We’re back with another ‘messed’ song for your enjoyment. There’s a bit of a story with this one. ‘Seven Nation Army’ was actually recorded before most of the other songs that have been posted. Recording these covers did start with one idea we have maintained with all the songs – recording the tracks straight through to keep it having a more ‘live’ feel. With this song we did what we often do with our own studio songs – record multiple tracks of each instrument for a more ‘full’ sound. So most of the instruments on ‘Seven Nation Army’ were tracked several times (although each separate track is recorded straight through). We also used multiple mics on the acoustic instruments, adding even more tracks.
This tune has twelve string guitar, mandolin, banjo and six string guitar. The percussion is the floor tom from our drum kit and a shaker. Each instrument was tracked several times (except the percussion). Two more mandolin parts were added in the one instrumental section as a ‘lead’ instrument. When we finished recording I realized it would take a while to mix correctly so we decided to record another song without all the multi tracking and multiple mics. And when we finished that song we thought of another, then another……… So it took quite a while to get back to mixing ‘Seven Nation Army’.
As we continue messin’ with songs I’m sure more electric instrumentation while come in to play along with a bunch of other ideas. As always, hit us up with comments and questions if you have any. Hope you enjoy.
Electrostatic Rhythm Pigs play The White Stripes ‘Seven Nation Army’:
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’
It’s a new year, so what should we take a look at as far as new music? Sometimes in Grapevine we’ll take a look at music that falls in to a relatively specific style. Not that long ago ‘styles’ of music were relatively basic – music was lumped in to a few large categories: ‘rock’, ‘country’, ‘jazz’, ‘classical’ etc. As ‘underground’ music became more visible, especially with the onset of the internet, labeling music went in the opposite direction. Now you can probably find fifty different variations of thrash metal.
When you try to market your music, knowing where to group it can help reach your target audience. But it’s not that simple. Ten people can listen to the same song and categorize it ten different ways. So, what to do? With ERP we’ve been expanding (and will continue to expand) the instruments we use and the styles we incorporate. With the ‘Messin’ With The Music’ series so far we’ve been adding instrumentation that is probably most associated with Americana or Bluegrass. Except a lot of the songs we cover fall under different styles of ‘rock’. So we decided (definitely tongue in cheek) to try to come up with a music category and fit in to that. Soooo…… how about ‘Dark Americana Shoegaze’? I think we’ll work ERP style towards that. Absolutely serious, uh-huh.
So for January how about we look at some different shades of ‘shoegaze’? And yes, everyone can debate whether these songs actually fall in to shoegaze. Having a dialogue is the fun part.
First Up: DIIV – ‘Taker’
This song is from their newest album ‘Deceiver’. It has a lot of what you might consider basic shoegaze elements. Trippy, heavily effected guitars. Heavily reverbed vocals mixed in more as an instrument than in front of or on top of the music. I really like the guitar sound. Especially as they sometimes pull it back to somewhat clean and then double down with a second even more distorted guitar. Drums are also fairly deep in the mix in parts of the song and more upfront in other parts. They keep the tempo at a nice ‘sludge’ pace, so you can sit back and let the sound wash over you. I recommend listening to the entire album as they do touch on a bunch of styles throughout.
Next Up: Angel Olsen – ‘New Love Cassette’
Most people would probably not consider this shoegaze. The song is built on electronic keyboard and samplers, but adds strings to the mix. The drums sound electronic, although I believe it was recorded with a live drummer. Vocals and drums are relatively upfront in the mix. I added it for a couple of reasons. It keeps the spacey, slow burn, drone sonics. The vocals are heavy with reverb and effects, yet still sound crisp in the mix. And I just like the feel. I read a review that described this song as a tune from a David Lynch movie. I think that’s a pretty good description.
Finally: Bedroom Eyes – ‘Wire’
We’ll conclude with the song ‘Wire’ from Boston band Bedroom Eyes. It’s on their 2019 album ‘Nerves’. I wanted to add this to have a more uptempo version of the shoegaze aesthetic. I think this song falls more classically in to the genre. Ringing and effect heavy guitars. Drum track more in the background. Vocals embedded deep in the mix. Vocally it’s more about voice as an instrument. You’d probably have to look up most of the lyrics to know what they are. But the feel and impact of the song shines through the haze.
Retro: My Bloody Valentine – ‘Only Shallow’
If we’re discussing shoegaze, it would be hard not to include My Bloody Valentine, especially the album Loveless. This band and album are a huge touchstone if you’re discussing shoegaze. Loveless came out in 1991. Honestly, the first time I heard it I was blown away. The sound is almost something you feel more than hear. The emotional tone is amazing. You know I love melancholia, and this song is dripping with it. The guitar sounds created using volume sustain, effects and a whammy bar (in a technique labeled ‘glide guitar’) were pretty revolutionary at the time. The whammy makes the guitar fluctuate sounding in tune and somewhat out of tune. Very tight drum sound for live drums. I’ve also read that it was recorded mostly in mono to make sure the guitars were upfront and smacked you right in the face. So strap on some headphones, light some candles and sit back and enjoy.
So we’re at the end of another year. Seemed much longer than a year. As always there was good and bad; ugly and beautiful. This was a year when I decided to consciously cut back on the ‘noise’. All the stuff swirling around that destroys creativity. Sooo……Newspaper – dropped. Cable TV – dropped. Staring at phone feeds – ehhhh…..work in progress, but improved. Have a basic idea of what’s what without drowning in it. There’s so much to do musically and with the site, and I needed some energy to work on it.
So my wife Lorena and I ventured to the national parks to do some hiking and photography. Two weeks in the parks works better than years of meds or therapy for me.
I even got to work on my ‘dislike’ of heights. Seems if you add jaw dropping views, my brain tends to ignore the height.
So when we returned at the end of September, I got back to work. Three features that were started – ‘Grapevine’, ‘In The Studio’ and ‘Messin’ With The Music’ will continue in to 2020. We’ll see what else we come up with. There are a bunch of new Electrostatic Rhythm Pigs original songs in the works. We may even get a new tune from Steaming Mulch. And we’d like to get more eyes and ears on ChurchHouse Productions. More contact with like minded folk (hint – tell your friends).
So ends our yearly update. Hope your 2019 was great and your 2020 will be better.
Greetings. We’re back with another tune to be messed with. This time we’re honoring ‘Novocaine For The Soul’ by Eels. This was a fun song to work with. I really enjoy the anthemic, sing along nature of the song. Again, we stayed basically acoustic except for the bass guitar. The song has 12 string guitar, bass, mandolin, six string banjo and a little percussion with tambourine and egg shaker.
To give a wider, stereo feel the 12 string guitar foundation track was played twice and panned hard stereo left and right. I think giving a track a wide stereo sound is important and playing a duplicate instrument track is a great way to do it. The two tracks can be very similar, but will almost never be identical (unless you force that with computer manipulation) so you hear each track distinctly from each channel. We worked the same concept with the vocal tracks, recording the main vocal twice and adding two harmony tracks.
Another thing that made this song interesting was the key. We don’t usually change the song from the original key. Specific keys do give songs a certain feel. Major key versus minor key or in this case having the song in D flat instead of D. In the original song they did this by using capos on the guitars. We ended up down tuning the 12 string guitar a half note and transposing the chords so the guitar could be played in first position for a fuller, richer sound. A capo was used on the 6 string banjo. We also added a second mandolin track that acts as a ‘voice’, along the lines of playing a guitar lead.
We may not have said this before, but all the Messin’ songs are played by Electrostatic Rhythm Pigs. You can find these songs and the band’s original music on our SoundCloud account (we have links on this site). We’re also slowly adding all the band’s songs to our YouTube channel (here’s a link to our YouTube channel): https://www.youtube.com/channel/UC0vVN4p_KzvLg1DEuUSJoqw
This is the season for sharing. So please share our songs and videos with your friends. Add them to your Facebook feeds. Become a follower of our blog. Email us with questions or comments. We really appreciate your support.
The idea of an ‘Inspiration Point’ always reminds me of standing on the edge of a canyon and looking down at the beautiful scenery below. Or shouting in to the canyon and hearing an echo come back. Here’s an In The Studio version of our indoor inspiration point (Episode 6):
We also have three new ‘Messin’ With The Music’ songs in production and hope to have something out soon.