WRITING/RECORDING 1

let me tell you some?


i’m not really sure where to begin or what to tell you.
i feel like i have to post updates about it.
this is gonna be a psychotic memoir kind of deal.
like what’s in my notebooks and no one ever gets to read.
i lost so many of those books man.. i even burnt some of them.
can’t tell you why. just to be cool or something.

not everybody is gonna like this.
so bear with me human people..

for me writing the second record means more exploration.
though more in recording techniques and sounds rather in words.
i never really want to write words (for music).
spontanious creative word bursts do happen on occasion.
i just really like guitars and drums more than voices.
in hindsight the lyrics are autobiographical.
in the moment it doesn’t feel that way.

with the first record i was just messing around and
fucking about with cheap mics and cheap guitars.
afterwards uncle pete (producer) would polish it.
maybe more like a restoration process.

i had heaps of time and felt no pressure.
also it felt more like demoing than making a record.
then the demos became Sea of Ethanol.

this time i want to keep the trash vibe but record it a little better.
i used to record with (through) a cassette deck and shit.
but i have a interface now and bought a couple of sweet mics.
(you may laugh now.. i do to)

hitting things u know bassman lookin good uncle pete's studio

especially drum recording used to be a bitch before.
i’m getting really excited about drum recording now.
it all sounds pretty sweet! [no sound clip]
uncle pete still does polishing but he can work a bit faster.

writing to me is the same as recording. i hardly sit down with a guitar
and hash it out before recording it. this saves time no? no..

setup the mics. make sound. ideas flow. recording. editing.
more ideas. more editing. wait. more recording. repeat. voila.
then after a couple of dark days wanting to quit music
i go to uncle pete’s and we finish that bitch.. and get high.

every song-writer has his or her own ways and style to do it.
i prefer it this way. 
songs usually never turn out the way i intended them.
most of the time a totally different song comes out anyway.
the magic of working with computers/ableton i guess?
my friend Thomas Aram double checks some of the compositions.
like a lone arranger. i can get lost in sounds and vibes a lot.

 

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i have notebooks full of crazy shite drawings and ideas.
mostly of instruments i want to build but cant seem to find the time for.
and ofcourse the tuning problems (most of you don’t understand).

why is this relevant? because with those weird tunings come cool
and weird riffs. strange and sweet overtones aswell as noises.
i like noises. big city noises. guitar noises. fart noises.

thinking of names for the album as i’m writing this..
“powerfull fist” is probably allready taken and dumb.
“thumb war” and “poop war” are dumb too.
“riffs for putos” “guitar music” “ear”
“shit music” “black album” “I HEART GOT” 

i’m gonna have a little cigarette break..

right. i’m writing this to give you a little glimpse of whats going on.
in my head and the whole process. maybe some other weirdo likes this.
i want to make this a thing. maybe incorporate audio/video.
the next one will be a little less in my head and a little more in the studio.
i promise!

let me end this one with a crazy unfinished short story i wrote with ferry.

FORKSTORY

love,
c