Well another holiday season has gone by. A very busy time of year in both a wonderful way and “I’m ready for the end of the holidays” kind of way. I wanted to get in a post about a band we saw back on November 20, Hoots and Hellmouth. Another band I’d highly recommend seeing if you get the chance. High energy and greatly entertaining, they play a combination of Americana, rock ,country and a bit of folk sound rolled together. Their show held my attention from start to finish. I’ve added some pictures from the show and a video to give you a taste of the show.
I’d also like to add how much I enjoy seeing shows at the Musikfest Cafe in Bethlehem. The views of the stage and the sound are amazing. The people who work there are helpful and friendly and the crowds are attentive and enthusiastic. Really look forward to seeing another show there in the near future.
As for ChurchHouse Productions, 2016 ended up being a somewhat slow year for us. A lot of outside distractions, both good and bad kept us out of the studio a lot more than we’d like. But there are a lot of irons in the fire for 2017, recordings being prepped for release, videos being finished and the hope for some collaborations with other artists. 2017 looks to be a strange and unsettling year for America, but sometimes that type of atmosphere produces the best art. Hoping the best for everybody this year.
I had the pleasure of seeing The Steel Wheels at the Musikfest Cafe in Bethlehem, PA on September 9th. One of the best shows I’ve seen in a long time. The band is an amazing group of musicians playing riveting and fun Americana. I’ve always loved listening to a variety of different styles of music and have played and recorded a lot of different types over the years. Over the last couple of years Americana and bluegrass has exerted a pull on me the same way punk and post-punk did years ago. The Steel Wheels show had all the points I love in that style. The instrumentation’s sonic mix is wonderful. Each instrument has it’s own voice and blends together like a vocal choir. As a result, the instruments don’t step on each other and can each be heard clearly even when everyone’s playing at full throttle. Standup Bass, guitar, banjo, fiddle and mandolin is a great mix. No real need for percussion since the style played is so rhythmic. The band also had incredible vocals and harmonies. For someone who is in to recording and sonics I loved that all the vocals were done live on one mic. The sound mix is controlled by the musicians by where they stand in relation to the mic and how much volume they give to their part. That’s not an easy thing to do, especially live. The Steel Wheels nailed it and the result gave you chills in the best possible way.
I’ve added some photos from the show and a few links to videos below. If you ever have a chance to see the band live or buy a CD I highly recommend it.
…and a live performance video…
If you are cruising around the sites, just an FYI this blog will now be the official site for ChurchHouse Productions and the other site (Velvet Wrinkle Wreckerds) is getting some work done. If you go to either of the sites and things are looking weird, just let me know, but more than likely it is due to switching things around and will go back to normal soon. Hope everyone is enjoying Spring!!!! 🙂
The Gun Club – this is a band that I still love to listen to and even as I get older, I can’t help but still love the way it sounds, the way it’s played, and mostly – I love doing this song. We enjoyed covering this song and have given serious thought about covering more of their songs. Without further ado – here it is again, Ghost on the Highway, or GOTH as we affectionately refer to it.
Apparently, good things come in three’s… after discovering that Opossum Holler has a twitter account, which I promptly followed (too bad I don’t live in Kentucky, I’d love to see them play), I also discovered that they released some new stuff back in December (2015). Apparently the rock I live under is a rather limited resource for new music. Oh, and something about their description of their genre on ReverbNation touches my heart, kindred spirits of doom to say the least.
Have to mention this – my favorite lyric from Screamin’ Delta Demon:
I ain’t got no future honey but my Cadillac is clean…
I bought Feelings for the Living today, but may go back for the whole album. I loved their release of Screamin’ Delta Demon and Hex. They are on Bandcamp (saved the best for last) – GO CHECK THEM OUT. In the words of Arnold, “GO NOW!”.
Oppossum Holler Bandcamp
I found these guys through a friend at work. I really wanted to review it because I think this is one of those situations where the genre may not be what your into per se, but you can appreciate what you are hearing.
Hatebeak, is out of Baltimore and their vocalist is an African Grey parrot. Yes, you read that right – a parrot. Not only is that unique, it’s certainly a testament to the idea that with music, just about anything goes – depending on how you do it. In the song (link provided below) the drummer literally sounds like a beat machine (in a good way). For all I know, there may be parts of this song that are. Either way, whoever did their editing and mixing knew what they were doing.
Just in case you are wondering, they don’t tour because it wouldn’t be optimal for Waldo (the parrot). I am not sure it’s optimal for people either, but such is life. Give ’em a listen and check out Reptilian Records other releases on SoundCloud. Have a good Easter, be happy, fluffy bunnies, jelly beans, etc.
Hatebeak, Number of the Beak, Seven Perches
After I finished writing the last post I sat down to read through it and listened to ‘Heroes’ again. And again. Beyond the beauty of the song itself I was intrigued by a lot of the recording technique in it. I did a little searching on the internet and came across an article on the recording of ‘Heroes’ in Sound On Sound where they cover the recording of different ‘classic’ tracks. I really recommend reading the entire article. It’s not just nuts and bolts tech info; they cover the production of the song and how the recording ideas came about. I won’t rehash the whole article as I’ve attached a link to it. But since we were speaking of vocals the info on them was pretty amazing. The entire vocal part was written and recorded in five hours. The main vocal was recorded on a single track in one take (with a few splice ins here and there). For the main vocal there were three mics: one close, one about 15 feet away and a third at the other end of the very large room they were recording in. The close mic had heavy compression; the other two mics were gated and only opened up as the volume hit a certain level. As the vocal gets louder another mic in the room would open. So towards the end when the vocals are almost ‘shouted’ all three mics have opened up and all the reverb is natural from the room – and all three mics were recorded to the same track. Truly Amazing. Genius always finds a way.
Also check out how Robert Fripp got those high guitar feedback parts (they almost sound like a synth) by measuring the distance he stood from the amp to get the perfect feedback sound on each individual note.
Here’s the link to the Sound On Sound article:
Here’s another link to ‘Heroes’ sound you don’t have to go back to the last post to hear it:
This winter seems like a good time to lock myself in the studio and start to get some work done again. We’ve spent a good deal of time working on song ideas and turning some of them in to song demos. Now it’s time to focus in and work on the production tracks. Which in turn allows me to focus on the recording process from both technical and artistic points of view. As always finding a way to nail the vocal recording process is a high priority.
The first article I’ve attached is a quick and simple overview of some different methods of recording vocals. This really speaks to the performance aspect of recording as compared to the nuts and bolts tech of mics, mic placement, preamps etc.
Personally I like to record takes all the way through. It gives the singer a chance to have the full feel of the song and decide how to vocally connect the song together. But I’ve also worked parts of the song separately, maybe verses separate from chorus or separating vocal parts after an instrumental break. I think it really depends on the song and the vocalist. You have to be open to trying different approaches on different songs.
The next article discusses comping, which is mentioned in the first article (I don’t know if I’d call it a ‘little known’ recording trick) .
I think there are things to consider if you’re going to do a lot of cut and paste comping on a vocal track. If I’m going to put together smaller pieces of the vocal tracks I’d like to get them recorded in the same session. A person’s voice may change slightly from day to day. It’s not like setting up a guitar amp and then leaving the settings stand for another session. That’s not as much of an issue if you’re putting together larger pieces of the song. It’s also not as much of an issue if you’re going to multi-layer several vocal tracks on top of each other. Again, work with the vocalist and see what brings the best out of them. I think we’ll be putting down a lot more vocal tracks then usual in our upcoming sessions for both layering and comping.
Finally, I couldn’t let the passing of David Bowie go by without comment. For many of us music is much more than something we listen to. I grew up from a young age playing music and living music. It informed my life and many life choices. For those of us who grew up in that era, Bowie melded music with life and style. And showed that you could stop on a dime and change styles if you wanted to. Be fearless in your ability and right to change to whatever moved you. I picked the song ‘Heroes’ to put here because it shows the most important part of vocals – emotion. I feel the build in emotion created by the vocals in this song every time I listen to it. If you do it right it’s captured forever.
Recently I discovered the Dallas-based band (yes I know they have been around a long time – the rock that I lived under didn’t have wi-fi), The Polyphonic Spree. So, I decided to put up a post about them and say that I apologize for being so lame with getting around to posting, but it has been a trying last 6 months or so. Things are starting to turn around now and I figured this would be a good segue to putting something up about the band and saying that I am looking forward to getting back into the schedule of posting with more frequency. Cheers!
OK, so I was gonna post this like 3 weeks ago and just never got around to it. I heard this and really feel like it took all the great stuff from several funk songs and mashed ’em all into one song. Bruno Mars is a great front person for the video as well as the song – and most of all – it just looks fun.
So, as the song says, “Don’t believe me just watch…”
And in case you wanna see it live…