Today is back to the studio with Rough Church. We have four more songs to record, plus a soundscape. It’s raining, so I’m feeling Seattle, which ought to be right for these tunes … one is a punky cover from New Zealand, two are moody electric guitar grooves slid back behind the beat, one is (sort of) in the style of a 1950s-r&b throwback, there’s a little acoustic guitar duo tune (it’s part A of one of the grooves) and then the soundscape, which will be noise and found sound, so all in all a Seattle-y batch of material. I’ve even got plans involving droning open tunings.
Which reminds me, my earlier report that spring had arrived on January 30th has borne fruit … almost a month later we have flowers blooming and birds singing (and it’s raining for the 2nd time this month) … and I ran into a Southern California native who agrees (volunteers, even) that Los Angeles has distinct weather, you just have to know where to look … she hipped me to a day to watch for in the fall, weather-wise, and I will report on that when it comes around.
It’s unusual work, for me, lately. I am proof-reading a forthcoming book release for Tarpaulin Sky. I used to do this with my own work, with that of my friends, and once with a lengthy book in the true crime genre, written by my father, which is called Stalemate. But it’s been a while since I did all that. I don’t try to publish my own writing, when there is any, and besides I would probably ask Zinnia to do the proofreading if I had any that needed to be done.
I am enjoying the work. Partly, because it is interesting work. Editing. Spotting the flaws in something and getting rid of them so it can be what it set out to be. Partly, because it is an interesting book. More on that later, when it is out and you can buy it and find out for yourself. Let’s say it this way: I am not sure that I would have read this book were I not proofreading it. But I am glad that I am reading it, and I would recommend this book to anyone that likes innovative, strange, or offbeat short fiction that is not entirely abstract or deliberately nauseating.
But I’m not going to tell you what it is. Not until it is out, and you can buy it and find out for yourself.
*
Meanwhile, I am recording an album with a band called Rough Church. Rough Church is led by Greg Franco. Greg plays the guitar, writes songs, and sings. He’s been doing this for years. We met sometime last year and he asked me to play with his band and help record their new album. I said OK. The other band members are Jef Hogan (bass) and Jon Franco (drums). Jon and Greg are cousins.
We’re recording in Echo Park, which is where I live, which is very convenient. We rehearse in Washington Heights, which is further away but not prohibitively so. Greg has a nice place with a fine view and the air up on his hill is always clear.
The engineer working on the album, in whose studio we are recording, is brilliant. He is doing amazing work. I can barely think sometimes because my ears are so finely tuned and Andrew Bush (the engineer) has ears which are even more finely tuned than my own. But it doesn’t seem to bother him. He’s had his own studio for time which can be measured in decades (at least one-and-a-half of them, I believe) and he knows how to get great sounds out of it.
He also knows how to nudge sounds around digitally to make a better take out of a few not so good ones. This is probably a good skill to have, and he is applying it effectively with us, but I also feel that this is a good skill not to overuse. I am not saying that Andrew overuses this skill, and in fact his results so far with Rough Church have been brilliant. I have no complaints. But I am keeping an eye.
Greg thinks that Andrew made some minor digital changes in one of my guitar solos on one of our songs. I have mixed feelings about this. If I played badly but he liked the ideas and thinks he can make something good out of them, then I am all for it. But if I played something deliberately and well that just sounds a little off to finely-tuned ears (and I am wont to do such a thing as that) then I want to hear it the way I played it.
I have listened to the track where Greg says this happened, before and after versions, and I don’t hear the difference. I will ask Greg to point it out to me, and if I hear a problem I will make a note of it. But on fairly close listening I don’t hear it, myself.
*
So what Andrew appears to have done, if anything, is a bit like what I am doing: proofreading.
When a writer (or a guitar player) likes to work in a style that is not specifically normal all the time, then it is not always apparent where a comma should go, or whether or not a musical phrase is off-time.
Proofreading. A word which sounds to me increasingly like a stifled sneeze. I have to get familiar enough with the writer’s style to know when she meant to do things a certain way and when she just got excited and distracted by what she was writing and overlooked a few details.
With any luck, Andrew is doing the same thing with my guitar solos. And with any luck, he and I are both good enough at our jobs to know how to leave it alone when it should be left alone and also to make the correct changes when necessary to bring out the purest possible flowering of the artist’s original intent.
I am not used to having my guitar solos proofread. I would think that a writer would be more comfortable with this, as it goes with the territory pretty much from day one. Then again, even as a writer I have had my issues with proofreaders. I often feel that they do not understand me or my intentions. I don’t think there’s a good or bad to it, but regardless of whether I am writing or playing the guitar, I think one of my aims would have to be to do it well enough in the first place that proofreading is unnecessary.
It rained again, less dramatically, for a couple-few days. No tornadoes, little in the way of mudslides, the mania all wrought out in the first go rounds.
It was a spring rain. It was a subtle difference. It had less of a density to it, not so much in the way of sodden snowpants and slightly more along the line of still-wearing-those-wet-clothes-are-you?
Then it got clear, like it does. Best air here is right after a rain. I go outside just to breathe.
It got hot. I had heard it was going to, and then it happened, in the middle of the night. I could tell cos I woke up sweaty and had to take some clothes off. Sure sign of a heat wave.
And the next two days of February in southern California were as hot as Vermont ever gets in July (maybe a couple of hotter days in August). The heat was nice – got my first light sunburn of the year, it passed quickly when I applied Aloe, or Arnica, or Something – but also a reminder that it ONLY GETS HOTTER FROM HERE, HA HAAAAA!!!
Then two days that could be described as relatively cool (even bordering on chilly on at least one evening) and now it is raining again.
Here’s a link to mp3 samples from a slew of cassette-and-CDR releases from the microlabel Boondock Pissoir, including stuff from the Second Family Band, Vosellglaas, and others:
It’s the kind of language play that I like to make Lady Z read for voiceover practice, or to look at on airplanes, or to read out loud to unsuspecting visitors over tea and psychedelic music. I think stuff like this is a hoot, though the humor that I see is often not so much in what is being said as it is in the way it is being said.
In this case, the language is organized according to body parts on the one hand and, I believe, letters and numbers on the other. (It’s a 2-sided book, y’unnerstand.)
I’m not sure I always agree with the perspective being expressed - in that I’m often not entirely sure what the perspective is that is being expressed - but the use of words is really delicious (the way it is being said, again). I’m taking it slow, about 40 pages into the BODY half (and it’s taken me a month or more to get there) but I’m already enjoying revisiting certain bits as I flip through looking for the place where I left off, or trying to determine which half of the book is which.
Click here for more
information about Mark Cunningham’s Body Language
directly from the mouth of the publisher,
which is to say: Tarpaulin Sky Press
dig it,
5
** NOTE: I am so far enjoying the LANGUAGE or “Primer” half of this book somewhat more than I did the BODY half … perhaps it is the subject matter? The style is equally compelling, but the content is less gooshy and somewhat less fatalistic (or so it seems to me … perhaps it is merely less inspiring of fatalism in my particular psyche? a question best left to the experts …) Whatever, “Primer” rocks.
Sonic Youth has released a series of records on their own SYR label, many of which consist mainly of improvisations recorded in their studio during rehearsals or between and among album sessions. Most if not all of these releases are labeled in languages which are not English. The reasons for this are obscure…
I own two of these releases (#1 and #2, I believe …) and I like them quite well. I’ve had #2 for longer and played it more often, so last night I got out #1 to listen to while reading a short story by Irvine Welsh (which mentions heroin only briefly so sppbt to his reputation … we’ll see how the collection progresses, but so far the writing is really solid good and I would recommend it, the book is called The Acid House).
The Sonic Youth record was mellower than I recalled, pleasantly droning and pulsating, and after a minute or two a little light went on in my brain and I realized it was one of those increasingly-common large-sized 45rpm releases, which I was playing at 33&1/3.
I let it go. It sounded good. I will listen to side two today in the same manner.
It has become typical that I prefer those large-size 45rpm releases when played at the wrong speed. This first came to light during Marc Cantlin’s visit to Los Angeles back in the spring of 2009… said visit documented here:
Right around that time I had purchased a record by Akron/Family called “Set ‘Em Wild, Set ‘Em Free.” I sat down to listen to it and was really enjoying it a lot, really into it … and it took me half of side one (of four) to realize I was listening too slow. Or rather, the record was moving too slow. Perhaps I was listening too fast.
I returned the album to its intended speed and started over … to my great dissatisfaction. It was weak, lightweight, affected, even silly!* (On the other hand, I had discovered afro-grunge.)
Since that time I have found in my collection also a record by Omar Rodriguez Lopez called, I think, “Please Heat This Eventually” with guest Damo Suzuki which I’ve been playing on the wrong speed for years and never realized. It’s better that way, trust me.
* To be fair to Akron/Family, who are a worthy group, the album sounds pretty good, especially sides 2-4, if you have not just listened to it at the wrong speed first. Contrast is, in this case, everything.
Yesterday was a hair on the chilly side, tho not unpleasant… like Seattle in the spring. Like there’s a mild, debatably damp bite in the air. But not overtly damp. And not a nip. No teeth to it. Just a chill. And besides, it was sunny. I was outside mainly in the late afternoon, just before sunset, attempting to contend with what turns out to be a double-filament bulb in our 1999 Nissan Altima’s tail/brake-lights. Hassle upon hassle - but pleasant enough to deal with until you get a fix-it ticket. Which we haven’t got, so rite on it is.
Was also out briefly driving to Greg’s for Rough Church rehearsal. It was nice enough up his way, but not spectacularly so (measured by that I didn’t notice, and I usually do). I mean, it was clear and the air and temperature were pleasant. I just didn’t get any sense of the cosmic ambience. Which could in itself be telling.
Previous afternoon I was rehearsing on Simon’s Drum Satellite with Cricket & The 2:19. I brought an extra shirt thinking I’d need one. Didn’t really, though it wasn’t too much either. Also pleasant and cool, but a little drier in the air. Like, micro-clicks drier. Notably unnotable, also, except in relations to the days surrounding.
Micro-clicks of individuation are, I suspect, what I am after.
Today it is raining again. I haven’t been out yet. I will soon be on my way back to Greg’s, but I don’t see much to sample today in the way of meteorological micro-clicks. It is wet, and probably a bit chilly. I don’t mind.
