There’s a lot of good things about having your own studio to record in. You can work on anything you want, anytime you want. You can take your time recording your own music and not have to worry about how much money you’re spending, giving you the ability to experiment. We’ve been having a lot of fun working on cover songs and have been able to create them at our own pace. We’ve also been able to create videos of us playing our own music live. Since the band consists of the two of us, playing in the studio gives us the ability to record some tracks ahead of time then play the other parts live along with the recording for the video. The song in this video, ‘Countdown’ was recorded for our EP ‘Celebrity Prostitution’ (it’s available to buy as a digital download on CD Baby and other places – you can check it out on the Velvet Wrinkle Wreckerds label website). Because the original recording was made in ChurchHouse Studio, we’re able to use parts of it for a live video rendition. The original EP version had multiple tracks of vocals and guitar. For this video we stripped all of that off and just kept the bass and drum tracks. So what you see in the video is literally what you would hear from us playing out live. There’s no overdubs or punch ins on the vocal and guitar tracks. Just turn on the video and let it rip. We did the video on a simple GoPro recorder which gives you that ‘fish eye’ wide view along the edges. We had a lot of fun recording this way.
Here’s Electrostatic Rhythm Pigs playing ‘Countdown’, live in ChurchHouse Studio:
We have another Electrostatic Rhythm Pigs ‘Live In The Studio’ performance for you. This time we recorded a live version of our song ‘The Wish’. This song was originally created with our previous band Conduit for the CD ‘Superior Olive’. You can find out more about the band and the CD version by visiting the website for our record label Velvet Wrinkle Wreckerds. The version in this video is performed with just vocals and acoustic guitar. That’s how we write most of our songs, so this gives you an idea of how we start out with a tune before we add all the other parts for the full studio version. This version is recorded with just two room microphones. We want our blog reading friends to have the feeling of sitting with us in the room as we play, so the video is live start to finish from turning on the camera to the end, comments, silly faces and all.
And….the story of the t-shirt. For anyone who’s not from the northeast US, ‘Live Free Or Die’ is the state motto of New Hampshire – it’s also on their license plates. New Hampshire is an awesomely beautiful state, so I wanted to give a ‘shout out’ in the video like when I wear national park t-shirts (please support and cherish your national parks). I always thought it was such a cool motto to have on a license plate. If you want great hiking, head to the White Mountain National Forest. Some wonderful, rock strewn trails to challenge you. I’ve included a photo from the last trip my wife and I took below .
Anyway, here’s the video – Electrostatic Rhythm Pigs performing ‘The Wish’ live in ChurchHouse Studio.
We’re back with another tune from our Messin’ With The Music series. Instant Karma! (the exclamation point is officially part of the title) was released by John Lennon in 1970. This song came out at the same time The Beatles were working on Let It Be. One interesting fact about the song is that it was written, recorded and released within a period of ten days. That’s an incredibly quick turnaround, especially for an artist at that level of success. It’s always been my favorite Lennon solo single. The idea that karma, ‘you reap what you sow’, could happen instantaneously rather play out over the remaining course of your life is a very appealing idea. The power in Lennon’s vocal always felt like a big middle finger to every self centered person who screwed other people over. Karma, of course, works in both directions. I also find the idea that people who do good will receive good in return appealing. Personally I wouldn’t mind seeing instant karma doled out for much of what happened in 2020 (and continues to happen in 2021).
We kept with our usual Messin’ recording protocol using single mic straight through tracking. We did put in a pretty full roster of tracks for this song. The original was Phil Spector produced and used multiple piano takes for it’s basic feel. Spector was famous for his ‘wall of sound’ methodology and it shows in this recording. The original was also swimming in reverb to make it sound even bigger. For our base tracks we used finger picked acoustic guitars and recorded two separate tracks, panned hard left and right. There are two separate mandolin tracks, one using mostly chords and the other generally picking single notes. A third mandolin part plays a little riff in the instrumental break. We added a bass guitar track and a sparse single note oriented banjo track. Percussion tracks include tambourine, shaker, washboard and wood block. There’s a main vocal track with a harmony vocal floating underneath in the verses. We wanted a bigger sound in the chorus in keeping with the feel of the original so we have a main vocal and four other vocal tracks that are panned in hard stereo to give that bigger feel.
I really enjoyed finally being able to do a cover of this song. We hope you enjoy it too.
Electrostatic Rhythm Pigs play John Lennon’s ‘Instant Karma!’:
Last time we released a new song by Steaming Mulch they said they were going to come back in to the studio soon. It usually takes them a while to get together and bring a new idea in for recording, so I was very pleasantly surprised when they said they had a new tune ready. The entire song was finished pretty quickly. The band usually has a basic song idea and comes up with the parts and riffs as they work on it. The new song already had the basic structure and instruments decided before we started recording. This made the recording process a bit different than usual, but just as much fun. After we finished recording they said they wanted to have a video for the song. Another great surprise as we usually use a static photo for their videos. As with their static photos they said we could do whatever we want. Ah, carte blanche to create! So we put together some footage for the song. They, of course, came up with the song title – pretty much keeps with the style of title they usually come up with. Hope you all enjoy listening to the song and watching the video as much as we enjoyed creating it.
Here’s Steaming Mulch and their new single ‘Whisper Beneath Me After Proto Essential’:
We’re finally back with another episode of Messin’ With The Music. It’s been quite a while since we were able to get together to start working on tunes again due to the pandemic. It feels great to be recording again and Mule Skinner Blues was a song we’ve been looking forward to finishing. The song has a long history. It was written and first recorded by Jimmie Rodgers in 1930. His version was a pretty straight forward blues tune. He originally titled it ‘Blue Yodel #8’ but it became commonly known as Mule Skinner Blues (or some variation of that) as time went by. Many artists have covered this classic song. The next well known version was by Bill Monroe in 1940. He picked up the tempo a bit and turned it in to a classic bluegrass style tune. The version we used as a template is Dolly Parton’s amazing 1970 version. We pretty much followed her lyrical take and song structure.
Instrumentally we have two different acoustic guitar parts, one hand played and the other picked. To add some flavor we added an electric guitar with some effects and a bass part that has a few effects too. There is a mandolin backing these parts and a banjo riffing throughout the song. There’s also a snare drum and floor tom holding down a beat in the deep background. All of the instruments are a platform for the vocals which are really the heart of the song. As always with Messin songs we recorded ‘straight through’ tracks for a live, loose feel using the same mic and sound path for all the instruments. We want to get the feel of everyone standing around a single mic playing the song.
Here’s Electrostatic Rhythm Pigs playing ‘Mule Skinner Blues’:
We’ve finally been able to get back in to the studio to start working on recording. We decided to start with a live video performing one of our original songs. ‘Details’ is a song we first created when we had the band Conduit. The song had a bit different origin as it was written from the bass line up. So for the album version we started with bass and then vocals with the other instruments being added afterwards. Writing this way definitely gives a song a more rhythmic feel. The song was originally on the Conduit album ‘Superior Olive’. You can find it and the other songs on the album on our Soundcloud account – there’s a link on the blog page. You can also find more about Conduit on our label site – Velvet Wrinkle Wreckerds. For this version we recorded guitar, mandolin, banjo and some percussion first. These tracks were recorded in live fashion – no punch in, straight through tracks. Since the song was written from the bass and vocals, we decided those would be the instruments we would play on this video. The video is also ‘live’ – no edits. As an FYI – you can ‘follow’ our blog. Just scroll to the bottom of the post page and fill in ‘Join The Mailing List’. You’ll get an email whenever we do a post. You wont be swamped with emails – we do a couple posts a month. As always comments, questions and suggestions are welcome.
We just finished recording a new single in ChurchHouse studio for the band Lather Scream Moment. It’s their first recorded song of original music. They found our studio online and decided to record here after hearing some of our work. It’s great that a bunch of newer bands have continued the culture of low-fi garage music. The truth is that this style has never really gone away. At times it has gone ‘underground’, but always seems to bubble back to the top when a band with great songs breaks through to the mainstream. When I say ‘mainstream’ I’m really talking about getting some plays and recognition. I honestly could not tell you what’s in the Billboard Top 10. Anyway, this gives me hope for the future. You always want to see new bands put their music out in the public arena regardless of what style of music they play.
It was a fun recording session. Lots of noise and guitars. A bit of controlled chaos. They gave me some examples of what they hoped for in the mix. As a recording engineer that’s a huge help. If you have an idea of what you want, let me know ahead of time. If you want me to decide how to produce the song, I’m good with that too.
There’s been a lot of discussion in the news about ‘the suburbs’ lately. They said the lyrics are about people who want to ‘escape’ the cities and when they move out develop ‘suburban paranoia’. As far as distributing the song they talked about putting it out on cassette. There’s been a vinyl revival and I guess some areas and scenes are having a cassette revival as well. Since they’re not from the area, they said they’ll keep in touch and let me know how it goes. Hopefully we’ll get to work with them again.
So here you go: Lather Scream Moment – ‘Suburban Renewal’
For this post we have another remastered song by Steaming Mulch. It’s always fun posting a Steaming Mulch song because you never know what you’re going to get. This tune rolls through a variety of different parts. It starts with live drums, guitars and bass. As you go through the song you’ll hear vocals rolling in and out of the mix. They’re altered in a variety of ways – backwards, raising and lowering the pitch, cut and paste. The song moves in to an electronic beat. The band adds different electronic keyboard parts while the guitar floats along on top. In this song the vocals are used more as an instrument then a lyrical addition. Then live drums make their reappearance on top of the electronic beats. There are parts where the live drums have been cut in to smaller pieces and pasted back in to the song repeatedly or have been doubled. The drums have sometimes been distributed to separate stereo channels. The beats, whether live drums or electronic, tie everything together. As always, this is fun from a recording standpoint. You never quite know what’s going to happen. The songs usually have basic parts created before entering the studio, but a lot of parts are created during the recording process. You get extra credit if you can decipher what the vocals are saying (I seriously do not remember exactly what was being said – they don’t provide me with lyric sheets). Hope you have as much fun listening to it as I did recording it.
In to the second month of 2021. February brought us a lovely snowstorm at the beginning of the week that dropped about 30 inches of snow on us. Saturday has arrived and we’re still digging out. So for this weekend we’re going to deliver another song by The Flank. This song was also on the first album, ‘At Stake’. I’ve always loved this track. It is the only song on the album that was created with a programmed drum track instead of live drums. Although I like the use of live drums on songs, creating a simplified drum track suited the music on ‘Horrible’. The instruments and vocals are played in a very rhythmic manner. We wanted to put emphasis on the melodic side of the instruments and the vocals and we thought that a full drum set might step on them a little bit. There’s always a great feeling working on a project in the studio that has no boundaries, recording what works best for each individual song. I think you tend to produce the best music when you are open to any idea that best serves the song being recorded.
Here’s The Flank’s ‘Horrible’:
We’re back with another remastered version of a song by Steaming Mulch. This song is a bit different from the last two Steaming Mulch tunes we did recent posts on. The band doesn’t worry about maintaining any particular style. Different songs sometimes have different musicians sitting in to add a new flavor. This song has live drums (which are wild just on their own) with guitars, bass and some muted vocals (no movie clips here). Much of this song was recorded live. The players were in a room together to facilitate their ability to interact when playing. The drums were recorded using direct and room mics in the main studio room with the bass and guitar amps placed in other rooms in the studio to eliminate the amp sound bleeding in to the drum tracks. There were some overdubs completed afterwards, such as the vocals, but the main part of this song is pretty much a live take. I remember this recording as being incredibly loose and fun. Also challenging as doing any kind of ‘live’ recording is. Enjoy.