Noise about Noise

Thomas the Bear - Nothing Could Be Better

2011-04-12T14:03:00.000-07:00

This is a song about being deluded. It means whatever it means to you.

This is the last Thomas the Bear song, probably.

I ~~played~~ did everything on this song

Nothing Could Be Better by Noise about Noise

My Evolution of Tone

2010-04-08T11:31:00.000-07:00

Guitarist spend retarded amounts of time in a feeble attempt to develop a sound all their own. Some stop once they reach something passable, and others keep at it in a quest to archetype a sound which exists in their wildest dreams. I fall into the last group. Some may think it insanity, but I feel that the tone of my instrument is almost as important than the way I perform it.

We'll start with my first "complete" Seven Car Pileup rig.

Epiphone LesPaul Deluxe with 57 Classic Pick-ups -> EHX Big Muff -> Boss TU-2 (tuner) -> Boss Volume Pedal -> Digitech Whammy -> Boss CS-3 -> DOD FX-25 -> MXR Phaser -> Morley Bad Horsie Wah -> Line 6 Delay -> Ibanez TS-9 -> Marshall JCM900 -> LopoLine 4x12 slant cab (with Eminence Red White & Blue & Man O Wars in XY)

It's amazing think about it, but this rig was from 2007. Quite a few of the pedals were used very sparingly and served little purpose. This was back in the day when I would do what I like to call pedal dancing. In fact, the rig was so large that my pedal board case was keyboard case size. It was first rig after Lucky and I believe I was trying very hard to do a better job at lead guitar than the lead guitarist for Lucky. This also back in the day when I would do a "pedal board" solo. I would use the guitar's feedback as oscillator and control it's pitch with the Whammy pedal and use the other pedals to modify the tone. I do miss it at moments, and it had a very unique vibe. However, it was a monstrous beast to deal with and the sound would often vear into 90s rock.

The first thought I had when I went to change my rig was that I needed a new amp first. Something very clean and pure, to go along with a new simple and small feel. I bought a Vox AC30, and it was right away a much nicer clean amp than anything I've ever owned. I alos bought a guitar to replace my Epiphone Les Paul, a 70s Ibanez Les Paul which I love. However, all the gear shuffling I did was really not that necessary as when we went into the studio we used Flying Blanket's gear and so my next live rig was based upon the gear we used on the EP as well as the ability to emulate tones on previous recordings with my previous rig.

Eventually I came to the following rig.

I used this rig for about a year. It served me well, and I probably wouldn't have changed anything until the rectifier tube blew out on the AC30 right before a show. I was forced to use a little Silvertone amp I had with an old Gibson amp Jess (bassist) was borrowing from a friend. I have never had more compliments on my gear than I did after that show. I have made a few adjustments to it since then, tweaking the tone a bit and removing some of the pedals here and there, but the rig I'm at now does some very cool things. I might change some things out here and there, and I'm also considering putting together a B-Rig. However, at this moment this is my sound.

'Nother New Amp

2010-03-03T14:22:00.000-08:00

I bought a new Silvertone 1483.

I originally tried out this amp awhile ago at Musicians Discount in Mesa. For some reason I didn't buy it, and it sold the very next day. I haven't seen a music store in my area can keep these amps in stock for more than a couple weeks, and as well, they sell for between $600 and $800 where I live. So, when I saw one online I felt compelled to buy one.

I bought mine through a music store in Ferndale Michigan called Gordy's music. I'd recommend them to anybody in the Detroit area, or who is interested in buying online. From pictures, it appears the amp was in somewhat sore condition when they got it, but their tech put a lot of work and all new tubes into it. From the sound of it I wouldn't be surprised if he re-capped it too. Plus I got it for under $500.

The 1483 was Silvertone's bass amp... Like the Bassman was Fender's bass amp (not a lot of guys use it for bass). Only instead of 4 10"s it has 1 15" like the Blackface Fender Vibroverb amps of the mid 60's.

This amp has no effects on it, It has two channels and 2 inputs on each channel. There isn't a lot of difference between the inputs or channels. I might experiment with A/B/Y pedals and what not, but I don't really think it will make much of a difference. Currently I'm just plugging into input 1 on channel 1.

It starts breaking up about 33% volume. At 50% volume it starts to get pretty saturated, at 100% volume it has a buttery overdriven sound. It responds well to the Tube Screamer, not as well as my little amps, but it responds very well to fuzz. I might have to buy a Keeley modded ProCo Rat for distortion when I play with this amp.

The Treble and Bass controls are pretty standard. The bass control can dial in more bass than you need if you turn it all the way up, and the treble control sounds like it boosts somewhere around 1.5 to 2 khz. It removes excessive sparkle for single coil guitars, and on my Les Paul brings it back in.

Some other interesting things about it, the cabinet actually has a little space in it so that you can place the head in it for easy transport. It has little white rotating tabs that keep it nice and snug in there. The particle board has held up pretty well considering it's age, and is much sturdier than I thought it would be.

This amp, out of all the amps I've had, has the sweetest tone. It has a nice complete spread of frequencies. It handles low end pretty well (15" speaker duh) and it handles higher frequencies well too. It's a little bit noisy, but I think I'm in love. It is utterly unique. It would make a great blues guitar amp, or it would work well for an indie-rock band or any band influenced by the 1960s.

Some thoughts for those interested in buying this amp:

I will probably not use it for distortion in the studio, because the power amp distortion is sort of odd. It's still musical, and colorful, but It is less sustainy and screaming as it is muscular and defined. It’s very garage or mod. Don’t expect to sound “metal” with this amp.

There is no reverb on this amp, and it actually sort of oddly decreases the “bigness” of a reverb, but delay sounds great with it.

The 15” speaker will be a giant pain in the ass to replace if it’s ever damaged… I’ll have to switch to two 12”s if that happens.

It’s only 22 watts a channel. That is just about the right volume for my band, but some really loud bands you will probably be drowned out.

Mo Mixin'

2009-12-14T08:09:00.000-08:00

I worked on another Seven Car Pileup song over the weekend.

This Time - Some friends might have heard the demo for this song as I emailed a few people a copy of it. The "electric" and "full-band" version was a bit different as far as arrangement. When I dug it up Saturday it was super messy: no notes, the vocals were not comped, and there was no backing vocals. When we recorded the self-title album we recorded around 27 songs, and throughout the session we would cut songs till we ended up with the final 12. We stopped working on this song somewhere after lead vocals and just before background vocals. I spent Saturday cleaning up drums and vocals, adding B4, and some more guitar in the chorus. On Sunday I added backing vocals, and some Rhodes. I'll run over it again and make sure everything is sitting in the mix right and then we'll see how the guys like it. I have to say I like it. With the drums without a metronome, the keyboards, and the lack of heavy distortion it has a bit of a "Post-Punk" vibe to it. A sound lost somewhere between 1978 and 1990. If I drowned it in reverb it could almost be an Echo and the Bunnymen song. I hope one day you'll get to hear it.

A Latest Seven Car Pileup Mixing

2009-12-04T11:39:00.000-08:00

So I finished mixing for two new/old Seven Car Pileup songs left over from our Album session.

Sanctity - This is an early one of our songs. The vocals/lyrics are very much me operating with my folk leanings, and the guitar is very much me in neo-grunge white-stripes land. The rest is Jess and Mike following along with the disorientating style-bonanza and coming up with some pretty nifty riffs. I have to say that their grove on this song is really tight, and the guitar solo is actually pretty good. It might be my best guitar solo. The mix sounds much better than the mixes I did for the album. I guess I'm getting better.

It will be featured on an MCC student music compliation along with other notable AZ local bands, Honey Pistol, What Laura Says, and more.

November 20th - We throw this song in at many of our long Mall shows. I have heard some people call it filler, and other people tell me they really liked it. I went a little elaborate on the production. I added piano and melatron. It sounds a bit like mid-carrer Led Zeppelin (III or Houses of the Holy) mixed with .... Tool? The vocals are pretty good, and the instrumental ending sounds fierce and firey. Throw this one in the pot of progressive Seven Car songs.

The guys have given me approval to put it on our website for free. I'll probably dig-up and remix a few more from the album and then maybe we'll put out like a b-sides collection or something...

Also, the offer to record, for a free, 1 song from any band I like still stands. If I ever went to your show (when my band wasn't even playing), or told you explicitly I loved your band, that would include you. This of course is at whim to when I'm available. That may mean it could take a little longer to get everything completed than you normally expect.

My Newest Guitar

2009-10-05T09:20:00.000-07:00

I like working on guitars and the modification process almost as much as I love playing them. I also love the idea that my guitar is fairly unique and custom. In order to do that with an American guitar it would be very costly. That is probably why I don't own a single American instrument. I also love the sound and feel of vintage 60's era Fenders... There is a bit of disparity between those two ideas, but with that in mind I recently stumbled upon a new instrument I had to buy. I had to sell my Ibanez Artcore Hollowbody AF105 (I blogged about awhile ago) in order to do it, but I think it may be completly worth it.

Yoshiko, my new Jazzmaster

My new guitar is an early 90s Fender Jazzmaster which was "crafted" in Japan (CIJ as the guitar geeks call it). The nice thing about the CIJ guitars is that they're made with the same wood that the Americans were made with. In fact in the early 90s the only way you could get a Jazzmaster would have been if you bought a vintage one or if you bought a Japanese model, so if you liked an early 90s band with a guitarist who played a Jazzmaster (My Bloody Valentine, Swervedriver, Dinosaur Jr., Sonic Youth) it was either Japanese or old. The only problem with these CIJ guitars are that the pick-ups are not very "vintage" in sound. They're closer to the way Strat pick-ups are designed. They're not bad, but I've played a vintage Jazzmaster and they're is a extra magic in their pick-ups. Between the magnetization process and the spread coil design which produces a more "balanced sound", a vintage Jazzmaster may be the best guitar in the world. This however brings me back to the previous point that I like customizing and modifying my guitars. So I will be replacing (like I did on my Mustang) the pick-ups on this guitar. The replacement pickups for this guitar are much cheaper than the Mustang pick-ups as there are many more companies which create them (5 vs 2). I'll be able to replace them for around $130 - $170, depending on what I do. I'll post details of the pick-up change as well as pictures. Although, most of the changes will be how it sounds.

My Top 10 Guitarists of the 1990s

2009-09-03T11:25:00.000-07:00

My band is getting ready for a Grunge tribute show on September 26th, so that had me thinking about my favorite guitarists of the 90's.

How I judged:
Technical Ability - Their ability to move around on the instrument.
includes: versatility(10) control (10) and quality of tone (10). - 30 points

Unique-ness - How different their view of the instrument was than others at the time.
includes: rhythm voicing (10) lead voicing (10) and tonal uniqueness (10) - 30 points

Influence - How many current guitarists are/were influenced
includes: shortly after (10) currently (10) - 20 points

How well they work/ed with others - Did they make their band better
includes: previously (10) currently or towards the end (10) - 20 point

1. Tom Morello - 93 - Without a doubt one of the geekiest men to ever wield a guitar, Tom played less like a guitarist and more like a DJ. Morello with Rage Against the Machine was able to successfully invent and popularize a whole new way of approaching the guitar. Using the whammy pedal, normal guitar controls, and thoughts about the instrument Morello forever changed the way people will think of the guitar and the guitar solo.
2. Josh Homme - 92 - Today, Homme is best known know as the guitarist vocalist for Queens of the Stoneage, but he's been a Stoner rock pioneer since 1985 when he formed the cult favorite Kyuss. He also did session work with Screaming Trees, and started Queens of the Stoneage in 1997. He has single handedly developed an iconic complex form of hard rock guitar style, as well as popularizing a super rare ovation electric guitar.

3. Ian MacKaye - 91 - MacKaye was the front man for Bad Brains influenced Minor Threat, and in 1987 created the seminal post-hardcore Fugazi. Fugazi wasn't just a band they were a movement. They actually made the world a better place, and along the way gave a lot of upcoming bands their big break. Before alternative rock was called alternative rock it was called post-hard-core. Music would probably be pretty boring today without the contribution of MacKaye and Fugazi did. If you're scratching your head listen to Fugazi's Waiting Room. MacKaye revolutionized guitar and he did it all, with one Gibson SG and a JCM 800.

4. Kurt Cobain - 90 - Whether he was a really lucky a great plagiarizer or supremely gifted is completely irrelevant, Cobain forever changed the guitar, and rock music, with 4 chords. I'd love to see you try and do that.

5. Billy Corgan - 90 - Corgan wanted to play rock music in an era in Chicago music history when rock was very unpopular. Well, he not only played rock music, but in the course of 4 years created two of the best albums the city has ever birthed. But that wasn't enough in order to be the best he had to create a double disc manifesto on what Corgan thought guitar could and should be. Every song brought in new approaches to rock guitar, from the sweeping epic Tonight Tonight to the ballsy brooder Bodies to the sparse heart breaking acoustic ballad 33. No guitarist has ever done anything quite as ornate and gotten away with since.
6. John Frusciante - 89 - Once Frusciante realized who he was on Blood Sugar Sex Magic, the Red Hot Chili Peppers finally moved past cult funk-punk rockers to the alt-rock superstars they are today. He had his flip-out where he couldn't deal with being a super star, but he eventually accepted it and has gone on to help create enough hits to keep RHCP on the radio for decades to follow. No guitarist will ever sound as good with Flea, or vice-versa as John Frusciante. If you're a bass player you better hope your guitarist likes him.

7. Dean DeLeo - 88 - The originality of Stone Temple Pilots aside, Dan DeLeo is a brilliant guitarist. If he wasn't the lead guitarist of STP he would have been the guitarist for the most popular cover band in San Diego history. DeLeo should have his picture next to versatility in the guitar dictionary. His sounds covered the complete spectrum of what Rock guitar was in the 1990s, and he pulled off every bit with style and poise.

8. Mike McCready - 88 - Without McCready Pearl Jam wouldn't have been quite the band they were. McCready was the flashy blues guitar soloist which gave Vedder's vocals a musical equivalent. Few people have been able to rise up from the Stevie Ray Vaughn/Jimi Hendrix School of guitar playing and develop their own voice. McCready is one of them.

9. Kim Thayil - 87 - Thayil helped form the hard-rock variant of the Seattle sound in 1984, with Soundgarden. Thayil's guitar playing is the perfect synthesis of Iommi style heavy riffs and Gilmour style psychedelic atmospherics.

10. Rivers Cuomo - 87 - Cuomo formed Weezer in 1992. Weezer is the most important post-grunge band that has ever existed, and Cuomo along with guitarist Brian Bell have created some of the most enduring and imaginative guitar riffs of the 1990s, and they were able to do it with just 2 albums. With their first self title album (the Blue one from 1994), Weezer mixed Cars style pop anthems with 70's style hard-rock guitar. On their second album Pinkerton (1996) they unveiled a raw honest sound that rivals many guitar rock albums to this day.

It comes from the blues.

2009-04-22T14:02:00.000-07:00

Every time I listen to a song in the genre called "the blues" I remember why I play music.

Past all the spotless production sheen, fancy image tricks, and sex appeal, there is an energy that us musician get to channel. A restless spirit which is contained inside each inspirational note. You see it really doesn't matters when you played, where you played, how much you were payed to play, or why you played. It's all about the restless cry that exists in the way Miles Davis made his trumpet cry, Muddy Waters made his harmonica scream, and Jimi Hendrix made his guitar scream. The sound is intoxicating and it pulls me into it like a siren. I want to be a part of it. I want to conect to that open channel, and I know I'm not alone.

It's odd, but when you're up on stage and the audience is full of people. It doesn't matter how much you practiced or how fancy your musical tools are there is an energy that connects everybody. Sometimes it's hard to dial into it, but when you can there is very little on this earth that is better than that. But it's really quite a wonderful thing. The music which really makes a difference gets past silly things which divide us like genre or language or politics. Rage Against the Machine was a powerful protest band not because the lyrics were incredibly insightful, but because their music had that "blues" spirit in it. Next thing you know the children of very same white republicans they were raging against we're chanting along to Bulls on Parade.

It means something. Even without words. And when you combine powerful words with that super powerful music...

it changed this kids life

Let's Break Up

2009-03-26T13:02:00.000-07:00

They way you make the guitar signal "break-up" or distort is an essential part of playing electric guitar. There are a million ways to do it, and each one does varied things to the overall sound. One method may not be the only way to go. There may be occasions for a guitarist to use

The pre-amp distortion guy: distorting the amps pre-amp tubes by pushing driving the pre-amp section into distortion. This is achieved by pushing a large amount of signal (or volume) to the pre-amplification stage of the amplifier, and than typically limiting the overall volume sent to the power amplifier by using either a master volume control or a gain channel (essentially a on off button for gain and master volume control). Pre-amp distortion is typically thick and milky. This usually works well enough, but it is so very 80's and 90's.

Power-amp distortion dude/chick: distorting the power amp tubes by running a large amount of signal through the power-amp tubes. This can be very loud and is best accommodated on low-wattage amplifiers or with a device which decrease the output of the amplifier, or a power brick. This can be a loud menacing set-up in which the slightest mention of turning your amplifier down pisses you off.

Pedal distortion folk: This person enjoys the sound of a little tiny box full of solid state circuits clipping. There are a myriad of pedals which create lots of different sounds. Some of them work really well. If you want to have a lot of different sounds this is a good way to go. There are: muffs, rats, shredders, screamers, factories, and so much more. Most of them pretty much sound the same, like a big ball of fuzz. However, recently a few companies have started creating more realistic asymmetrical distortion sounds. This is starting to become a rather solid way to go.

The Digital Modeling Geek: Start off by connecting the throbbing alternating current running out of the veins of your guitar into a circuit which turns it into the binary information that is digital audio, than that digital audio is run through a computer which modifies the sound based upon previous calculations and measurements of the previous methods of breaking up the guitar. Then the signal is converted back into the throbbing alternating current and sent to either a line level signal out (straight to the PA) or to an Amplifier level signal (straight to some speakers). This technology has advanced very quickly in the last few years, and improves every day. The Fractal Audio System Axe-FX sounds awesome, but at $1,999.95 it is difficult to justify buying that when you can buy an set-up which probably does just what you want for half the price.

Post Amp Distortion: Some guitarists (especially in the 60's) used to distort their sound after the amplifier. You can distort a compressor/limiter or pre-amp in the signal of the microphone on the guitar amp/cabinet, or you could do what Dave Davies of the kinks did by cutting the speakers in your amplifier or cabinet up with a razor blade. These can be used with other methods as well to create a unique and often retro sound.

Dr. Strangehats or: How I Learned to Stop Worrying and Love the Bob

2009-02-20T09:56:00.000-08:00

On Monday February 23rd I will be taking the single biggest and most terrifying step of my music career. I'm ready to make a radical shift in the way I think about making music. I've let go of my musical pacifiers. Shed my two channel Marshall amplifier. Moved on past the musical iconography of my youth, and shed the notion that I'm a recording engineer or music producer who can record himself. In fact, I've let go of the notion all together that I have what is needed to be a music producer. I've died of my careerist visions and at this moment I am living for my musical here and now, because that is all I ever had. It is time for me to ask:

what is the goal
what is needed to reach the goal
is the goal possible (if not establish a new goal)
is the goal worth the effort
what are the strengths I have to reach the goal
what strengths my fellow band mates have or could have to help reach the goal
who or what can be brought in to help us reach our goal
what am I doing that is hurting or hindering
what are others doing which is hurting the goal

I know this is a bit logical and serious for music, but there is nothing wrong with thinking logically in a creative setting. Yes there is the potential for over thinking, but I think at this junction that may be better than under thinking. It is 100% possible that our goal may never be reached. I may end up spending countless amounts of time and energy doing something I love, and for me to find that in a year or so I'm still not making enough money doing it. I don't know if that is so bad. As long as the thing I love doesn't hurt other people I will do it with pride. As long as I do truly love doing it I will enjoy every second. It's time to seize the day.

Year in Music 2008 - My Tops

2008-12-17T08:04:00.000-08:00

Favorite Albums

1. Vampire Weekend - Vampire Weekend - Sweet pure musical fun. Vampire Weekend are an Indie Pop band from New York. They describe their music as "Upper West Side Soweto", and that certainly makes sense.

2. Amanda Palmer - Who Killed Amanda Palmer - Dresden Dolls singer-song-writer creates a phenomenal solo record with a little help from Ben Folds.

3. Miniature Tigers - Tell it To The Volcano - Phoenix/LA indie rock band create the most heart felt and vulnerable record since Weezer's Pinkerton, but while Pinkerton is painful in it's epic tragedy Tell it To The Volcano is fun retro camp.

4. Kings of Leon - Only By The Night - Nashville rockers create their best album yet. Only By The Night is a beautiful delicate album which still "rocks". The best atmospheric album since U2's All That You Can't Leave Behind.

5. Bon Iver - For Emma, Forever Ago - Bon Iver (pronounced "bohn eevair") is an indie-folk singer-songwriter named Justin Vernon. On For Emma, Forever Ago Vernon chanels difficult personal situations to craft a haunting beautiful work of art all self-recorded and performed while secluded in a small cabin in northwestern Wisconsin.

6. Beck - Modern Guilt - Beck's best album since 2005's Guerro. Produced by Beck and mastermind producer Danger Mouse.

7. Nine Inch Nails - The Slip - Trent Reznor continues his internally sour powered misery machine with another catchy enjoyable album.

8. Lykke Li - Youth Novels - Swedish indie singer crafts a beautiful gem alluding to and moving within the Bildungsroman(coming of age) literary format. Produced by Björn Yttling of Peter Bjorn and John

9. Black Mountain - In the Future - Canadian psychedelic rock-band channels all that is weird about Vancouver and all that is weird about psychedelic rock for a strange but thoroughly enjoyable album. That alone is cool, but by day, three members of the band work for an organization (Insite) that meets the basic living requirements of the chronically poor, drug addicted and mentally ill near Vancouver's infamous Main & Hastings intersection.

10. Crystal Castles - Crystal Castles - Toronto based group create one of the most interesting if not best electronic record this year. Full of visceral meticulously composed dirty electro dance.

11. Portishead - Third - Portishead reunites and continues their streak of creating wonderful trip-hop, a genre name which should just be renamed Portished.

12. The Bug - London Zoo - Enlgish recording artist Kevin Martin's third album under his alias of The Bug. Kevin Martin with Alec Empire also put together some of my favorite digital hardcore under the alias of Curse of the Golden Vampire. London Zoo mixes various popular British electronic genres (dancehall, garage, hip hop, dubstep, and techno) with wonderful intelligent results.

13. The Raconteurs - Consolers Of The Lonely - Jack White backs off a bit to allow Brendan Benson more room to shine, even though the two frontmen's similar voices often blur into one another. It's full of hooks and guitar, and lots of instrumental power, and some of the most notable musicians in American music today.

14. Fleet Foxes - Fleet Foxes - Genteal orchestral baroque folk pop music. Full of sweet hushed songs recorded with a roomy delicate charm and feeling.

15. British Sea Power - Do You Like Rock Music? - Brighton England 4 piece Indie Rock band create their best album yet. Do You Like Rock Music is full of beautiful modern post-punk anthems.

16. Clinic - Do It! - This Liverpool band has a sound which initially may sound a bit like a throw back, but with it's unique thoughtful chord progressions and original use of often vintage gear, they create a sound which grows on the listener.

17. Sigur Rós - Með Suð Í Eyrum Við Spilum Endalaust - Icelandic post-rock band trade-in epic minimalist soundscapes for a folk influenced sound of a fun summer day.

18. Cold Play - Viva La Vida or Death and All his Friends - Coldplay, the band I'd most like to go grab a pint with, have always, to me, been the band for other people. But on Viva, Brian Eno pushes Coldplay to create a less cliched sound for the most enjoyable Coldplay release since Parachutes.

19. TV on the Radio - Dear Science - TV on the Radio are a difficult band to listen to. Their relentless experimentation often hands you a lump of coal when you ask for gold, but this album is surprisingly accessible, and enjoyable to listen to.

20. Metallica - Death Magnetic - The Kings of metal return with their best album in 20 years. This album restores a bit of shine to their crown. The boring 4 on the floor arena crushers, are replaced with a return to their signature fast paced enigmatic complexity. Sure, this isn't as good as Ride the Lightning or Master of Puppets, but most things aren't.

Honerable Mentions:

The Via Maris - The Bicentennial - I'm not sure what it was about this disc, but it never quite caught on with me like their previous album. There are a lot of cool moments. Chad Sundin leads his recording project turned band now back to recording project to exciting higher energy moments, and beautiful reflective quiet parts. It's only flaw is how thorghly it regects modern music. It's actually exciting when it teases with moments of 70's folk rock. The anti-new treatment of this music actually makes it feel old. It's not that fun youthfull 60's retro old, but that stodgy grandpa's attic old. Sure there are lots of cool peices and well crafted, but it's obscured by the dust of time. I feel that bringing in a quirky hip modern approach to Chad's gorgeous songs could be quite amazing. I wouldn't be surprised if his next album did just that, as he's been working with uber tallented and fun producer Back Ted-N-Ted.
Counting Crows - Saturday Nights & Sunday Mornings - A dazzlingly confusing record broken up into the sound of two different days. The album requires lots of patience, but pay offs in the end. This one is certainly only for fans.
Weezer - Weezer (RED) - I was hesitant to put this album on this list at all because it is not my favorite album. I can't put my finger on it, but I think it's something along the lines of the fact that this album is almost the anti-Pinkerton. Everytime their about to be vulnerable or geniune they throw up a weird snarky pose. It's like the geeky kid in class came to school one day in a suit straight out of a James Bond movie. However, Weezer is one of those bands which can pretty much get away with murder. Their singles are good, and their weak moments aren't that bad.
Smashing Pumpkins - American Gothic - EP/ G.L.O.W. - Single - Smashing Pumpkins ditch the album format to varying results. American Gothic is a nimble well crafted collection of acoustic songs, and the G.L.O.W. single shows them rocking with less words than ever before. However, none of these quite find the magic which propelled the Pumpkins through the 90's or even the song writing sweetness of Zeitgeist.

Albums I Wanted To, But Haven't listened to yet:
Death Cab For Cutie - Narrow Stairs
The Hush Sound - Goodbye Blues
The Presidents of The United States of America - These Are the Good Times People
MGMT - Oracular Spectacular
Oasis - Dig Out Your Soul

Favorite Artists (according to Last.FM)
1 Radiohead
2 Elliott Smith
3 The Smashing Pumpkins
4 Echo & the Bunnymen
5 Counting Crows
6 Weezer
7 Red Hot Chili Peppers
8 Nine Inch Nails
9 U2
10 The Via Maris

The Death of the Album

2008-12-15T08:24:00.000-08:00

I think, the idea of a collection of songs as expansive as an album is quickly becoming an archaic idea. And why not! It's time to take music back to the Single/E.P.? I know I've talked about this before, but I think since I last spoke on this the topic has advanced so quickly that I'd like to explore it again.

I feel that it is time that musicians started creating one song at a time or at the most a very small collection of songs at a time. This will provides the artist more flexibility to record in various manners with a natural progression of sound. Most people don't listen to albums anymore; they fill their iPod with a lots of songs from different artists. Since each piece is more than likely listened to separately it is better to treat each song as a separate thought. If a song has to be with another song you can merge the two together, and not separate them into separate tracks. At the end of the year bands and solo artists could reward fans with a boutique physical releases, and the lurkers/outsiders can simply enjoy the pieces they've already purchased or buy more.

For those who want/need the strong visuals that coincide with an album release there could still be visual tie ins to the recorded product. There could be micro-sites/blogs for each song. Since the focus is on the one song, more attention would be paid to creating the best works possible in the smallest amount of time. Since people's attention spans are shorter now artists can work at utilize every second possible. Artists could still create epic expansive albums if they want, but they would be more akin to a box sets. The album would be a collection of singles digital and/or 45's (two songs) and/or other interesting variants (3 or more songs).

I think this has a strong possibility of working well. By musicians accommodating the consumer I think they're will be some interesting harmonious effects. As the switch to the album format in the 70's created some beautiful and in the same way some less exciting music, this will without doubt create similar results.

Because I'm Just Trying To Be Free

2008-12-03T13:58:00.000-08:00

In my head I fear that everybody who "loves" me, has "plans" for me in their head.

They want me to do or be something. Nobody is just content with what I am or what I provide. They either want more or less or something different...

All I really want is somebody who will love me with an unconditional love and acceptance.

But I try... I try to be good enough, but despite that effort I never actually meet anybody's standards. I'm still... just me

Everybody cares, everybody understands
Yes everybody cares about you
Yeah and whether or not you want them to
It's a chemical embrace that kicks you in the head
To a pure synthetic sympathy that infuriates you totally
And a quiet lie that makes you wanna scream and shout
...

- Elliott Smith from Everybody Cares, Everybody Understands

This isn't to say I don't want to make all those people happy. I really do. I want to give them all what they want, but sometimes I can't. That's why it tears me up so much. In fact, these days I'm continually baffled by people's kindness because I don't believe I deserve it. I question everything positive, but accept everything negative.

I delete the positive reviews in my head. I erase loyalty and magnify the critics...

I'm so worried about being naive that I've become even worse, I've become jaded.

How Do You Afford Your Rock & Roll Lifestyle

2008-11-21T10:06:00.000-08:00

"Nothing pleases me more than to go into a room and come out with a piece of music."
Paul McCartney

Hello my name is Mark Mason and I play music. I'm not a fatalist. By the same respect, in truth, I don't believe in myself. I believe in you. I believe in the audience's power to support and grow artists. You have the power, and even though people may try to tell you how to use that power ultimately it is your power. You can make simple choices based on T.V. reality shows or radio programming, or you can scour the internet looking for obscure indie gems; however, it is your choice none the less. I believe that us as artists need to respect that choice. If we want to be recognized we need to earn that recognition.

I don't believe that immediate success is real success. I don't believe that monetary success should be the true barometer for musical excellence. I don't think that how many units you ship dictates quality. I believe that music belongs to the people, and the best thing which my fellow musical composers and I can do is enrich and enliven your lives. In fact, the artists who refuse to evolve with the people are the first ones to be left behind. The Beatles' evolution wasn't special because it was theirs, or because it was the first time an artist evolved. The Beatles' evolution was special because the people allowed it to happen.

"Music is everybody's possession. It's only publishers who think that people own it."
John Lennon

I don't believe we're demigods, or the supreme beings of creative thought. I've watched my musical heroes kill themselves trying desperate to be something they were never meant to be. Icons. Kurt Cobain, Billy Corgan, Brad Nowell, Elliott Smith, Jimi Hendrix, John Lennon, they were (and are) just sad smart men who felt compelled to create heart-achingly beautiful music. And I'm sure you have your favorite musical icons as well. Often times the music is very easy to relate too. Just enough ambiguity and just enough precisely exacting lyricism allows us to bond with each others for at least a few minutes. It allows us to not be alone in misery or be boosted by the joy of a common love. A collective scream. A universal joy. Men who created something beautiful, but who were expected to represent that beautiful thing 24/7. It must be exciting at first, but then suffocating. For some it appears to be toxic. The art is good, but I think the personality part... I think that's the dangerous piece. The culture of self is damaging. The culture of self is dangerous. The culture of self deludes you into thinking that you're not in charge of the music. That you're not a part of the collective direction of it.

Arise sleeping giants, you're better than the computer generated recordings. You're better than celebutantes dancing in pretty clothes. You're smarter than you think you are.

This is yours. What do you want to hear today?

I Love You,
Mark

Musican Vents

2008-11-05T13:05:00.000-08:00

How the heck am I supposed to continue this if people steal my music?

This is a serious question. I play mid line gear, and I play for a mid-sized audience.
I recorded in a mid-line studio, and published my album in mid-line formats at a mid-line price.
Yet, I've heard through the grape line of several fans bootlegging my music to their friends. I'm not in Metallica. I can't make money from tours based upon music created in an era sustained by album sales.

Everything cost money.

To play a show the venue has to make enough money from tickets to pay the staff, and mortgage first. Sometimes we make just enough money for there to be money paid to the bands. However, everything my band makes goes into a fund we use to create more products. This model works very well enough for an up and coming band. We have figured out how to make just enough money to grow the band. We are moving in the right direction. However, it all falls apart when people start pirating our music.

The recording process is costly. Proper recording requires proper acoustics and proper gear to capture the sounds. The sound which people have grown accustomed to hear from their CDs requires large amounts of time and monetary investment to create. It requires a studio. We built our own for our album, so it was much cheaper than most pay it cost us $3k+ worth of gear and the monthly rent for our house. It requires a mastering engineer. We got a screaming deal on ours; we only paid $1000 for it. CDs require duplication. That cost money too; the bare basic duplication is usually around $1000 for 1000 CDs. Needless to say it's a rather large investment.
We create the CD so that the band will eventually be able to make enough money to be more than an expensive hobby. Maybe we’ll have enough money to play nicer guitars. Not 1960’s Gretsch White Falcons, but maybe a Gibson Les Paul and acoustic. Maybe we could buy nicer amps or more effective effect set-up so it sounds more like what the CD sounds like. Maybe we could make enough money so that we can tour, or enough so that we’re able to put out another CD. Or maybe, just maybe we’re able to hire a producer to help us make that magnum opus we feel we can make.

When people decide to copy and distribute the music on the CD for free it becomes harder to sell our music. We loose any financial leverage that we'd need to improve the art we're creating. Now that people have our studio music for free on their computer some of them even feel there is less reason to go hear the music live, because they can just listen to the recordings. Money from the fund invested results in a zero return. Maybe they’ll buy a t-shirt because they think that is a way to support us, but the hilarious joke is that because we’re not a touring band we can’t sell them for a price that will actually make us any money.

So do us a big favor and don’t steal our music just yet. Wait till we’re called a platinum selling artist or we get nominated for a Grammy. If you have please buy the CD.

If You Think You Should Come To California

2008-10-09T09:39:00.001-07:00

I would have missed him if my alarm hadn't gone all funky. The CD I burnt a long time ago that was sitting in my alarm to wake me has been skipping and then dying all week. I usually just wake up, but this morning I was so tired that when the CD player stopped I just went back to sleep. Once I woke up I was in a terrible chaotic mess trying to get to work, and I was too stressed/tired to listen to my normal station, NPR. Once I plopped it onto the Edge (The lame-o Alternative station out here) Adam Corolla's voice came on and I might have changed it except for he said Arizona comedian, yes I admit I still have some geographical ties to this sand pile, so I listened. All without invitation, he drove all the way out to LA (6 hours) to be on the Adam Corolla show. It was completely randomly and beautifully desperate . Much like the movie Joe Dirt. He wasn't insanely funny, but his story more than made up. Interesting fellow, kind of funny, serious story. I think all of my hopes and dreams of exiting this sad sun stained city were all sitting in his awkward nervous jokes. I laughed a few times. He isn't a genius, but he's a genius by Phoenix entertainer standards.

The New Album

2008-10-06T13:23:00.001-07:00

This is a good time for me right now. People are actually responding really postively to the latest product I've been involved in. My band's CD is now being enjoyed by those around me and the response is very positive. I devoted quite a lot of time to creating it, and it is so good to see it starting to reciprocate. Seven Car Pileup - Seven Car Pileup was my love child. I really belive there is something on there for almost everybody. We cover quite a range of alternative flavors of American rock and roll. Saying it is alternative is more saying it isn't verbatim copies of those genres, but more a Tempe based rock band having fun with composition and a farily diverse amount of arangement styles. There are quite a few things I'm proud of. Hell, why don't I go through each song and say what I love the most about it... I never do anything like this so hummor me.

Sucker Punch - My best lyrics, maybe ever. A ego-less vulnerable exploration of what it means to be a twenty something in today's America.

Outta My Mind - The funkiest song my band's ever done. Makes you want to shake your money maker.

The Apprehension of Hope - Maybe the most heart-felt exploration of politics ever recorded. This is a lot of people's favorite song on the album. I'm completely blown away by that, but in some ways I'm not really.

Oxymoron - I think this song is great. It could possibly be a year or so ahead of it's time, but I don't care.

Steve McQueen - A riff-rocker, my first one that worked, and just snarky enough to not be taken too seriously.

Lets Be Hippies - A really beautiful sentiment that I think a lot of people can relate too.

In Your Pocket - Possibly the hardest song to write on this album. The lyrics are me writing from somebody else's perspective and at the same time my perspective. It's so mixed up and jangled of the life that was happening around me at the moment that it can't be interpreted as anything else than a bitter explosive abstract ballad.

Control - This song is about a concept that I think nobody ever talks about: the idea of how we attempt to create systems of order in our lives when things are completely out of our control. It may be the hardest song to get on the album, but when you do I think it's possibly the most poignant song on it.

New DNA - I'm so proud that this song follows Control. This song is talking about the power of grace and forgiveness in our lives, and how it doesn't come from within our selves, but from somewhere/one higher.

Cardboard Nation - A punk-rock tirade speaking to America's excessive consumerist culture, and the packing supply of choice.

2' (two foot) Ponds - A shallow love song with a groove that just won't stop, and a very heavy fun chorus.

Windless - Maybe the first ever punk bossanova. I love this arrangement style. I'll have to try and convince the band to write another song in this vein.

Funky Sounds in the Bathroom or Love Loss in a Bathroom Stall

2008-09-30T12:44:00.000-07:00

Tonight in Tucson (the land of enchantment), I'm going to go see Ben Kweller. My girlfriend (Meg) and I have decided that there would be no better time than to start our spread the funk grassroots gorilla marketing scheme. We'll be placing copies of CD-R's, with a song or a few songs off of Seven Car Pileup's eponymous debut album, in bathroom stalls at Club Congress. In addition, we'll be giving a few copies to Meg's sister Emily to hand out around the Tucson area. It's a completely random and cheap way to spread the music around. I'm sure we'll do the same thing in Phoenix as well. It's a random reason to go to some of my favorite venues around town. Don't be too surprised if a copy of it shows up at the Modified, Last Exit, Yucca Tap Roon, and Hollywood Alley. As well as various mall bathrooms, movie theaters... ect.

Uncertain Times

2008-09-24T14:36:00.001-07:00

Seven Car Pileup Advertisment

2008-09-18T14:23:00.000-07:00

Revernd Guitars

2008-09-17T09:54:00.000-07:00

So I've decided that I need a new guitar, more in the vein of the sound/style I'm growing to love. I want a mid-weight set-neck Double Humbucker. I would love something that looks like a Les Paul but a little different.

I think I'm going to get myself a Reverend. They're still enough below the radar that they're not overpriced yet, and they have some design attributes which makes sense for players more comfortable with Fenders but who want that Gibson sound.

I'm torn between the
Warkhawk II HBand the
Roundhouse HP (gold-top)Although I'm not dead set on a set-neck Their bolt on necks seem interesting enough.

The Jetstream just might be the one which would do the job.
Reverend has a dealer in Scottsdale, Guitar Gallery, and as well Rainbow guitars in Tucson sells them as well.

Seven Car Pileup - Seven Car Pileup

2008-09-17T09:23:00.000-07:00

My Band (Seven Car Pileup) is releasing our debut eponymous album. Seven Car Pileup's album features a wide range of musical styles all funneled through our trade-mark high energy rock.

Seven Car Pileup is made up of
Mark Mason (me) - Vocals and Guitar
Jess Pruitt - Bass Guitar
Mike Vigil - Drums

To listen to a song off of the album you can go to our online store [shop.7carpileup.com] to download a free copy of a song off of the album. The song is titled Outta My Mind.

Production Philosophies

2007-07-31T09:12:00.000-07:00

Tiny Production less is more
Tiny production, or minimalist production, has been around just long enough for it to be absorbed into other forms of music than pop. Tiny production reduces the amount of sound being output to the bare necessities. Typically production is thought as enhance by adding, but tiny production is enhancing by editing. By the nature of it's critical approach it is usually only used in music where the producer is significantly involved in the composition or has a large amount of power over the creative process. Tiny production works well when an element of the music needs to be emphasized, which is why it is so commonly heard in dance music. Some famous/infamous examples of tiny production are Gwen Stefani's first solo record, early synth pop, late 70's funk, early 80's disco, early punk, and Prince. Because the tiny production aesthetic is often used in style conscious music it is often disregard as cheap or temporary; however, the concept of less is more can significantly enhance any musical form. However, without tiny production we wouldn't know whose milk shake brings who to the yard, who is a super freak, or whose shit is bananas.

The Wall of Sound more is more
This is the most abused music production style. Some producers (Phil Spector, Brian Eno, Owen Morris, Kevin Shields, Flood) are able to do it very well. When used correctly it can create a fascinating aural experience that encompassing and engulfing. This ethic work best when added in with another production philosophy which will make sure that there is a strong core. Some of the best examples of works in which a wall of sound ethic were used come when the more is more producers is teamed with another more grounded producer or by a producer who is grounded with a strong understanding of drums (Daniel Lanois, Butch Vig, Gil Norton, Steve Albini). Because many of the bands who have adopted the wall of sound approach have become critically acclaimed (Pink Floyd) many musicians mistake lush ambient sounds as a way to creating music, instead of what was actually the case of adding lush and ambient effects to already good music to modify the results. When creating a wall of sound the most important thing to understand is what you're trying to enhance by addition. Once you know the focus you can know what you can blur. It's also important to know whether or not a band, or song will work with the production. Consider the Beatles Let it Be, an album many critics feel would have sounded better with a more succinct production ethic.

Wax On Wax Off you need a new philosophy
Then there is the you're close, but you just need a new outlook production ethic. Much like a sensei the producers imparts his wisdom over the big picture by modifying nuisance. From guitar tone to a new way of thinking this form of production can rejuvenate an established artists or bring success to an artists who is having problems make it to the next level. Some great examples of this are Quincy Jones, Glen Ballard, Steve Albini, and Rick Rubin. The risk with this form of production is that the producer must have a large amount of respect, and the artists must be accepting of change, in order for it to work. It's important for the producer to remind the artists consistently of what is good with what they're doing. In addition, artists that often work the best under this production ethic are also the ones who are the least responsive to change. It takes a very positive person to be able to pull this off.

The Bionic Band we can build you stronger

Then there is the concept of taking an already good idea and forcing musical perfection upon it by either highly critical recording expectations, lots of practice, significant arrangement shifts, or digital manipulation Examples of these producers are Martin Karl "Max Martin" Sandberg, Howard Benson, Terry Date, Butch Vig. This style of production is very rigorous and exacting. Often time spending most the time on the element which is most important to that producer (vocals in pop, drums in rock, horns in jazz, ect). Often because of the nature of expertise needed in shaping the sound these producers stick to just one genre.

Free Noise

2007-07-26T10:22:00.000-07:00

Freesound is a neat little web site that is creating a huge collaborative database of audio snippets, samples, recordings, etc... All the samples are released under the Creative Commons Sampling Plus License . The site also combines a geo-tracking function as well, so some of the samples even show where they're from. Over time this could become a thoroughly rich function. Imagine taking a tour of what the beach sounds like on several locations on several continents. Imagine hearing Big Ben toll, and then hearing other clock towers. Or imagine hearing the ambient house noise of a Boise resident and comparing that to the ambient house noise of a Parisian. Plus the fact that this can positively diversify the sample library of any aspiring DJ, electronic musician, sound effects artist, or producer.

Equalization: That Thing Which Changes The Tone

2007-07-25T13:26:00.000-07:00

Equalization, or EQ, is that little piece of magic which modifies tone of an instrument. Here is a helpful list of instruments and their important EQ elements, and some terms people use for certain frequency ranges.

Bass (20 Hz – 100 Hz) – Boomy, Thick, Depth, Bottom
Mid-Bass (100 Hz – 500 Hz) – Full, Warm, fat
Midrange (500Hz – 2 kHz) – Nasal, overly focused, Horn like
Upper Mid Range (2k Hz – 8 kHz) – Harsh, Bright, Presence, Edge, crisp
High Range (8 kHz – 20 kHz) – Airy, Openness, Treble, Brilliance
Snare Drum – Fat at 240 Hz, crisp at 5 kHz

Hi hat / cymbals - Full at 240 Hz bright at 7.5 kHz–12 kHz
Bass Guitar – Thick and Bottom at 60–80 Hz bright at 2.5 kHz
Electric Guitar – Full at 240 Hz, nasally at 600hz to 900hz, edge at 2.5 kHz
Acoustic Guitar – Bottom end between 80-120 HZ, competes with vocals at 950 to 1 Hz, full at 240 HZ and bright at 2.5 kHz
Strings – Full and Warm at 240 Hz treble between 7.5 kHz – 10kHz
Vocals – Full and warm at 120 Hz-240Hz, nasally at 800 to 1.5 kHz (very individualized), presence at 5 kHz
Horns – Full and fat at 120-240 Hz, harsh and bright between 5-7.5Hz
Piano – Bottom end at 80-120Hz, presence at 2.5-5 kHz with crispness at 10 kHz

If you can figure out how to use EQ effectively you are already heads and tails better than most "engineers".

The Arpeggione - GuitarViol

2007-07-23T15:04:00.000-07:00

Imagine the ability to effectively play a guitar with a bow. Imagine the textures and quality that you'd be able to to add to your guitar performance. Imagine having 6 strings on a cello and frets so you always had perfect intonation. Imagine that in an instrument the size of an electric guitar. Imagine the ability to blend classical stylistic elements with punk jazz rock and blues in a way which can be done simply and effectively. Imagine being the session guy in town that can add strings and guitar to a recording. Imagine it was created, but it looked like it had a tumor on it's neck.

The Togaman GuitarViol is a majestically crafted, but sort of ugly, bowwed guitar. Each piece is individually carved out of exotic woods like Alder, Maple, Purpleheart and appointed high quality locking tuners EMG pickups, and a custom designed Peizo bridge pickup to capture a natural acoustic sound. However the best part is that each string can be individually articulated by the bow or plucked/strummed and ran through a typical electric guitar amp or PA to add a whole other dimension to any guitarist's repertoire. The main question is how much.
With a Hard Case = $3,896.00

In addition a acoustic version can be purchased as well which has a sound much akin to an archtop cello hybrid. The basic model features Purple-heart or mahogany back and sides and a Engelmann spruce top; however you could also choose from Quilt/Flame Maple, Koa, Rosewood, and Cocobolo. With a Hard Case = $5496.00

Eastwood Ultra GP

2007-07-16T16:56:00.000-07:00

Eastwood is making a copy of the rare unique Ovation Ultra GP. It's a strange thing to see copies of copies, but I'm sure it will be just as unique as the copy...

The back story on the Ovation Ultra GP goes, Ovation made decent interesting acoustics in the 1970's. They wanted to branch into electric guitars, and they did a so-so job for a while along the way they managed to create the most unique sounding Les Paul clone ever. In the mid 80's the introduced introduced the Ultra GS (Stratocaster clone) the Ultra GP(Les Paul Clone) and the Ultra Bass. The Ultra GS and Ultra Bass were fairly not noteworthy instruments by any stretch of the imagination, but the Ultra GP was different. The Ultra GP, while it similar to a Les Paul, has a rare bite and playability that Les Pauls still don't have to this day. However, because it was poorly marketed over priced and under shipped Ovation discontinued it, and eventually all solid body electrics. Because of that the Ultra GP became a rare find for those with the ear to notice it's brilliance or to hear the underground word of mouth.

In the late 90's the Ovation Ultra GP became re-popularized by Queens of the Stone Age frontman Josh Holme, who uses the Ultra GP as part of his secret sound. However the Ultra GP is so rare that they can easily be sold today for around $4000. Luckily Eastwood, who creates exciting vintage in appearance but modern in quality electric guitars, took it upon themselves to bring an almost spotless replica of the Ultra GP to light for just $700.

They're available here, and here.

Smashing Pumpkins - Zeitgeist

2007-07-13T11:29:00.000-07:00

As a long time adamant fan of the Smashing Pumpkins I don't feel I should be allowed to review this album; however, maybe a fan perspective could help perspective buyers fears of buying this disc.

Zeitgeist is a massive sea change for the Smashing Pumpkins as all Smashing Pumpkins releases are. Billy Corgan will not, and can't stand still. However, this disc is also a welcome return to form for Corgan. There are subtleties that exist in a Smashing Pumpkin album, and this is the first record since Mellon Collie and the Infinite Sadness that doesn't try to avoid them. There are also little bits of Solo Corgan, and Zwan Corgan and Chamberlin textures, but it's only the peices which work.

Since the poorly received last album (Machina), a break-up, a freak-out, an internet music revolution, sol records, and Zwan, a lot has happened to the world. Before Corgan had always been content to write highly personal abstract lyrics, but it seems now he's more interested in lyrics that taping into the times, hence the albums title. This is certainly the first time Corgan has shifted his focus externally. Does it work? Well not as well as others, but much better than many feared. There is still a coy abstraction, but it's often lifted so that a message can be received. It's sometimes confusing what he's trying to say, but it's always interesting.

Now onto the biggest question for this album, the sound. How does it sound. I've heard lots of folks calling it poorly mixed. I've heard many people questioning why Billy's voice sounds so different. Less whiny? If you listen to the vocals you can hear that Billy's actually breathing correctly. That will often eliminate a little whine, but there is still an ache in his tenor. I'd say it's all Corgan evolving as a vocalist. There are new little things he does that he pulled in from Zwan, that I honestly think make a welcome part of his repertoire. Although in my opinion it could stand a few more belly aching wines. It's just the guitar tones are... so different. A lot of it comes from Corgan shifting to Diezel amplifiers and Reverend guitars, Billy Corgan previously reached his height using mostly Marshall Amplifiers and Fender Stratocastors, and part of me understands the necessity for a more modern sound, but I still miss his previous Mid 90's guitar tones. Aside from the stuf he uses, the guitar performance is mostly flawless. It sometimes leans more towards hard rock than I would prefer, but it always "rocks". The drums are awesome, sometimes a little bit buried in the mix, but perfect performances and great tones. The mixing is a bit awkward. Unsurprisingly it's mixed like a record from today. It takes some getting used to, but over time it starts to make much more sense. If you're going to create a record about the times it's best to do it in a current way, but a big question is whether in 10 years the choices will result in something that will sound classic or dated. Either way this record has enough delightful moments that I'd say let's encourage Billy to keep it up, and recommend he look up Butch Vig.

My Decision

2007-07-11T12:59:00.000-07:00

Last night I went to a local music store, that my bass player now works at, and fell in love. She's a beautiful full bodied but hollow sweat heart. She sings like an angel, and she is adorned in beautiful appointments.

She's an Ibanez Artcore AF105. Yah she is almost perfect I just wish she didn't have her name tattooed on her head. She is so perfect I'm going to pick her up on Friday. She won't need to have her pick-ups replaced, and the action is almost perfect. All I would need to do is get her set-up for half a step down. She even has a case! She'll make a wonderful addition to the collection. I'm pretty sure she's the missing link. With her, my strat, and my mustang I think I will have the full range of sound, or at least the full range I want at this moment. All I need now is an AC50 to go along with my JCM900.

Dntel - Dumb Luck

2007-07-03T10:29:00.000-07:00

or Indie Rock All Stars Get All Electronical

1. "Dumb Luck"
2. "To a Fault" [ft. Grizzly Bear]
3. "I'd Like to Know" [ft. Lali Puna]
4. "Roll On" [ft. Jenny Lewis] ya know Rilo Kiley
5. "The Distance" [ft. Arthur & Yu]
6. "Rock My Boat" [ft. Mia Doi Todd]
7. "Natural Resources" [ft. Andrew Broder of Fog]
8. "Breakfast in Bed" [ft. Conor Oberst] ya know Bright Eyes
9. "Dreams" [ft. Mystic Chords of Memory]

Dumb luck comes off as less cohesive than the Postal Service, but somehow more genuine. Dntel is more interesting and dreamy, but it is significantly less pop accessible. That could be because it features a complete absence of Ben Gibbard's signature hook laden presence. This record does what independent music does best, re-invent the wheel only slightly. It draws from a myriad of indie-rock influences either by the direct connection of working with those artists or Dntel's apparent influence of dream-pop, ambient, and drum and bass. The production is a less aggressive square pusher, and a less disconected orbital, and he makes perfect use of the artists he works with. Even though at moments it has a bit of the feel of a remix album. This fact especially on the Jenny Lewis fronted Roll On. However, the album is a clear and enjoyable listen all the way through. A rare achievement for an electronic album with so many vocalists (see the uneven UNKLE -Never, Never, Land).

Joana Newsom

2007-07-02T16:49:00.001-07:00

I'm not quite sure why I never got into Joanna Newsom until now, but goodness she's delightful. I get her more now. She's a classically trained harpist who sings like an Appalachian folk singer. It's terrifically unique, but at moments it sounds like cats screeching over brilliant harp. However, the refreshingly traditional with the painstakingly composed is easy to get ensnared into. On her most recent release she goes a bit more baroque, but for the most part her career captures a powerfully innocent and naive take on folk music. Some folk artists create pretty music other people did, some create unique music, Joanna does both... somehow.

The Next Guitar I Own Will be Full of Hot Air

2007-06-28T15:55:00.000-07:00

I can't decide which one to get.
The Gretsch for under $600
My Dream Troy Van Leeuwen Signature Yamaha
The "imitation white falcon" Ibanez Artcore AF105

I think I might vomit a bit if I bought the Ibanez, but it could possibly be the best guitar. I've played a Ibanez before and the only thing which I didn't like was that it sounded bad... That is actually something which is often fixed easily with a little money. A set of Gibson 57 Classic pick-ups at $100 a piece would more than do the job.

Now onto the GretschMy brain tells me not to buy a Gretsch for less than $1000 because somehow the corporate gods at Fender must have rapped Gretsch's pristine name when they bought them in order to do that, or maybe it has less than stealar pick-ups which is not a fixable thing. The Grtesch sound is the DeArmond pickups with Dynasonics or at least DeArmond 2000, and these don't. You can't buy DeArmond pickups online. There is also this guitar too. The thing is crap to Gretsch is often gold to other guitar companies, or at least it was in the past.

I really like the Troy Van Leeuwen guitar. I've always been a big fan of his tone, and he's known to actually use this guitar quite religiously. I've heard a lot of people call it the best rock guitar under $2000. It is just .... expensive you know. Oh gosh Yamaha just sponsor me!

Review: Eric Clapton - 461 Ocean Boulevard

2007-06-27T12:16:00.000-07:00

In 1974 Eric Clapton was relevant. 461 Ocean Boulevard is the album he put out that year. It is his first album after quitting heroin and his second after the dissolution of Derek & the Dominos (RIP). It's un-fair to say that Eric Clapton sucks, because he doesn't. He just isn't God's gift to music like many wish him to be. 461 Ocean Boulevard proves both those points. If you compare it to the rest of Blues music it's sort of sad, but if you compare it to the rest of pop music it's beautiful. That's where Clapton lies. An easy entry point for yuppies and baby boomers to get into that music that their parents never would have listened to (the blues), but that was the basis of all American music post 1920. And that music which their kids really would get into (reggae), and would be the basis of many sub-genres of American music post 1975.

There is something truly wonderful about early 1970's recording, and this album is without a doubt captured with that beautiful sheen. Every song on this album is throughly interesting, many of the songs on this album are remarkable, and a few are excellent. The low point is Johnny Otis' R&B classic Willie & The Hand Jive. The Hand Jive is a foot note if anything, and Clapton's lethargic cover shows all of his weakness with very little of his strength. The track listing works well, and the opener and closer do their job quite effectively. Along the way there is a myriad of feelings captured as only Clapton can capture them. The whole effort feels quite effortless, and there are several instrumental parts which were certainly quite ahead of their time. If anything the album works as a notable testament to all that was interesting in popular music in 1970. It has it's place along side Harrison, Lennon, and McCartney's lesser (all their second releases) solo albums of that same time. And while imitation is the sincerest for of flattery it's also the fastest way to date a record. This album is 1974, and this album is Clapton. If you like those two you probably will love this record.