The weather suddenly gets good and things get going here! First off, my laptop is back and to make a long story short, when upgrading to OSX, something went wrong and I wiped out EVERYTHING I have ever done in this laptop. Let's not use words like "backed up" or "saved", ok? Needless to say, thanks to the geniuses at DRIVESAVERS, I have all my erased files and I am significantlly lighter in the wallet. However, now my computer is running super amazing out of control awesome. Though I have no music software at the moment.
However, we have some amazing stuff brewing for this new album. Ash's bass playing is incredible on MORNING AFTER and the bridge we wrote for CREATION PHASE was looped over and over again when I spent my Saturday at the studio.
Before all this, Mr. G, Brandt, and I checked out the face in Brooklyn, just a block away from where my mom grew up. This venue, Southpaw, is the bestfor Saintface.They thrive there. Memo to the guitar player: Dont punch your guitar after the first song unless you have a backup guitar, pally. Just sayin.
Morrissey has often failed me in his solo life. I have yet to enjoy myself at any of his solo gigs that I have been to. His last album was utter shit. Saintface, who I have described as "what Morrissey wishes his solo career was" has my heart in recent years when it comes to music. However, he is always forgiven. I will buy his new album and already spent way too much money on tickets for his gig next month. I have to admit, I'm enjoying the Morrissey comeback. We live in an age where we DO need someone like Morrissey to be, ahem, our frank role model. Reading his intelligent and witty criticisms of our world in the NME this weekend made me smile. However, the SPIN article was terrible. Not because of him, but because SPIN is the worst music magazine pretending to be cool I have ever read. Put Peter Saintface on the cover and maybe I'll by it again.
I think the first photo session for HF2 is this week. Maybe Thursday. I'll keep you posted.
F
19.4.04
12.4.04
Dim Sum, son
Things post-laptop problems are starting to get back to normal a little bit. I still don't have my laptop back, but the initial shock of what I did to it (another time) has worn off. Again, I credit Irene for keeping me sane. However, my IPOD took a dive on Friday, which now makes me feel quite jinxed. This led to some time back at Apple in Soho, but the situation was saved by "the IPod genius". Also, thanks to Brandt, I was able to get 1500 or so songs, including some very rare ones BACK into my Ipod within a few hours. A minor crisis saved. Frustrated, Irene and I spoiled ourselves with an evening at Jules, a wonderful French place on St. Marks.
Post dinner, we spent some brief face to face time with Peter Saintface, who was in good spirits and certainly enjoyable to chat with. He now has his songs for this album and I expect we're going to get some greatness out of him!
The next morning, I was feeling refreshed, so I ran to the studio early to work on more bass and surprisingly, Ash was only an hour and a half late. He had issues with the basslines in MORNING AFTER THE LIFE BEFORE. His belief was that while what I played in the song worked for it, it was more of my typical "hook style" bass playing than it was rythmic. Repeated listenings to the song confirmed this to me. Instead of me doing it myself, I suggested Ash record it as he was the one who pointed it out and obviously had been thinking about it. Also, my other motive, no pun intended, was to get him more invested in the song from the bass side, as he will be the live bassist.
Needless to say, it was interesting to watch him work. I've only jammed with him on songs as opposed to putting him in front of me, as a producer, and having him work out a part. Instead of full sections, he worked the chorus out a few measures at a time; eventually writing one longer piece. It's very mathmatical, very detailed, very technical and very successful. It was totally fascinating. I've worked with the guy for years and he still comes up with new ways to puzzle me. After I left, I believe the two of the laid down the rest of that song.
Then, Ash, Brandt and I reworked the bridge to CREATION PHASE, a section that had been troubling everyone in the group, except me of course. Brandt had a vision for this and even tracked Robin playing some random drums based on what he had heard in his head. When I heard the drums earlier in the week, I dismissed it as being too MARCH OF THE PIGS, but when he edited them into the song and presented a guitar part, it was very obvious that this was more akin to The Who. And this is NOT a bad thing. Ash played bass and I played a quick Hook-style lead over this bridge and we hammered it out in what seemed like 3 minutes. It's awesome. I dream of it. I'm happy. In my old age, I've gotten good at letting my collaborators push the songs a bit to make things better. I've become less stubborn and am going to have a much better album because of it.
Later, while shopping on 5th Avenue with Irene and Dan Hamill, we ran into Robin and her man Damon. It was a birthday, so Happy Birthday to the best bandmate I've ever had! We discussed the real band name for ass cobra, which led to Mr. Hamill making a wisecrack that we will get tons of mileage out of. See you at Golden Unicorn, bitch!
The evening was capped off with a screening of THE GIRL NEXT DOOR, which should be huge, but won't be, but was nonetheless enjoyable. The kids in the movie, in particular one of the sidekicks (who Irene has dubbed the new John Cusak), really carried it. And the presence of AJAX from the Warriors, James Remar, never hurts.
I spent Easter immersed in all things Clone Wars. And speaking of Jedi, I ran into the star of my NYU senior thesis film, SUBURBAN JEDI, this morning. HIs name is Kosak, I love him and it was good to see him. He is strong with the force, still, especially if he moves to France. So jealous.
Note to self: Plan vacation!
F
Post dinner, we spent some brief face to face time with Peter Saintface, who was in good spirits and certainly enjoyable to chat with. He now has his songs for this album and I expect we're going to get some greatness out of him!
The next morning, I was feeling refreshed, so I ran to the studio early to work on more bass and surprisingly, Ash was only an hour and a half late. He had issues with the basslines in MORNING AFTER THE LIFE BEFORE. His belief was that while what I played in the song worked for it, it was more of my typical "hook style" bass playing than it was rythmic. Repeated listenings to the song confirmed this to me. Instead of me doing it myself, I suggested Ash record it as he was the one who pointed it out and obviously had been thinking about it. Also, my other motive, no pun intended, was to get him more invested in the song from the bass side, as he will be the live bassist.
Needless to say, it was interesting to watch him work. I've only jammed with him on songs as opposed to putting him in front of me, as a producer, and having him work out a part. Instead of full sections, he worked the chorus out a few measures at a time; eventually writing one longer piece. It's very mathmatical, very detailed, very technical and very successful. It was totally fascinating. I've worked with the guy for years and he still comes up with new ways to puzzle me. After I left, I believe the two of the laid down the rest of that song.
Then, Ash, Brandt and I reworked the bridge to CREATION PHASE, a section that had been troubling everyone in the group, except me of course. Brandt had a vision for this and even tracked Robin playing some random drums based on what he had heard in his head. When I heard the drums earlier in the week, I dismissed it as being too MARCH OF THE PIGS, but when he edited them into the song and presented a guitar part, it was very obvious that this was more akin to The Who. And this is NOT a bad thing. Ash played bass and I played a quick Hook-style lead over this bridge and we hammered it out in what seemed like 3 minutes. It's awesome. I dream of it. I'm happy. In my old age, I've gotten good at letting my collaborators push the songs a bit to make things better. I've become less stubborn and am going to have a much better album because of it.
Later, while shopping on 5th Avenue with Irene and Dan Hamill, we ran into Robin and her man Damon. It was a birthday, so Happy Birthday to the best bandmate I've ever had! We discussed the real band name for ass cobra, which led to Mr. Hamill making a wisecrack that we will get tons of mileage out of. See you at Golden Unicorn, bitch!
The evening was capped off with a screening of THE GIRL NEXT DOOR, which should be huge, but won't be, but was nonetheless enjoyable. The kids in the movie, in particular one of the sidekicks (who Irene has dubbed the new John Cusak), really carried it. And the presence of AJAX from the Warriors, James Remar, never hurts.
I spent Easter immersed in all things Clone Wars. And speaking of Jedi, I ran into the star of my NYU senior thesis film, SUBURBAN JEDI, this morning. HIs name is Kosak, I love him and it was good to see him. He is strong with the force, still, especially if he moves to France. So jealous.
Note to self: Plan vacation!
F
7.4.04
KEYYYYY-TAR
It's been an incredibly stressful week thanks to my totally screwing up my laptop while trying to upgrade my powerbook to OSx. I've been through too much with this, so I dare not explain. However, massively public kudos to my significant other for handling my "suicide watch" with a nice dinner at Wonton Garden. If my computer is salvaged, I will post in depth as to what happened and why and how. As for now, fuck it.
Brandt has gone on in depth in my recent absence regarding certain events and for once he is mostly accurate. The session with Ash was fun and to hear the edited drums for the first time really got the adrenaline pumping. It made me want to get this record out next week, but sadly there is still work to be done.
As for The Twilight Singers gig, my memories, based on copious amounts of Sake, Beer, Gin and Tonic and the DREADED Jagermeister are as such: the gig was too short (in my drunken mind it was a half hour), they played no Whigs songs (they played several), and Dull is, well, a fat fuck. I supposedly screamed this loudly. This is my attempt at being more "British." Also, I recall me and my friends huddled and hopping up and down singing along, which also means we have seen too many British people at gigs.
Last night we checked out the always impressive Saintface. They were fun and energetic and peter's CONSTANT abuse of Matt Gentile from the stage was super fun ;-) Before I start bitching about their album not being done, they ARE doing rough mixes now before bringing a mixer in, so they are in good shape. I am also told that I will be lucky enough to hear these rough mixes. Peter if you're reading, PLEASE don't forget me, Ill even give you NO notes at all so i don't fuck anything up ;-)
Also, Peter needs to watch out for crazy Goths dancing in front of the stage. HEY, this aint Joy Machine, sister!!
Saintface opened up for a band called Blondes, Inc. who I liked in a BRMC club kinda way. I thought the rhythm section was tight, allowing the keytarist and guitarist to drive the vocal melodies. I bought the CD, so I'll decide then if I like them or not! However, they were smart enough to invite Saintface to open for them, so that's a point in their favour. However, the scary couple making out next to Irene was wayyyy too distracting. You had to see that one.
In the end, we had a good crew and the face guys are always nice. Peter and I have settled on his singing two songs for EXIT STRATEGIES, which he has yet to hear, but those songs are called CLEAN UP and EXIST. I know that these two tracks will be massive with him on vocals. Also, I breathe a sigh of relief that he is doing those two songs as we have always had these songs in mind for him. He was the last piece of the puzzle for this record and now its in!
The aggression are making their return to compact disc later this year with a rare remix making an appearance on an upcoming compilation in the US. It will be Needleye's awesome remix of MY WHITE NOVA and I'll send more details when it's all official, etc.
While Brandt is editing, I have started to slowly move the HF Live Machine forward a bit. There is no timetable to play, but there is an idea as to who should be in this band. Besides Me, Brandt, Robin and Ash, I'm happy to report that the last aggression keyboard player, The Kidd, now is the first Hypefactor keyboard player. Honestly, I think this is a more exciting gig for him than the aggression. It's more of a challenge. I'm told Robin is concerned juggling two bands is going to be tough when it comes to playing live. I disagree and plus, double bills could rock! Assfactor, anyone?
I'm back in the studio tonight for bass overdubs, then we're checking out some Death Cab on Thursday. It's a good life, kids.
F
Brandt has gone on in depth in my recent absence regarding certain events and for once he is mostly accurate. The session with Ash was fun and to hear the edited drums for the first time really got the adrenaline pumping. It made me want to get this record out next week, but sadly there is still work to be done.
As for The Twilight Singers gig, my memories, based on copious amounts of Sake, Beer, Gin and Tonic and the DREADED Jagermeister are as such: the gig was too short (in my drunken mind it was a half hour), they played no Whigs songs (they played several), and Dull is, well, a fat fuck. I supposedly screamed this loudly. This is my attempt at being more "British." Also, I recall me and my friends huddled and hopping up and down singing along, which also means we have seen too many British people at gigs.
Last night we checked out the always impressive Saintface. They were fun and energetic and peter's CONSTANT abuse of Matt Gentile from the stage was super fun ;-) Before I start bitching about their album not being done, they ARE doing rough mixes now before bringing a mixer in, so they are in good shape. I am also told that I will be lucky enough to hear these rough mixes. Peter if you're reading, PLEASE don't forget me, Ill even give you NO notes at all so i don't fuck anything up ;-)
Also, Peter needs to watch out for crazy Goths dancing in front of the stage. HEY, this aint Joy Machine, sister!!
Saintface opened up for a band called Blondes, Inc. who I liked in a BRMC club kinda way. I thought the rhythm section was tight, allowing the keytarist and guitarist to drive the vocal melodies. I bought the CD, so I'll decide then if I like them or not! However, they were smart enough to invite Saintface to open for them, so that's a point in their favour. However, the scary couple making out next to Irene was wayyyy too distracting. You had to see that one.
In the end, we had a good crew and the face guys are always nice. Peter and I have settled on his singing two songs for EXIT STRATEGIES, which he has yet to hear, but those songs are called CLEAN UP and EXIST. I know that these two tracks will be massive with him on vocals. Also, I breathe a sigh of relief that he is doing those two songs as we have always had these songs in mind for him. He was the last piece of the puzzle for this record and now its in!
The aggression are making their return to compact disc later this year with a rare remix making an appearance on an upcoming compilation in the US. It will be Needleye's awesome remix of MY WHITE NOVA and I'll send more details when it's all official, etc.
While Brandt is editing, I have started to slowly move the HF Live Machine forward a bit. There is no timetable to play, but there is an idea as to who should be in this band. Besides Me, Brandt, Robin and Ash, I'm happy to report that the last aggression keyboard player, The Kidd, now is the first Hypefactor keyboard player. Honestly, I think this is a more exciting gig for him than the aggression. It's more of a challenge. I'm told Robin is concerned juggling two bands is going to be tough when it comes to playing live. I disagree and plus, double bills could rock! Assfactor, anyone?
I'm back in the studio tonight for bass overdubs, then we're checking out some Death Cab on Thursday. It's a good life, kids.
F
5.4.04
"You fat fuck!"
A friend of mine once said that beer is the force that gives us peeing. And on Saturday evening it gave the MOGpac the resplendent Twilight Singers, cloaked in a thick fog of soul, whiskey and illicit cigarette smoke at Brooklyn's Warsaw. For their second major American tour in six months, Greg Dulli's post-Afghan Whigs project put on a storming set reminiscent of the 2001 gig we caught at Bowery Ballroom in support of Twilight As Played By... This will sound blasphemous to some longstanding Dulli fans, but the gig almost made up for my having missed The Whigs' final national tour - in support of the stunning 1965 - as the group closed with two of my favorite numbers from that LP.
Mind you, the gig could have been a disaster of epic proportions. And as F, Irene, The Kidd, G and I sat at the Polish National Home's bar drinking Zywiec, this possibility lingered in the backs of our minds. During the first leg of the band's Blackberry Belle tour last year, sets ran three hours or longer as Dulli, a glutton of epic proportions, drank himself into a stupor and told 20-minute stories to the audience while the band looped introductions to their songs ad nauseum. We learned about Amber Headlights, the near-complete Twilights album that was scrapped upon the death of Dulli's friend, director Ted Demme. And about Elliot Smith drinking at Dulli's Los Angeles bar, The Short Stop. And about Dulli screwing his college girlfriend to Marvin Gaye and Kate Bush. It was charming and funny for a few minutes, then wore thin rapidly. How thin? The Kidd - the most ardent of Dulli fans and the man responsible for introducing the MOGpac to The Whigs - walked out of the gig.
Luckily Saturday's gig was brisk and succinct, wrapped up in a timely two hours. "Uptown Again," "Up In It" and "Somethin' Hot" sounded boozy as ever, while the gentler tunes from the debut Twilights LP were infused with new rock and swagger. Dulli said little but teased the crowd a few times, making reference to the fans' distaste for his Storytellers routine on the previous tour (he pulled the same gimmick at almost every show in the fall, and was deservedly reviled by fans and critics alike.)
And it probably did not hurt that copious amounts of beer were consumed before and during the gig, punctuated by a round of Jaegermeister for all. F was in rare form, putting 'em back in a way I had not seen since we hit up KGB Bar with Jamie Duffy. The next time you see him, ask him what he remembers about this evening.
In other Dulli news, The Twilights are releasing a full-length album of covers this summer, while the man is recording a separate LP with ex-Screaming Tree Mark Lanegan under the moniker of The Gutter Twins. Dulli and Lanegan claim that group will tour, playing songs by all of their affiliated bands and covers with a revolving cast of musicians. I am hoping we will be seeing more of Greg in the coming year.
Mind you, the gig could have been a disaster of epic proportions. And as F, Irene, The Kidd, G and I sat at the Polish National Home's bar drinking Zywiec, this possibility lingered in the backs of our minds. During the first leg of the band's Blackberry Belle tour last year, sets ran three hours or longer as Dulli, a glutton of epic proportions, drank himself into a stupor and told 20-minute stories to the audience while the band looped introductions to their songs ad nauseum. We learned about Amber Headlights, the near-complete Twilights album that was scrapped upon the death of Dulli's friend, director Ted Demme. And about Elliot Smith drinking at Dulli's Los Angeles bar, The Short Stop. And about Dulli screwing his college girlfriend to Marvin Gaye and Kate Bush. It was charming and funny for a few minutes, then wore thin rapidly. How thin? The Kidd - the most ardent of Dulli fans and the man responsible for introducing the MOGpac to The Whigs - walked out of the gig.
Luckily Saturday's gig was brisk and succinct, wrapped up in a timely two hours. "Uptown Again," "Up In It" and "Somethin' Hot" sounded boozy as ever, while the gentler tunes from the debut Twilights LP were infused with new rock and swagger. Dulli said little but teased the crowd a few times, making reference to the fans' distaste for his Storytellers routine on the previous tour (he pulled the same gimmick at almost every show in the fall, and was deservedly reviled by fans and critics alike.)
And it probably did not hurt that copious amounts of beer were consumed before and during the gig, punctuated by a round of Jaegermeister for all. F was in rare form, putting 'em back in a way I had not seen since we hit up KGB Bar with Jamie Duffy. The next time you see him, ask him what he remembers about this evening.
In other Dulli news, The Twilights are releasing a full-length album of covers this summer, while the man is recording a separate LP with ex-Screaming Tree Mark Lanegan under the moniker of The Gutter Twins. Dulli and Lanegan claim that group will tour, playing songs by all of their affiliated bands and covers with a revolving cast of musicians. I am hoping we will be seeing more of Greg in the coming year.
2.4.04
Escape From Long Island
After more months of drum sessions in Garden City than I care to remember, the Factor Corp. - sans Robin, who was deservedly cavorting with her boyfriend - met at Birdcage for a meeting/listening session covering the drum recordings and edits thus far. We had not been in a room together for some time, and it was good to see everyone and catch up on life.
Reaction was largely upbeat, especially to "Our Faith," "Exist" and "Leningrad." "Our Faith" has the most work complete thus far, as it was the first edit I tackled using Ableton's Live, a stellar program for time correction. At best, however, the process is tedious. I could complete a song per day... if I were putting in a 12-hour day of editing. But real life shit means that I'm getting through a song about every three to four days, thereby making most of April editing time. Ugh.
The one point of contention came up during "Theme From Propaganda," Ash's Russian club monster with live bass and guitars. Robin played a staggered drum pattern over the 4/4 programming that I love, even in its unedited form, but that Ash and F hate on the basis that it makes the song too busy. I am standing by my opinion of the drums... for now. But the song is Ash's baby, so once I finish my edits this week, I will hand over the drum parts to him and let him make the final call.
Yesterday the band also had the opportunity to meet Kathie, my long-time photographer friend who will be shooting the Factor photos for the CD art and Web site. Kathie sat in on about half of the session, listening to us bicker and lending me cigarettes. And she was quite charmed by F and Ash, who have rubbed off on me, apparrently. I am not certain what this means, and Kathie did not care to elaborate, but I will assume this is a good thing.
Random aside: About half of the new Skinny Puppy album is amazing. Absolutely fucking amazing. Industrial may not be dead after all, if only the kids will rally to support this.
The evening before I caught the hipster gig of the year, Black Rebel Motorcycle Club and The Rapture in a double headlining stop at Roseland Ballroom. It was my first time seeing both bands, as I made the massive error of missing BRMC during their stops at Warsaw and Irving Plaza in 2003. The good: BRMC were stellar, and The Rapture sounded far more tuneful and coherent live than they do on their "breakthrough" LP, Echoes, revered by every white twentysomething in Brooklyn with an afro. The bad: The audience, which was exactly what you would expect at this gig. The worse: The vibe of both bands' best performances was ruined by the crowd's indifferent, muted response to everything. Shouldn't blistering performances of "Stop" and "Love Burns" warrant a bit more enthusiasm? I would think so.
The unexpcted: The audience popped the hardest for "Olio," "I Need Your Love" and a few other Rapture tunes with only electronics and drum machines. Strange, given the hipster crowd's fondness for sloppy guitars. And the ridiculous: The Rapture's Gabe Andruzzi, whose onstage antics proved that, unlike Blue Oyster Cult, his band does not need more cowbell.
Speaking of up-and-coming bands playing obnoxiously large and overhyped shows, seeing BRMC and The Rapture reminded me of why I didn't bother to see the Yeah Yeah Yeahs at Hammerstein Ballroom earlier in the year. As much as I adore this band, I cannot imagine their energy translating well in any venue larger than Irving Plaza. And at the risk of sounding like the elitists who selfishly want success to elude small bands, the point of all this is lost on me when gigs become hipster clusterfucks. A friend of mine put it best the other evening: "Damn, we were lucky to see them when we did."
Reaction was largely upbeat, especially to "Our Faith," "Exist" and "Leningrad." "Our Faith" has the most work complete thus far, as it was the first edit I tackled using Ableton's Live, a stellar program for time correction. At best, however, the process is tedious. I could complete a song per day... if I were putting in a 12-hour day of editing. But real life shit means that I'm getting through a song about every three to four days, thereby making most of April editing time. Ugh.
The one point of contention came up during "Theme From Propaganda," Ash's Russian club monster with live bass and guitars. Robin played a staggered drum pattern over the 4/4 programming that I love, even in its unedited form, but that Ash and F hate on the basis that it makes the song too busy. I am standing by my opinion of the drums... for now. But the song is Ash's baby, so once I finish my edits this week, I will hand over the drum parts to him and let him make the final call.
Yesterday the band also had the opportunity to meet Kathie, my long-time photographer friend who will be shooting the Factor photos for the CD art and Web site. Kathie sat in on about half of the session, listening to us bicker and lending me cigarettes. And she was quite charmed by F and Ash, who have rubbed off on me, apparrently. I am not certain what this means, and Kathie did not care to elaborate, but I will assume this is a good thing.
Random aside: About half of the new Skinny Puppy album is amazing. Absolutely fucking amazing. Industrial may not be dead after all, if only the kids will rally to support this.
The evening before I caught the hipster gig of the year, Black Rebel Motorcycle Club and The Rapture in a double headlining stop at Roseland Ballroom. It was my first time seeing both bands, as I made the massive error of missing BRMC during their stops at Warsaw and Irving Plaza in 2003. The good: BRMC were stellar, and The Rapture sounded far more tuneful and coherent live than they do on their "breakthrough" LP, Echoes, revered by every white twentysomething in Brooklyn with an afro. The bad: The audience, which was exactly what you would expect at this gig. The worse: The vibe of both bands' best performances was ruined by the crowd's indifferent, muted response to everything. Shouldn't blistering performances of "Stop" and "Love Burns" warrant a bit more enthusiasm? I would think so.
The unexpcted: The audience popped the hardest for "Olio," "I Need Your Love" and a few other Rapture tunes with only electronics and drum machines. Strange, given the hipster crowd's fondness for sloppy guitars. And the ridiculous: The Rapture's Gabe Andruzzi, whose onstage antics proved that, unlike Blue Oyster Cult, his band does not need more cowbell.
Speaking of up-and-coming bands playing obnoxiously large and overhyped shows, seeing BRMC and The Rapture reminded me of why I didn't bother to see the Yeah Yeah Yeahs at Hammerstein Ballroom earlier in the year. As much as I adore this band, I cannot imagine their energy translating well in any venue larger than Irving Plaza. And at the risk of sounding like the elitists who selfishly want success to elude small bands, the point of all this is lost on me when gigs become hipster clusterfucks. A friend of mine put it best the other evening: "Damn, we were lucky to see them when we did."