The year that wouldn’t end is officially over. We’re all going in to 2021 with hopes and plans that we can accomplish some positive things. We received a new track in November from Steaming Mulch with the goal of seeing more this year. We’ll be replaying some of their older tracks while new ones are being worked on. We also came across some unfinished tracks from The Flank, another band on Velvet Wrinkle Wreckerds (Note – you can find more info on the bands on the label site velvetwrinklewreckerds.com as well as songs on our Soundcloud site). We’re hoping to finish those tracks this year and thought we’d dig in to the archives (it’s been quite a while since the last album release) and give you a sample of The Flank material. We’re starting with ‘Something Better Be’ which is the opening track on the album ‘At Stake’. I’m really looking forward to working on the new songs as they headed in a different direction from the first album which is always exciting.
Here’s ‘Something Better Be’ from The Flank:
There are other projects in the works for 2021 since some situational changes may allow us more time to work together. New original music is in the works for Electrostatic Rhythm Pigs as well as more Messin’ With The Music covers and some live In The Studio performances as well as more In The Studio ‘tech simplified’ videos. We’re looking to have some t shirts and other merch available. There’s even the possibility of another band coming in to Velvet Wrinkle Wreckerds. Bonnie and Samantha are certainly happy to see a new year so we’re starting with some dreams and the hope that this year will allow us to make them reality. We’re hoping you’ll join us in this 2021 adventure (and bring your friends along)!
In November we received a new track from Steaming Mulch. During that recording they said that they are working on new tracks for 2021. It had been quite a while since their last recording. Since many of their recordings were from a few years back, we felt that our current blog viewers might not be familiar with their older work. So we decided to remaster and post their older tracks. When you remaster a song, you go back to the previously finished song mixdown and tweak it using EQ, compression, limiting and other tools. One reason is to make the final product fuller and more in line with other tunes on an EP or album (we’ll probably do a full mastering post in the future). For a single song this may come down to compressing and increasing volume so it sounds fuller on internet or radio formats. Since we had mastered the song at ChurchHouse originally, we made some minor changes just for fun. We’re starting with ‘Escape From Mordor’. This was a shorter track, but like their last track it contains some fun movie dialogue along with the music. As before, I won’t give away the movie sources so you can catch them for the first time while listening.
The end of the year is considered ‘the holiday season’. Honestly, hard to find much ‘spirit’ with all that is going on this year. So I thought I’d share something I watch on the internet when I’m down that makes me smile. It’s not musical. It’s from an animal rescue operation that saves foxes and other animals (check them out at saveafox.org). I just can’t stay down when I watch Finnegan and the other foxes laughing and romping around. People who do animal rescue totally rock! Happy Holidays!
Well, we made it through November. Sort of. Some things are better, some things are worse. Didn’t expect 2020 to cut us a break, did you? One more month and the 2020 year from hell is over. Light some candles for 2021. One can only hope that that next year will bring us some relief. On to the Grapevine. There’s an intentional theme this month. We’ll be taking a look at some stripped down music. These songs could fall in to several categories: punk blues, hillbilly stomp, garage rock, call it what you will. The music has different ‘styles’ to it, but the feeling the songs give to me is the same: simple, raw, emotional – what I’d like to find in a dive bar, backyard gathering or crowded garage. Usually I’ll keep to newer releases, but these songs span more years. Enjoy your walk through the spooky woods.
First Up: Hillstomp – ‘Graverobber’s Blues’ ‘Don’t Come Down’
A great example of what you can do with simple instrumentation. Guitar (or banjo) drums, vocals. They’re part of the revival of simple blues that has been around forever but has regained prominence in the last decade (you know how much we love Rev Peyton). These songs always hit me deeper than huge production songs. They just feel more personal. Sitting in dim light with your friends; pass the bottle or the burnables. The party in ‘Don’t Come Down’ is where I’d like to be. I also like the sound of more homemade drums sets: drums, buckets, metal objects, lots of duct tape. Here’s two songs, one more guitar, the other more banjo.
Next Up: The Scientists – ‘Swampland’
The Scientists applied a more ‘garage’ sound to the music. Still a lo-fi blues feel to it, but more of a rock sound than country or bluegrass based. This song came out during the 1980s post punk era. In today’s world you can find a lot of ‘smaller audience’ and less known bands on the internet. Back then you had to search them out. It took a bit more work to come across the hidden gems. Fanzines, small clubs and word of mouth were the main methods of transmission. The components are all here – high end trebly guitars, basic drum and bass patterns, lots of reverb and vocals mixed deeper in to the music. This song would be perfectly placed being played in a garage with a small crowd jammed in and banging around.
Finally: Left Lane Cruiser – ‘Claw Machine Wizard’
Left Lane Cruiser is another two person band. Another band that produces a whole lot of sound just using guitar and drums. On this song, the music is tilted more toward the ‘rock’ part of ‘rock/blues’. But it continues the raw, lo-fi feel we’ve been exploring. Many of these two person band’s guitar feel is made by playing riffs instead of straight ahead chords with lead guitar thrown in at different parts. Having guitar riffs bounce off of and compete with the vocals makes the music/band sound larger than just two people. The guitar player carries the bottom end with single notes on the low strings while playing the riffs higher up. That is typical of a lot of older delta blues players, many very full sounding arrangements made by themselves on acoustic guitar.
Retro – Electrostatic Rhythm Pigs – ‘Ghost On The Highway’
Thought I’d include one of our own takes on this genre. One of my favorite bands, The Gun Club, first pulled me in to the punk blues style. I may have played their 1981 album, Fire Of Love, more than any other album I have. Perfect balance of garage, blues and punk. One of the first punk bands that took up this style and to me, still the best. This is our version of Ghost On The Highway’ from Fire Of Love.
Our friends from Steaming Mulch have returned from the ether with a new track called ‘Hasten The Unglued Shadow Appears’. It was good to have them back in the studio. We’re also fortunate because of the way they like to record. They plan out the track well ahead of recording so everyone can show up individually, making it easier to record safely in our current environment. It’s been quite a while since their last recording, but once you start working, it’s like no time has passed. They’ve also said they have other tracks in mind, so hopefully Velvet Wrinkle Wreckerds won’t have as long a wait until more music appears. As they’ve done in other songs, this track also has some fun movie clips in it. But I won’t spoil the surprise. Enjoy.
For today’s post we’re Messin with another song for you. This time we’re taking on ‘Shout’ by Tears For Fears. The song first came out in 1984 on Tears For Fears second album, Songs From The Big Chair. It became one of the most popular and recognizable songs of that era of music. One of the best fist in the air, sing along choruses you’ll find. As I’ve said before we always pick songs we like to cover. I don’t think you can do an interesting cover unless you have some type of love for the song you’re working with. But you also have to be able to do something different and interesting with the tune. For ERP I don’t see the point of trying to do a note for note copy of a song. Who wants to do a ‘not as good’ exact copy of a song you love.
For ‘Shout’ it was easy to do something different. The song has a pretty ‘electronic’ sound to it, along with the drive from a full drum kit. So turning it acoustic gave it us a lot of choices. The basic foundation of the song was built on twelve string acoustic guitar. We did two tracks of that and panned them to opposite stereo channels. The other thing that gives these guitars some push and pull is that they are not completely identical throughout the song. If you’re wondering about how song arrangements are created, this technique is something to keep in mind. Before there were large multi track studios, you had to really think about how to place tracks in the song. If you listen to some Hendrix songs you’ll hear drums in one channel only and guitar or bass only in the opposite channel.
So for ‘Shout’ we used the two takes of twelve string guitar, mandolin, banjo and bass. There’s also some acoustic slide guitar and a second mandolin in the instrumental parts. For rhythm we used tambourine, washboard, wood block (the wood version of ‘More Cowbell’), egg shaker and a rattler that sounds a bit rain stick. We did four tracks of vocals, two for the verse and two for the chorus. The point is to highlight the vocals and lyrics. This was a one mic recording. We used the new ribbon mic for everything (see In The Studio – Microphone Basics). I’m pretty happy with the results.
Electrostatic Rhythm Pigs cover ‘Shout’ by Tears For Fears:
Our love of doing covers of our favorite songs isn’t new. We were messin’ with songs long before we started the current ‘Messin’ With The Music’ series. I thought I’d dust off one of my favorites for people who may not have seen it when we first put it out. Joy Division was a band that always had special meaning for me from the first time I heard them in the ‘punk’ era. Everything about them was different, from playing style, song structure, vocals and the way the instruments were used. Lyrics that had more depth and feeling than most. We went with ‘Isolation’ because of it’s great rhythm and bass line. Joy Division’s version used synths. We decided to do ours with guitar. The instrumental break sounds like a keyboard but is actually a fretless bass played through a bunch of guitar pedals. The mix and mastering worked out the way we wanted. We also were really happy with how the video turned out. I’m still happy every time I watch it.
So, from the vaults, Electrostatic Rhythm Pigs cover Joy Division’s ‘Isolation’:
Welcome to another entry in our Messin With The Music series. The recording of this song comes with an interesting history. ‘How Many More Times’ is a Led Zeppelin classic from their first album. It is also the first song we actually recorded for the series. Electrostatic Rhythm Pigs, like most bands, has gone through a number of band member changes. We had spent a lot of years always trying to have a full band together that was capable of playing live. Each time someone would leave or a new musician came in it’s practically like starting over. We had electronically released our ‘Celebrity Prostitution’ EP, staying with a garage rock, punk blues sound. This time we decided to just work on our own and concentrate on recording. The question became – what style of music should we do? On many sites or internet radio when you post a song you’re asked to pick a style of music it represents – usually from a drop down list. It’s difficult to categorize yourself. I’d much rather let someone else make that call. We’ve never stuck to a very specific style, although I guess you could put it generically under ‘rock’. So, just for fun, we decided to create a category and try to fit some music in to it. Thus was born Dark Americana Shoegaze. We wanted to work on figuring out instrumentation, arrangements and recording. We thought the best way to do this was to start by covering songs (although we do have a number of originals in various stages of completion). That way we could concentrate on aspects other than writing the song – and we’d get to play songs we already really liked.
We didn’t have any pre-conceived recording methods yet, other than keeping a ‘live’ feel – no autotune, no quantizing of drums or other instruments, no cut and paste of parts. With that in mind we got to work on ‘How Many More Times’. There was a lot of structural change to do. We certainly couldn’t copy Led Zeppelin’s eight minute and twenty eight second version. So we cut it down to a number of shortened verses, did a short piece to represent the long instrumental in the middle and another section for ‘The Hunter’. To keep the Dark Americana Shoegaze idea some verses are electric guitar based, some acoustic instrument based and some a combination. The vocal tracks tie all the different parts together. To get a big, full sound most of the instruments and vocals were multi tracked with multiple mics. If you listen you can hear a number of different electric guitar sounds, two bass lines and multiple banjo and mandolin tracks at different parts of the song. We stacked a lot of vocal tracks. When we finished recording we were looking at forty eight tracks. This was going to take a while to mix and master. We decided we wanted to get a song out quickly so we picked another song – ‘It’s Gonna Be A Long Night’ by Ween and moved to what became our more standard method to put it out quicker – one mic, one track for most instruments. That went well so we picked another song, then another, then another. ‘How Many More Times’ went on the back burner. When the pandemic put our recording on pause it seemed like a good time to finally put this song together. I will say that this is probably the ‘strangest’ cover we’ll ever put out, so it may be a ‘love/hate’ experience for listeners. Might do another Led Zeppelin tune in a bit more straight forward fashion in the future. It was certainly an interesting experience mixing it. So here it is. Hope you enjoy it. As always we encourage comments, feedback and suggestions.
We’re back with another messed with tune for you. This song is from the band Shriekback from the 1985 album ‘Oil And Gold’. They were another early influence band for me. What first drew me in were the great funky bass parts from Dave Allen, formally bass player for Gang Of Four. They also do some wonderfully spooky atmospheric songs with very spare instrumentation. I’d suggest listening through the whole Oil And Gold album if you have the chance.
Another part that draws me in comes from the song title. The concept was first put forth by French philosopher and Jesuit priest Pierre Teilhard de Chardin who felt there could be common ground between philosophy, science and religion. It’s a concept we could really use in these times. To quote de Chradin: “Remain true to yourself, but move ever upward toward greater consciousness and greater love! At the summit you will find yourselves united with all those who, from every direction, have made the same ascent. For everything that rises must converge.”
Finally from a technical standpoint, the Messin ‘live feel’ protocols remain. The song centers on the bass line (including the challenge of playing it straight through the entire song) and the vocals. We have two vocal tracks that sometimes combine and sometimes harmonize. Bubbling in the background is banjo, mandolin, six string guitar and twelve string guitar. We added some shaker and a percussive combination of a mini tambourine combined with washboard (you’ll hear it best right at the end of the song). This was another recording in which stereo placement of each instrument was very important to the final sound. Listen carefully and you should be able to find all the pieces.
As always, hope you enjoy it and questions and comments are welcome. It’s a little tougher with all of us having to work remotely from each other. Please stay safe in these difficult times.
Electrostatic Rhythm Pigs play ‘Everything That Rises Must Converge’
There’s so many Rolling Stones songs I’d love to tackle and mess with. We decided to start with ‘Dead Flowers’ from the Sticky Fingers album. The song checked off a couple of boxes for us. People have heard it, but it’s not one of their real famous commercially played songs. It was also one of their ventures in to ‘country’ or ‘country rock’ music. Since we’re doing a lot of acoustic work on the ‘Messin’ songs, that actually made it a bit more of a challenge to change. Although it was recorded with electric rock instrumentation, the country sound gave it a bit of an acoustic feel. And our point in doing these recordings is to do something a little different, not a straight on cover version.
So here’s what we did for our version of the song. We actually picked up the tempo to help enhance the changes. For this song the instruments are single tracked except for the vocals. The instrumentation is 12 string guitar, 6 string guitar, banjo and mandolin. Some of the instruments are playing repeating riffs and some are more straight forward chords. We didn’t add any direct percussion instruments to it, so to fill in the bottom end a fretless bass was added with multiple effects on it. It almost sounds like a keyboard or didgeridoo rolling underneath the other instruments. A second mandolin and banjo part were added in the third verse where the guitar solo was in the original. Where the instruments were panned in the stereo mix was real important. You might see an In The Studio video on stereo field in the near future.
Electrostatic Rhythm Pigs play The Rolling Stones ‘Dead Flowers’
For a while now we’ve been thinking of how to do ‘live’ videos for Electrostatic Rhythm Pigs. We do practice the songs live with just vocals and acoustic guitar. But that doesn’t always give the essence of the song as it was written since many of the songs are the result of several small ‘riffs’ put together on different instruments. So we decided to record some parts of the song and then play along live with the pre-recorded parts. We still do the pre-recorded parts as ‘live’ tracks by playing them straight through in ‘Messin’ With The Music’ fashion. This allows us to video the live playing while still getting the real feel of the song.
The first song we’ve recorded is ‘Born Again’ which is on the album ‘Superior Olive’ we did as Conduit. The pre-recorded parts are acoustic guitar, banjo, snare drum and the bass beat on a cajon. The electric guitar in the video goes through a few effects pedals to an amp in another room using one microphone. The vocals are recorded with the mic seen in the video (also pushed the tube drive on the vocals to get a little ‘grit’). We’ve kept the unedited live feel, even the shots of walking back and forth to turn the video recorder on and off. We had a good time with this, so expect more performance videos in the future.
Electrostatic Rhythm Pigs – ‘Born Again’