"SLIDE"

[DC2Light]

Tchad,
First off thanks for putting the time in here, we all truly appreciate it. You are one very tasteful MOFU!
Your work on Lisa Germano's "Slide" was astonishing. It held true to form for both style and feel for the label 4AD but yet offered a place sonically that even they had never been too. This dark place I am familiar with lies somewhere between the hours of 3/5 am after ones second bottle of chianti takes it's last little trickles down the front of your shirt... You drift off into a state just before sleep in a dimly lit room, and just for those few moments you hear the sounds, see the images and feel the pain of all the lives that had converged up into that one brief moment in time. All this imagery is so well exemplified in "Slide". "Slide" is a world that I would not choose to live in but I am grateful that I can pop into it from time to time. In other words, you truly gave the abstract "life" on that one.
So many questions from the album that I listen to almost exclusively in long international flights where I can be held captive to listen though it time and time again. Always best when you are falling into that sleepy stage and you have a good set of earplugs/headphones on. The journey begins..

OK, so how did you get those pitched down guitar tones? What was the wined-up binor piece segue-way and how was it done? What was your basic setup at that time? Marotta's drum sound was so natural but yet bigger then life. (very tasty) Does Lisa really suffer for her art to the extent that it comes across in her voice? (how did you mic her violin?)

So I wish to thank both you and lisa for this great album and perhaps a small thanks to the froomanizer for hauling out so many of his pride and toys!


Cheers, DC2Light
Full Bandwith 24/7

[tchadb]

Originally Posted by DC2Light

Tchad,
First off thanks for putting the time in here, we all truly appreciate it. You are one very tasteful MOFU!
Your work on Lisa Germano's "Slide" was astonishing. It held true to form for both style and feel for the label 4AD but yet offered a place sonically that even they had never been too. This dark place I am familiar with lies somewhere between the hours of 3/5 am after ones second bottle of chianti takes it's last little trickles down the front of your shirt... You drift off into a state just before sleep in a dimly lit room, and just for those few moments you hear the sounds, see the images and feel the pain of all the lives that had converged up into that one brief moment in time. All this imagery is so well exemplified in "Slide". "Slide" is a world that I would not choose to live in but I am grateful that I can pop into it from time to time. In other words, you truly gave the abstract "life" on that one.
So many questions from the album that I listen to almost exclusively in long international flights where I can be held captive to listen though it time and time again. Always best when you are falling into that sleepy stage and you have a good set of earplugs/headphones on. The journey begins..

OK, so how did you get those pitched down guitar tones? What was the wined-up binor piece segue-way and how was it done? What was your basic setup at that time? Marotta's drum sound was so natural but yet bigger then life. (very tasty) Does Lisa really suffer for her art to the extent that it comes across in her voice? (how did you mic her violin?)

So I wish to thank both you and lisa for this great album and perhaps a small thanks to the froomanizer for hauling out so many of his pride and toys!


Cheers, DC2Light
Full Bandwith 24/7

So much of what you hear on Lisa's records is someone who has no emotional barriers. None of the normal filters that most people have to protect and/or isolate themselves from the world around them. It's an incredibly wonderful gift she carries.
I love her contrast. Very dark lyrics of life gone wrong, where many fear to go, next to some of the most beautiful music that tells the listener how things could and should be in the world.
I've often said she should write american classical music. Her music structure often reminds me of composers like Arron Copeland, George Gershwin and Charles Ives.
-The low gtrs are baritones.
-I think the wind up sound you mentioned is two whistleing tops I've had for years that once wound up and spinning they play a decending interval as they run down. Recorded with my sony homemade head set.
-Nothing special about my set up but Jerry used his Taos drums a lot on that record. Basically a slice of tree with skins stretched over them. When the kick sounded too soft we'd tape a k drum head to the pedal side of the drum so when hit, we'd get a snap.
-Don't remember the violin, most likely a 57.

[DC2Light]

Tchad,
Thanks. I agree, she has plenty of the "contrast" factor that I love as well. Beautiful, simple melodies with hart wrenching catharsis. Glad to see that she was out on the road with you guys (Lat.Playb.) as well. You and your sweep oscillator rock! So no de-tuned guitars just baritone? I think your biggest talent has been your taste and of course creativity. It's very evident in your projects.

cheers, J

[tchadb]

Originally Posted by DC2Light

Tchad,
Thanks. I agree, she has plenty of the "contrast" factor that I love as well. Beautiful, simple melodies with hart wrenching catharsis. Glad to see that she was out on the road with you guys (Lat.Playb.) as well. You and your sweep oscillator rock! So no de-tuned guitars just baritone? I think your biggest talent has been your taste and of course creativity. It's very evident in your projects.

cheers, J

Thank you.