synth drums on her Roland electronic kit... a first for us. As Charles' funky bass part came together, however, both Ash and Robin drifted toward guitars, and they recorded some dark, chordy progressions of which I am quite fond. Ironically, no electronics (aside from the basic loops and Robin's drums) were tracked that evening. Not what I had intended by a long stretch, but the result felt right.
I took that direction one step further the next day while jamming along to Robin's drums and Charles' precise, machine-like bass line, which will probably form the verse/chorus structure for the tune. Their playing had such unexpected drive to it that I tracked some acoustics and a brisk, zingy electric riff in a few hours of inspiration. I also pulled in a lot of new loops from a prep session I had done earlier in the week, many of which may stay pending FJ's arrangement overhaul. As I wrote to F today, the song is only 10 to 15 percent of the way there, so it could be a reggae song by the time we are wrap it up next month. But the song in its current form has far more verve than I anticipated, and I am thrilled with the direction it has taken thus far.
A substantial part of the song's feeling derives from Charles' bass part, which I think is one of the best things this group has committed to tape in some time. There are countless studio moments - Ash's guitar riff in the bridge of "Exist," FJ's bass in "Clean Up," Robin's drumming on "Solar" - where I thank my lucky stars I play in this band, and Charles' performance on Wednesday was of that quality. I, for one, hope (and think) this will not be his only appearance on a hypefactor recording.
The last time I posted I promised to say something about ex-industrialist Chris Connelly's new record, Night Of Your Life, which came out last week. FJ and I had the luxury of digesting a pre-release copy of this album for a matter of months, and after listening to the finished product I still believe Connelly has not recorded anything this brilliant since Blonde Exodus, if not Shipwreck. This feat is all the more impressive considering that those records were recorded with full bands, while producer/longtime collaborator Chris Bruce and a keyboardist are Connelly's only accompaniment on Night Of Your Life. Bruce, a wildly talented multi-instrumentalist and member of Seal's backing band, deserves a huge amount of credit for providing the lushness this batch of tunes required. Given hipsters' penchant for singer-songwriter types these days, I will never understand why "Stella Stand Up And Take Your Man" is not a massive hit. Other than a certain record label's penchant for blowing goats. Oh, and the cover art, all of which was shot in Scotland, is sublime and worth the price of admission alone.
Edits and overdubs continue this week, and if all goes well vocals start on one or two songs next week. Stay tuned.
23.5.04
Wheres The Red Carpet?
Just back from the Harry Potter premiere here in NYC. Good movie, solid direction and an extremely hilarious cameo by ex Stone Rose Ian Brown (a pal of the director's, hence the cameo). Of course in all of Radio City Music Hall only two people went mad for Ian Brown: myself and Dan Hamill (though you should have seen Mr. G pop for Emma Watson when they came out to introduce the movie, not that I blame him). As for the movie, it lacks one thing, which is a major bad guy. Let's just say Kenneth Branagh got more screentime in the last movie than Oldman does in this. Special thanks to Mattagement for hooking Irene, G and myself with tix. The post show dinner at the original hardcore Benihana was most enjoyable and as always, the company (G, Matt and Jax) is always first rate.
Stepping back to my industrial roots, I've heard the new WATTS album for the first time today. It's always fun to hear something new from Raymond, and this is no exception. With WATTS, Raymond tries some new things, going into more electronic territory while also stripping down his usually thick sound. It was a smart decision not to call this a PIG album, because with the way its produced and performed, its not. When it does sound like Pig, its more of a reference than anything. I know some of you die-hards are pissed, but quite honestly, he's smart not to fuck with the PIG brand name. I know that sounds kinda corporate, but when he goes back to doing something as PIG, no one can fuck with him when he wanted to try something different here. Having spent years tracking down almost everything the man has ever recorded, I'm a sucker for most things Watts, so I might be a bit biased.
I am told in their first outing, MOG Athletics won ONE game and lost FIVE in dodgeball. I would like to congratulate these beatiful losers on a job well done!!
F
Stepping back to my industrial roots, I've heard the new WATTS album for the first time today. It's always fun to hear something new from Raymond, and this is no exception. With WATTS, Raymond tries some new things, going into more electronic territory while also stripping down his usually thick sound. It was a smart decision not to call this a PIG album, because with the way its produced and performed, its not. When it does sound like Pig, its more of a reference than anything. I know some of you die-hards are pissed, but quite honestly, he's smart not to fuck with the PIG brand name. I know that sounds kinda corporate, but when he goes back to doing something as PIG, no one can fuck with him when he wanted to try something different here. Having spent years tracking down almost everything the man has ever recorded, I'm a sucker for most things Watts, so I might be a bit biased.
I am told in their first outing, MOG Athletics won ONE game and lost FIVE in dodgeball. I would like to congratulate these beatiful losers on a job well done!!
F