How are you this weather?
We’ve just finished another stretch in the recording studio. It was a good one, I think. No, that’s not fair. I know it was a good one. We struggled at the start with some of the new material; the direction in which we wanted it to go was pulling against the direction in which our playing of it was taking us. I hope that makes sense.
“Fewer chords! More rhythm!”
“Don’t disappear up your own arse”
We should write our own version of Oblique Strategies. It would contain a lot more puerile swearing.
One of the songs from our last session in November, that I was left at a complete loss as to what do with, really came together on Wednesday. It’s lost a bit of its winter weight and now clocks in at three and a half minutes rather than seven. It’s exciting, and I am excited by it.
Another one is made up of a 30-second snippet I recorded when doing demos for Now That You Are a Dancer. I wrote the rest of it last week and it is sounding very different to what I had originally imagined. This is the one that Scott has called ‘Stupid Drumbeat’. He’s not happy with my programming skillz on the ol’ Zoom drum machine for the demo…
We recorded a full band version of the new song that I did on Vic Galloway’s Christmas show in December (alas, not the Dolly Parton Cover). I’m never that comfortable with the acoustic guitar, so it was nice to be able to strip out the constant chords and give the song some space.
Kate is steaming ahead by having recorded probably the final vocal for one of her penned numbers. It’s called ‘Listen to me’ (provisionally) and sadly no longer has a hip hop-inflected drumbeat. Kate also manages to wind Scott up with her drum machine demoing.
Another one we came back to from November was our attempt at Krautrock. We’ll see how it develops. I’ve taken a slightly different mix home with me to have a think about.
It was a good session for another reason, mainly that I think we’ve managed to plan when we’ll have wrapped the album, and we’ve booked the requisite time. NOW, I’m certainly not going to commit to text when that is; what happened with the last album recording and subsequent delay is all too fresh in the memory. But, by the end of the sessions we’ve booked we should have enough material to decide what’ll make up our record and what’ll be for other things.
Another good thing was that we got to enjoy our pieces outside on Saturday, sitting against the wall and taking in the warm sunshine. It was glorious. The Randolph’s Leap I Can’t Dance to This Music show at the CCA gave us some time to unwind after the first day, which always involves lots of set-up and the inevitable drum-checks and subsequent takes.
No-one can dance to anything at this point…
Record-baron, friend, and lift-blagger, Johnny Lunch from Lost Map Records, came to see us to check that the email in which I described our new stuff as sounding “like Daniel O’Donnell produced by Skrillex” was not in any way accurate.
“I can hear shades of ‘Mayo Mammy’, right enough…”
Gal was, as ever, patient to the last, finding ever more ways to say “are you sure you want to do it like that?” and “it’s good, but it’s not the one”.
I got home, unwelcomely rested all of my gear in the middle of the living room, and apologised ureservedly to my girlfriend that my brain was empty and I could not ‘do’ proper sentences until I’d eaten something. 100% total cool dude.
We’re back in the studio over the Easter weekend. We’re totally nailing this ‘getting on with it’.
I’ll tell you all about it (you don’t have to read it).