Archive for the ‘Music’ Category

Back From the Bo-Zone / inside

Wednesday, January 17th, 2007

Just got back from Bozeman a few hours ago. Jesse, AJo, Andy, Cullen and I went there to check out how their ResNet program compares to our DirectConnect program. It was informative, despite the fact that we spent twice as long traveling (eight hours) as we did doing what we came there to do (four hours). They’ve got complete control of their network (we don’t), so they can do stuff like VLAN switching and bandwidth control much easier than we can. Their web-based tools aren’t as pretty as ours, however. This is a result of my design-first, code-second philosophy.

We stayed at the Western Heritage Inn, which sounds like a front for a white power group (“Free racist mint on every pillow!”). We all played Mario Kart 64 until the wee hours of the morn; this includes my boss Jesse, which pretty much makes him the coolest boss ever.

On an altogether unrelated note, last weekend I finished vocals for inside, the new record that I’ve been working on for two years. Tracks:

  1. I Miss You – slow, moody homesickness song.
  2. This Could Be Any Day – uptempo piano pop with strings.
  3. Fret – a worried dirge.
  4. Temperamental – frenetic song about changing moods at the drop of a hat.
  5. Mary’s Plea – A synth-folk number about abortion.
  6. Jenny Lewis Will Never Go Out With You – The name says it all. Power pop.
  7. Here There Be Monsters – A riff-heavy song with horns and strings.
  8. Let’s Get Away – Lolling folk about hitting the road, Jack.
  9. Written Off – An angry folk song about cowardly homophobes.
  10. Soap – A peppy song about a shower (more philosophical than prurient)
  11. Torn – A synthy yet rocky song with beats.
  12. Polarize – Quasi-raggae horn-infused polemic.
  13. Glut of Food – Synthy
  14. The Highway – Folk-rock about Interstate 90.

It sounds pretty good. I’ll probably have CDPrintExpress run up copies again, considering the fantastic job they did on Pick Your Poison. I also have plans in the works for an EP by Page Fault, my hardcore pet project. It’s an EP called Two Minute Hate.

But first, I plan to record some B-side vocals over the weekend while I’m visiting my parents. A country song about finding god (“Lifted Up”) is first on my list. I haven’t really found him (perhaps he’s hiding under the covers), but I find songs like it beautiful. I would also like to re-record the vocals for “Synth Pop” (not its final title), a former album cut for inside but now relegated to B-side status. I might also do a ‘stripped’ version of “Written Off”, with just vocals and acoustic guitar.

Nightmare Before Christmas Special Edition – Danny Elfman et al

Tuesday, October 24th, 2006

Nightmare Before Christmas – Four and a Half Stars
Bonus Material – One and a Half Stars

I was eagerly awaiting this record, because The Nightmare Before Christmas is my favorite animated movie, and its soundtrack is one of my favorites, too. I’m a big fan of both Danny Elfman and Tim Burton. Plus its release date seemed perfect: a week before Halloween, a week to get me psyched.

What a letdown. Now don’t get me wrong — I absolutely love the first disc, which is just the soundtrack from the original movie (which I already own). I’m talking about the special material. Another reason I was anticipating this album so fervently was that it had rock bands doing covers of some of its songs, as well as demo versions of songs sung by Danny Elfman. The demos are illuminating and entertaining. Most of the songs from the rock bands, however, are not. With the exception of Marilyn Manson’s and Fiona Apple’s contributions, those are the worst songs on the disc. Since there are so few of them, I’ll go over them one-by-one.

Marilyn Manson – “This is Halloween”
Manson’s cover of “Blitzkrieg Bop” on the We’re a Happy Family Ramones compilation totally mangled the song. He doesn’t do that here, although I think his touch would have been more appropriate on this song, as opposed to the Ramones classic. Basically, manson took his horrortronica and wrapped it around the movie’s opening song. It works, although Manson’s attempts to ‘do the voices’ kind of sucks.

Fiona Apple – “Sally’s Song”
This is definately the song for Fiona Apple to cover, and not because it’s the only female lead vocal in the musical. The reason she’s perfect for it is that it fits her stage personality — brooding, lonely, and longing. It’s a simple piano, drums, bass, and vocals numbers, and it works. I think I even like this version better than Catherine O’Hara’s. Definately the best of the covers.

Fall Out Boy – “What’s This”
Fall Out Boy deserves credit for trying. This version is probably the most altered of all the covers. There are actual electric guitars here, and they do fit into Fall Out Boy’s usual style of music. But it’s not altered enough. I foresaw this version of the song to be, well, a romp, with more energy than the film’s. It comes close. I think I hear a synthesizer in the background — whatsamatter, Fall Out Boy, jealous of Panic! At the Disco?

She Wants Revenge – “Kidnap the Sandy Claws”
What a piece of shit. Elfman’s boistrous melody and tempo are transformed into this steaming, staggering electronic afterbirth of a song. I’m fairly certain the singer hits the same note throughout the whole song. And it goes on for five minutes. I think they may have been trying to convey the ominous danger that Lock, Shock, and Barrel will present to Santa, but that’s not the point of the song. It’s funny because they’re singing so merrily about beating Santa Claus to death. When it’s performed as a psycho techno death jam, it just sucks. This is either the fault of the composer or the interpreter, and I’m pretty certain I know which one it is. Way to ruin my favorite song from the movie, assholes.

Panic! At the Disco – “This is Halloween”
This version is too much like the film’s, down to the voices and instrumentation. These songs are supposed to be covers from rock bands, right? I’d love to hear either a synthesizer, ‘phat beat’, or electric guitar, guys.

The demos, on the other hand, are some of the best material on the bonus disc. They’re not simple voice-and-piano demos (like on the Little Shop of Horrors revival soundtrack), they’re fully fleshed out. There are alternate verses and extra bits that didn’t make it to the film. Some of the songs (like “Making Christmas”) go on a bit too long, but the point of a demo is to find out what works and what doesn’t, and to cut where appropriate.

To add insult to injury, I had to buy the entire record off of iTunes; I couldn’t get just the new material. I wouldn’t feel so slighted if I had only paid for the new stuff. So I can’t even recommend just getting the demos and the covers from Apple and Manson. I guess you can always rip or BitTorrent, however…

Working on New Album… again

Sunday, October 22nd, 2006

I have been mixing/remixing inside. Two tracks had vocals I recorded back in January, so I got those mixed. So I have nine songs with vocals recorded that have been mixed. That leaves five songs that still need to have vocals recorded. This probably will not be until Christmas break, because I really don’t have an opportunity to record vocals in my dorm room.

I found this really neat program called Synthfont that allows you to play a MIDI file with various SoundFonts or VSTis, which is something I’ve been searching for for years. I just downloaded it today, but it looks like I may need to re-render my tracks with it. In the past I’ve used QuickTime, but it throws in reverb that basically bugs me and, as far as I can tell, one cannot deactivate. Synthfont seems a little bit buggy, but it has a neat ‘Render to File’ option that does exactly what I want.

I’m going to install Windows XP on my iMac to dual-boot. I feel kind of dirty doing it, but I need a lean, mean copy of XP for recording and mixing, and it seems like it’ll be easier to dual boot on my Mac, with Boot Camp and all. Apparently, my year-old PC is too slow to play my mixes smoothly, with all the software I run on it. I would use GarageBand on the iMac for mixing, but it’s just not ‘there’ enough to do what I want. If there was no limit on the number of AudioUnit effects you can use with it, I might try it. I’ve mixed stuff with GarageBand in the past, but it’s been a real pain.

I’ve been working on the album art for inside. It’s going to be the same type of packaging as Pick Your Poison was. There will be a color, eight-page booklet (probably from CDPrintExpress) with lyrics and art. Without giving too much away, I’ll reveal that I’ve been browsing the Morgue File for some of the art that will be in the booklet. It should be pretty thematic and cohesive, if all goes well. I’ve been using Scribus for the layout, since for the past decade or so I’ve been using Adobe PageMaker 6 for Mac OS 9.

I think that inside will be available freely online, with PDF files for the artwork. I’ve used so many free tools, artwork, SoundFonts, and programs that I feel I should give something back to the world of free software/media. The album will also be available for purchase (those CDs will cost me money, after all), although I doubt anyone will buy it. 😉

Missoula Sold Its Soul (For Adult Contemporary)

Friday, October 6th, 2006

Well, the Rolling Stones are finally gone, having sucked the life out of our great city Wednesday night. They turned our quiet little campus into a madhouse of 40-somethings looking to recapture that ineffable feeling of youth and 18-somethings screaming “I can’t get no sa-tis-fac-shun!” out of their dorm rooms and reminding those 40-somethings that, hey, it’s okay to be old. Everybody was grabbing for a piece of the pie, and nobody’s hands were greedier than our very own University. It’s not enough to wash our credibility down the drain by signing an exclusive contract with ‘Killer’ Coke, they now sell our campus down the drain, too, just so some geriatric old fucks can waltz in here, play a few songs they penned 40 years ago, and make off with all our money and most of our pride, to boot.

From what I can tell from the reviews I’ve read, the Stones managed to do what everyone expected — they played a lot of hits, one or two new songs to remind us that yes, they’re still making records, and fire off a lot of fireworks to distract us. From what? From the maddening realization that the Stones hadn’t written a song that was actually relevent in two score years. It was all part of the show, the six story stage, the roaring spotlights, the old chestnuts, not new to anybody’s ears in decades, and we all suspended disbelief. Where the hell was the emotion? Somehow, these dangerous boys, who had the gall to declare their Sympathy for the Devil, were nothing short of… familiar. It’s hard to seem dangerous when half your audience is made up of people who have to be up at 7:30 A.M. so they can drop their kids off at school.

The emotion died a long time ago, along with the danger. It’s been replaced with glitz, with 70 tractor trailers and a six-story stage. It’s been replaced with 20,000 screaming fans, not screaming because they might share a moment with Mick or Keef, but screaming for the sake of… screaming. Real rock ‘n roll died a long time ago, certainly before I was born, and even the fringes — punk rock and death metal, for example — are gasping for air. It’s not rebellious anymore. It’s packaged. It’s merchandised. It’s $80 tickets. It’s 70 tractor trailers. It’s withered old farts, appealing to something they helped create, but not letting sleeping dogs lie, making a joke of the very thing they helped to create.

Why is OLGA down?

Saturday, August 19th, 2006

Why is OLGA down? Because musicians want to A) find out how to play or B) share with others how to play their favorite songs. And apparently the musicians are upset, instead of flattered (which any other decent human being would be). What a way to say thanks to your fans, jerks.

By the way, if you ever needed another reason to hate KISS, here it is. (Read the ‘take-down letter’).

New Order/Tracks for inside

Tuesday, April 25th, 2006

After showing a pre-release copy of inside to some friends, I’ve decided to re-order some tracks, add some new ones, and drop(!) one track.

The main problem was that it was ‘too slow.’ This is a rock record, and I come from a punk background, for God’s sake! So I took a few songs I’d been working on as possible B-Sides or future songs or projects in general, and added them. I also re-structured the album, so it starts off faster and has a (hopefully) better flow than the presented before. Here is the revised tracklist, with explanations of some songs:

  1. I Miss You – The oldest song here, from early 2004. A long-distance love song.
  2. Just Another Day – A celebration of the mundane things in life… it’s got piano, a melodic bass line, and one of those fifties-era ‘build a V(7) chord with four vocal parts’ buildups.
  3. Temperamental – A fast-paced song about the frustrations of modern life, with a folksy electric lead.
  4. Fret – A piano dirge about nasty thoughts,with some nifty percussion, including an Udu.
  5. Polarize – About the 2004 elections… uh-oh, I get political. A reggae-meets-punk flip-flopper with a catchy horn and synth lead in the chorus.
  6. Get Away – A folksy song about getting away from it all, despite the repercussions.
  7. Written Off – Another song about the 2004 elections, and the hateful things said and laws passed.
  8. Jenny Lewis Will Never Go Out With You – I saw, within a month of each other, three articles in three magazines about how Jenny Lewis is the Next Big Crush for whiny indie fanbois. The truth hurts.
  9. Here There Be Monsters – A slow-building song about the fear of the unknown… especially when it’s close at hand. Timpani… timpani!!!
  10. Mary’s Plea – Two sides of an oft-debated, never-resolved issue. Folk with a touch of electronica.
  11. Lifted Up – A gospel song about finding Jesus… really!
  12. Torn – Sadly, not a cover of the Ednaswap-covered-by-Natalie Imbruglia song. A vaguely hip-hop beat.
  13. Soap – A song about washing away the nagging worries of life.
  14. A Glut of Food – Bongoes and shakers give way to electronic drum hisses, with a reggae guitar skank thrown in for good measure.
  15. The Highway – Impressions of I-90 between Couer d’Alene and Missoula. Folksy with a twist of alternative guitar.

The record clocks in at a beefy 54 minutes, so one track might be cut… but I don’t know which! They’re all so precious to me. Vocals need to be recorded for “Just Another Day”, “Polarize”, “Jenny Lewis”, “Lifted Up”, “Glut of Food”, and “The Highway.” This probably won’t happen until summer, when the dorms clear out and I can sing without feeling like a lunatic.

Also, expect an EP to be released soon after… it will include a cover of “Hey Sandy” by Polaris, best known as the theme song to Nickelodian’s The Adventures of Pete and Pete..

ALL / Descendents

Tuesday, April 25th, 2006

I’m really tired of people saying how much they like the Descendents over ALL… it’s the same band, for Christ’s sake!

So, unless Milo Aukerman is pretty much the band, shut up! Apparently, ALL and Descendents songs are routinely switched and demoed between the two bands. Milo doesn’t even write all the songs!

So back off, and give the ‘band’ (Karl, Stephen, and Bill) some credit, as opposed to just the singer. They both rock!

Irritating Metaphor of the Moment

Wednesday, April 12th, 2006

“Worth the price of admission.” It was neat the first 4 of out 4,000 times I’d seen it in album reviews, but now it has officially died as a cliché/metaphor. Stop using it!

“Georgia Lee”

Tuesday, April 11th, 2006

If anybody who is familiar with Tom Waits but doesn’t like him because he “can’t sing”, listen to “Georgia Lee” off of Mule Variations. I can’t imagine it being better with anybody else singing it.

Lyrics: “Here There Be Monsters”

Friday, March 31st, 2006

Where is safety? What is freedom?
I don’t know
The sounds of pleasure and of failure
Cannot stow
Abord my heart and in the attic
We lose out
Heavy breathing, heavy burdens
Heavy burdens

Here there be monsters
Bloodcurdling hot calls
Inside is anger
Chipped teeth on our walls

I am one with all my brethren
Complicate
Shards of meaning find their way home
Back to hate
Can they say monsters are here now
Or do they
Breathe in silence, watch in anger
watch in anger

CHORUS

Building fences, killing the lights
Our own past
Haunts us freely, daunts us daily
Chooses well
Monsters find us wherever we
Choose to hide
The chase beats us, we beat ourselves
We beat ourselves

Splinters, outbursts
They are coming for you and me
Preying on fear
The monsters aren’t coming anymore
They’re already

Here there be monsters
Devouring from within
Feeding on anger
Bathing in our sins
Here there be monsters
The monsters in us all
Feeding on anger
From within our walls