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"Post-ex-gen-new wave rock with dabbles of melodic funk and vocal trends, synth hooks and guitar wanging, so on and so forth." The vibration of molecular structure. All current recordings bastard children whose parents have led them astray. Music to freak out to. Real recordings to come, be patient Moon-Child. All is well.

MODAL, The Sun Machine, 365colours, & Coattails at The Empire Control Room and Garage. This Thursday, $5 at the door.

We decided to put it back up in support of these upcoming shows.

Find us.

caterwaulrus:

eNVy yoU has been released! listen!!!

Friendlys

wearethedays:

We were finally able to get our raw tracks from Ray Carter, which means we’ll be getting them to our dude David where he/we can start digging through to see what we have (some yet to be recorded, some mysteriously vanished), organize what’s there, lay down what’s left, & begin mixing down tracks.

We had recorded four tracks at the Art Institute this past winter/spring with Ray, who works primarily in electronic/trance music; he was looking for a live band to record and actually sought us out after hearing us play for the Live Audio class earlier in the year.

 
The plan was to track everything at the Art Institute, which is free so long as a student/alumni is involved in the project. The cost of our free lunch was that, in response to a swell in the student body that semester, the dean began (understandably) overriding booked studio time for any non-grade projects, meaning that (in addition to all the broken gear we had to sift through)(a sennheiser MD411-U is NOT a field mic!) we would— at the drop of a hat— get the boot from the studio. 
What made this increasingly awkward was our habit of showing up a bit early to the sessions; By the time the folks for the other session would start arriving, our gear would already be set up! I think it was this coupled with Ray being known as general a mover and shaker, but we were always able to end up splitting the session time with the other group. 

We were gaining traction, but tragedy struck at a time in Ray’s life where he was already having to deal with two new jobs and an internship, and in light of all of this we respectfully allowed him to come to terms with these events on his own time.

Months went by, and as we start getting mixes back it’s becoming clear that perhaps for a producer’s first go at a live band, something as dense as some of our arrangements might be a bit of a challenge. 
I will say this on the matter; when you’re confined to working through email, there’s a certain amount of interactivity missing that just doesn’t translate. To be clear though (to negate any foreshadowing of clarity I may have cast, I evoke the BASEDGOD himself) Lil B would have us believe that "Ay bruh… every single person [is a] million-dollar baby.” Based God goes on to impart "Ay, bruh, I’ma tell you the real secrets of life, bruh. Ay, bruh, feel me, bruh[?] I got the real secrets. For real, bro… Real talk: the secrets of life? Look at everybody like they’re a baby… We’re young. Don’t be so hard on people. [It’s as though] we’re… little baby insects or mammals or whatever.






You feel me?”




As our frustration with the matter was coming to a head, we had begun recording with our old friend David McDonald.
To ameliorate the trouble we were running into with mixing, we opted to have David take over on this project as well.

We desperately feel that we owe you current recordings.

Quite frankly, it’s embarrassing.

We’ve had play on a local radio show. The DJ had seen us at the Mohawk and fell in love, became a huge fan. He stayed in contact with us, kept up to date on shows – then one day he tweeted (or twote?) us that he had played a song of ours during his show! This is where an artist should feel excitement, perhaps some healthy pride — but instead I felt immediate embarrassment.  The song he played (“Lysrgic Sight [demo]”) I’m actually quite fond of. It’s the recording of it; My voice was still young, I had yet to flesh out my vocal chords and find a proper (or at least a technically “better”) way to sing, and more importantly those recordings don’t feature Escove (joined early 2012). What’s the point of a recording if it doesn’t represent the band? at the level we’re at, we can’t afford to build a reputation on songs we recorded in high school just after loosing a member (Andy Richardson), but— shit— it’s already booked so let’s figure it out in the studio boys!
Those were fun times, but as much fun as we have with this band there’s, too, a time for work.
"Whiskey Spells" in mix-down stage, still gotta record some bar sounds to create a nice atmosphere throughout/under the track. “Bear Cub" tracked, up to bat for mixing.
We’re going to be posting video’s as often as we can record them of a series we’re simply referring to as “acoustic sessions” – it’ll be some formation of the band, ideally all of us, playing in a remote location in/around the Austin area.
While we’re at it, maybe we’ll take our picture with today’s paper. Signs of life, right?
be easy
-with love, michael

wearethedays:

We were finally able to get our raw tracks from Ray Carter, which means we’ll be getting them to our dude David where he/we can start digging through to see what we have (some yet to be recorded, some mysteriously vanished), organize what’s there, lay down what’s left, & begin mixing down tracks.


We had recorded four tracks at the Art Institute this past winter/spring with Ray, who works primarily in electronic/trance music; he was looking for a live band to record and actually sought us out after hearing us play for the Live Audio class earlier in the year.

 

The plan was to track everything at the Art Institute, which is free so long as a student/alumni is involved in the project. The cost of our free lunch was that, in response to a swell in the student body that semester, the dean began (understandably) overriding booked studio time for any non-grade projects, meaning that (in addition to all the broken gear we had to sift through)(a sennheiser MD411-U is NOT a field mic!) we would— at the drop of a hat— get the boot from the studio.

What made this increasingly awkward was our habit of showing up a bit early to the sessions; By the time the folks for the other session would start arriving, our gear would already be set up! I think it was this coupled with Ray being known as general a mover and shaker, but we were always able to end up splitting the session time with the other group.


We were gaining traction, but tragedy struck at a time in Ray’s life where he was already having to deal with two new jobs and an internship, and in light of all of this we respectfully allowed him to come to terms with these events on his own time.

Months went by, and as we start getting mixes back it’s becoming clear that perhaps for a producer’s first go at a live band, something as dense as some of our arrangements might be a bit of a challenge.

I will say this on the matter; when you’re confined to working through email, there’s a certain amount of interactivity missing that just doesn’t translate. To be clear though (to negate any foreshadowing of clarity I may have cast, I evoke the BASEDGOD himself) Lil B would have us believe that "Ay bruh… every single person [is a] million-dollar baby.” Based God goes on to impart "Ay, bruh, I’ma tell you the real secrets of life, bruh. Ay, bruh, feel me, bruh[?] I got the real secrets. For real, bro… Real talk: the secrets of life? Look at everybody like they’re a baby… We’re young. Don’t be so hard on people. [It’s as though] we’re… little baby insects or mammals or whatever.

You feel me?

As our frustration with the matter was coming to a head, we had begun recording with our old friend David McDonald.

To ameliorate the trouble we were running into with mixing, we opted to have David take over on this project as well.

We desperately feel that we owe you current recordings.

Quite frankly, it’s embarrassing.

We’ve had play on a local radio show. The DJ had seen us at the Mohawk and fell in love, became a huge fan. He stayed in contact with us, kept up to date on shows – then one day he tweeted (or twote?) us that he had played a song of ours during his show!

This is where an artist should feel excitement, perhaps some healthy pride — but instead I felt immediate embarrassment.

The song he played (“Lysrgic Sight [demo]”) I’m actually quite fond of. It’s the recording of it; My voice was still young, I had yet to flesh out my vocal chords and find a proper (or at least a technically “better”) way to sing, and more importantly those recordings don’t feature Escove (joined early 2012). What’s the point of a recording if it doesn’t represent the band? at the level we’re at, we can’t afford to build a reputation on songs we recorded in high school just after loosing a member (Andy Richardson), but— shit— it’s already booked so let’s figure it out in the studio boys!

Those were fun times, but as much fun as we have with this band there’s, too, a time for work.

"Whiskey Spells" in mix-down stage, still gotta record some bar sounds to create a nice atmosphere throughout/under the track. “Bear Cub" tracked, up to bat for mixing.

We’re going to be posting video’s as often as we can record them of a series we’re simply referring to as “acoustic sessions” – it’ll be some formation of the band, ideally all of us, playing in a remote location in/around the Austin area.

While we’re at it, maybe we’ll take our picture with today’s paper. Signs of life, right?



be easy

-with love, michael

slickstringstrummed:

colors shootin’ thru th’ field

slickstringstrummed:

colors shootin’ thru th’ field

Apathy’s a killer

Apathy’s a killer

Apathy’s a killer