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mr|ten Originals and Covers, Part 2

25 October 2014 in [blog]

mr|ten has inspired some of you to go back and check out the original versions of the songs we covered for our 10th birthday.  In this series I’ll put the originals and covers side-by-side with commentary.  (Part 1)

In Circles

The Sleepover 2.0’s original:

  • Professionally recorded at ARC in Omaha by AJ; that was a pretty fun weekend.  The ribbon mic he used on Cory’s guitar was amazing.  I can hear so much detail in that tone
  • Constantly shifting texture due to Scott’s keys
  • We gave Scott the assignment of writing a lead part for the chorus, since the vocals were so sparse, and he wrestled with it for a while and came up with the killer part you hear
  • Cool weirdo non-linear reverb on the guitar solo
  • The verse/chorus tempo change is pretty unusual.  We demo’d exactly how the click track needed to change on those parts, how many bars long each part was, etc., so that we knew exactly what we needed AJ to set up when we started to record
  • Another point for Scott for writing the chorus vocal harmonies.  I believe the parts are Cory on lead, me on harmony, Scott on high harmony

Here’s Panda Face’s (Brandon McKenzie) cover:

  • While changing plenty of sounds, Brandon aces the feel of the original, which I love
  • Lots of cool details in the drum programming; the knocking 16th notes, the noisy open hat sound
  • Nice choice to maintain tempo throughout, instead of mimicking the original’s changes
  • More great synth/guitar textures.  Watch out of Scott and Brandon ever get in a band together
  • First part of second verse, drums drop out, vocals go up an octave…  !
  • Aaaand it ends with that same 7th as the original.  Good final touch

The Biggest Choice You Make (Every Day)

Original by Sally Ride:

  • This is one of my favorites, in terms of both songwriting and production
  • Matt’s on drums on this whole record
  • The wah-wah bass riff was done in ProTools with an EQ sweep, which helped me nail the depth of wah I wanted vs. doing it live
  • Only one backing vocal in the whole song, but I make it count!
  • And the bridge just flies off the cliff…  that’s the emotional peak for me, though the outro jams for a while

Cover by Jerry Chapman:

  • Jerry’s a long-time friend of MFR, though this is his first release on the site.  I met him in the early-’00s at Doane College, where his band Life In General would tour a couple of times each year.  Scott and I even opened for them, and I’ve followed his solo career and kept in touch
  • The first time I heard this, I wasn’t sure about it.  Something seemed ‘off.’  It wasn’t until my second listen that I realized he’d changed the time signature from 4/4/ to 6/8!  It sounded so natural, I didn’t realize what the change was on that first pass.  Once I wrapped my brain around it, I loved it
  • Jerry recorded this in a month when he also moved and got married.  That’s dedication to the scene
  • The way he transformed the bass riff into a guitar lead that has some of the same flavor, but is quite different… and then harmonized that lead at the end… so cool

Nature vs. Nurture

Beach-Puppy’s (Cory Kibler) original:

  • Possibly my favorite song of Cory’s…  One of my top five MFR songs ever, for sure.  I just love this.
  • Unusual for Cory to throw that odd meter hiccup in the instrumental version of the verse riff.  It sounds very natural; if you’re not counting or playing along, I don’t know if you even notice that a beat disappears
  • Also unusual, but less so, for Cory, this song as three main parts: verse, chorus, and bridge (or 2nd chorus, if you prefer).  He goes bridgeless pretty often
  • I loved doing the little harmonies and piano bits on this EP.  If we had time to burn and lived close, I’d love to perform this stuff (and Cory’s other material) as a duo

Mars Lights’ cover:

  • I’d wanted to cover this song with Mars Lights for years, long before we hatched the idea for mr|ten.  You could think of mr|ten as an excuse for me to get this cover to happen!
  • Obvious changes: slower tempo, deeesstortionnnnn, echo, extra guitars and drums, blowing out the end of the arrangement
  • Non-obvious change: I throw some Gs into the 2nd chorus/bridge riff.  I always heard them in my imagination
  • Non-obvious change #2: Drop-D tuning, tuned down to a reference pitch of A=432
  • Matt’s approach to the odd-tempo riff is perfect.  I couldn’t hear how it would work with drums until he did it, and then it clicked immediately
  • I loved having my guitar right on the edge of feedback.  I could control it a bit just by turning side to side
  • Matt and I tracked the drums and rhythm guitar together, live.  Drew dubbed his stuff in later
  • Drew’s atmospheric lead loops and layers!  Very cool.  As we finished his parts, he said he’d like to do more of this type of stuff in Mars Lights
  • I used the old Jimmy Page reverse a part / run it through an echo / reverse the echo for the vocal effects at the end.  We used that back on Cold Burn, too.
  • The vocals sound pretty clean, but they’re actually all run through the overdrive side of my GT500 pedal for a bit of grit, to put them in the same sonic space as the rest of the tune
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Moar Dabbling

19 October 2014 in [blog]

Part 2 of my dabble session with Jill is up at ClassyMcGraceful.  (Part 1 here.)

Rather than rambling about it here, why not just go read it?  Jill and Sandy to a great job with these posts, and it was fun to hang out, snack snacks, be interviewed, and sketch.

Still can’t parse the bangs, though.  -h

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mr|ten Originals and Covers, Part 1

12 October 2014 in [blog]

mr|ten has inspired some of you to go back and check out the original versions of the songs we covered for our 10th birthday.  In this series I’ll put the originals and covers side-by-side with commentary.

Am I Getting Through To You

To kick us off, here’s White Air’s “Am I Getting Through To You” from White Air:

  • I love the drum programming, and the weird, off-beat way it launches the song
  • This tune has a lot of background vocal layers, and semi-improvised guitar parts.  These posed a challenge for a solo acoustic version
  • The arrangement is basically variations over the main bass line; it’s pretty static, harmonically.  This was a second major challenge for the cover

Here’s my cover, as Sally Ride:

  • After learning the bass line and some of the guitar hooks, I tried to come up with several different options for the same main part, with different levels of intensity, to give the arrangement some ebb and flow
  • Without the crazy backing vocals to weird it up, I aimed to just play and sing with a lot of energy, kind of on the edge, to try and get some of that slightly un-hinged vibe
  • I recorded this track with a reference pitch of A=424, which turned out to be awesome for my voice.  This was the first vocal take!  (Though it’s only one guitar and one vocal track, I recorded them in separate passes)

Break This Dollar

Mars Lights’ original:

  • Tim actually wrote the original vocals to this track!  He’s featured on backing vocals in the recording, too
  • I couldn’t understand all of his lyrics on his demo, so the lyrics here are a combination of his originals (including “Break this dollar!”), my mondegreens of what I thought I heard him singing, and me writing some stuff around the edges, a line here or there, to fill it out
  • Matt and Drew brought some awesome edge-of-chaos punk energy to the recording.  I kind of anchor it

Timothy Scahill’s cover:

  • This was the first track I got back from an artist participating in mr|ten, and it really amped me up
  • Tim recorded all of this on an iPad!  Incredible.  I love the nutso drum programming
  • Tim captures the rushing-forward feeling of the original, while actually changing quite a bit and adding things – guitar parts, vocal hooks, arrangement details, the whole coda – of his own.  Very cool

Clockblocking

Robot, Creep Closer! from Real Awful, Real Quick:

  • The band holds the loud rock-out bit off until the end; this was unusual for R,CC!
  • This tune is really built on the rhythm section; bass riff and off-beat kick against the 1-2-3-4 snare on the verses, then the interesting drum part and guitar wacka-wackas on the chorus.

D-Rockets cover:

  • Derek nails this; he took a song that I’d never expect to hear an acoustic version of, and makes it his own, and makes it beautiful
  • Cool details; the slightly flamenco guitar riff, the chorus vocal harmony, the shaker throughout
  • Somehow, the verses become even creepier and sadder than the original (to my ears, at least)
  • Because it’s layered and doubled subtly, it doesn’t draw attention, but by the end I think there are at least three guitar tracks, four vocal tracks, and the percussion track happening at once

Those are my thoughts.  What jumps out at you between these originals and their covers?

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Dabbling with Jill

4 October 2014 in [blog]

Last Saturday I hosted Jill for one of her Share-With-Me Saturday sessions.

I know so many gifted professionals (in Kansas City, back at home in South Dakota, just all over this crazy country) that I thought it’d be fun to get outside of my own head and go into their heads for awhile … I’ve created a 10-item survey (that’s all I could get free on Survey Monkey) and have asked over 50 artists/business owners/lovely people to complete it. Within the survey, I ask them questions about life, the work they do, and if I can come “dabble” with them sometime. If they say yes, I’ll go spend some time in their element, whatever it looks like, and I hope they’ll spend a little time sketching and feeling feelings with me.

Part 1 of her blogging about the auspicious event is up today.  I had forgotten how real those survey questions got.

Dabbling so hard

Dabbling so hard

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Jill makes bass face!  Este Haim, you are on notice.

Just a couple of the photos, all by the wonderful Sandy Woodson.

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MR|TEN | Mr. Furious Records

21 September 2014 in MUSIC

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Dark Satellites and Gear Pop-up Sale in KCK

11 September 2014 in News

Next Saturday, 20 September, we’ve got stuff going on all afternoon at 40 South 13th Street in Kansas City, Kansas. Pop-up gear sale from noon to 5, brisket sandwiches at 5, Dark Satellites show immediately following sandwiches.

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It’s the Time of the Season for Mars Lights & Hats

7 September 2014 in Images

While I’m at work on mr|ten (out Friday 19 September) recording with Cory (yesterday) and mastering (today), Jill’s making hats and rocking her new Mars Lights tee pretty hard.

hat hat hat hat hat hat hat hat

hat hat hat hat hat hat hat hat

Maintain the rock and you don’t stop the rock, and I’ll keep on those hot new jams.

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An Artist’s Purpose

30 August 2014 in [blog]

A proposition, for discussion and reflection:

An artist’s purpose is to create the things only they can create.

On one hand, it’s absurd to propose a normative purpose for art.  Art is many things to many people, to the point that it’s very hard to define what is and isn’t art.  (Perhaps the question “What is art?” is a mysterious question, to be dissolved into questions like “Who made this”, “What were they trying to say,” “How to audiences tend to perceive this,” and so on.)  On the other, perhaps the proposition is a way to make more concrete the nebulous idea of originality in art.

Originality is always a matter of degree; something that was literally entirely original, making no connection or reference to anything in our experience, would be incomprehensible.  Art always mixes originality – something unique which could only have been created by the specific, individual artist who made it – and tradition.

Artists chase originality, but “be original” or “do something new” are such abstract maxims that they are impossible to follow.  “Be original” makes me think of standing in front of my amplifier, dumbfounded, trying to play a note that no one has played before.  I’d be standing there a long time, without writing any songs.

“Say something only you can say,” though, seems to give me some direction.  It spurs me to look around for something in the world or in others that only I’ve noticed, or that I have a perspective on that’s never been offered before.  It pushes me to not only express my emotions but think about them, searching for what makes them mine and not anyone else’s.  Raw feelings are universal, but the conditions that provoke them and the choices we make as a result of them are specific to each of us.

Looking for inspiration?  What chords would only you think to put together?  What fresh metaphor blew through your thoughts in the shower yesterday?  What unusual spices do you want to try in a classic dish?  What underlying colors do you see in the world that others miss?  What story are you in a unique position to tell?

It’s all been done before… until you give us your take on it.  Forget convention for a minute; why not make something only you would think to make?

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Mars Lights at Czar Bar, KC, Thursday August 28

21 August 2014 in News

UPDATED: The show has been moved to the Riot Room

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2014 August 28, Thursday – Kansas City, MO – Mars Lights at The Riot Room w/ Vehicles and  Dolls on Fire.  $5 advance, $7 day of show, 8:30 PM.

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Will You Sing For MFR’s Tenth Anniversary?

21 August 2014 in News

Links updated 21 August, originally published 3 August

On September 19th, in celebration of our 10th anniversary, we will release MR|Ten; a compilation of Mr. Furious Records artists and friends covering MFR songs.  Do you want in?

At Rob‘s (Arturo Got The Shaft, Adventure Capitalists) suggestion the final track will be a new recording of h&s’ “After the Countdown” featuring the biggest, most inter-continental punk rock choir we can muster.  Here’s where you come in; a rough mix of the track is below.  Download it, record whatever you like as an overdub – backing vocals, instruments (Rob called bass, though), synths – and send your track back to me to be incorporated into the final mix.

Email me or comment here for tech support.  This only needs to be as hardcore as you want; you could do it with an iPhone and the free GarageBand app!  Or a desktop/laptop and Audacity!  Please – If you want to be a part of this, get in touch and I will do everything I can to make it happen for you.

Rough mix (24-bit, 48 kHz .WAV file, 98 BPM except the weird break at “Listen for the countdown”) via WeTransfer: After the Countdown

MP3 for reference: 

If you want to sing, this song has a call-and-response vocal.  I’d love to have a ton of people tackle both the call (“Howie”) and response (“Scott”) sides of the ending (blue background, below).  In addition if folks want to take the “Scott” side of the first verse and choruses (gray background), that would be great, too.

UPDATE: I forgot to mention until now that I hard-panned the “Howie” vocal hard left and the “Scott” vocal hard right to help separate them for you.  You could do things like isolate one or the other using one ear of a pair of headphones to learn or sing your part, or split them into mono tracks in your DAW and mute one side.

Howie Scott
Got yourself into this
Remember there’s plenty to do
.
.
Standing up, finish one
The doorframe paints pictures of you
.
.
But after the countdown
.
A new one begins
A new one begins
.
After the countdown
.
A new one begins
A new one begins
.
And with what light we have
We’ll bring along our friends
And when the clock is over
We’ll get up and start again
I’ve never walked in darkness
.
Home, home on the range is far
Too far for driving tonight
But songs come through, snow and all
So much the better
And with what light we have
A message sent out to the end
That when our clock is over
We’ll get up and start again
I’ve never walked in silence
Listen for the countdown
Any second
Now
.
.
If I could only remember
I got myself into this
.
.
Followed a hand into your room
I had an important question
.
What should I do now?
.
.
What should I do?
.
What should I do now?
After the countdown (8x) After the countdown (7x)
After…
After the countdown
.
A new one begins
A new one begins
.
After the countdown
.
A new one begins
.
A new world begins
.
What should I do now?
.
.
What should I do?
.
What should I do now?