"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.
Cheesy poster for our gig with Audic Empire, but aren’t Halloween gigs always a little Cheesy? Joking aside, it’s going to be a fun show. There’s NO COVER (which seemed poster-worthy), and it’s kicking off our dates in Dallas & Denton the following two nights. It’s our first tour, and even though it’s only three dates we are pretty fuckin’ stoked, if you’ll excuse my inner frat douche.
We’ve played Hailey’s in Denton before and had so much fun on that stage, with that crowd— we can’t wait to return. As for Dallas, it’ll be our first time in the city and we’re looking forward to playing the same venue that’s been graced by such national acts as Devendra Banhart, Norah Jones, Local Natives, The Antlers, Sea Wolf & Dawes to name a few. The Crown & Harp has seen a few changes through the years, but it’s still going strong in the much-blogged-about Deep Ellum scene of Dallas’ Art District. We can’t wait to give ‘em a shot of some of that Austin steeze.
Special thanks to Eric from Sissy Harold for booking these two gigs for us! Fun times ahead, we love you all.www.reverbnation.com/for365days
Mike & Jeff out in the greenbelt performing “Ouroboros Mind” stripped down • Find the full video on our YouTube channel #austin #austintx #atx #greenbelt #acoustic #unplugged #ouroboros #365colours #originalmusic
Interdisciplinary artist Nick Cave — known for his wearable sculptures called “soundsuits” featured in Hi-Fructose Vol. 20 — recently opened his solo exhibition, “Sojourn,” at theDenver Art Museum. The exhibition’s title is perhaps a nod to the transformative powers of the soundsuit, which is said to psychologically transport its wearer to a realm of fantasy beyond the limitations of the human body. While Cave’s previous work has been vibrantly textured and colorful, for part of “Sojourn,” he opts for a galactic theme, presenting metallic and bejeweled soundsuits reminiscent of disco balls and sci-fi space shuttles. The colorful and furry suits are also present, adorned with floral patterns and even tree branch structures built up around the sculptures.
In conjunction with “Sojourn,” Nick Cave and Bob Faust collaboratively designed an interactive exhibition titled “Second Skin.” The family-friendly counterpart of “Sojourn,” “Second Skin” invites viewers to decorate their own soundsuits with felt ornaments. Take a look at some photos from “Sojourn” and “Second Skin,” images courtesy of the Denver Art Museum. The exhibitions will be on view through September 22.
Who got to see these while the display was at Moma? The video they played— shit was cool. Art in motion….
We’ll mainly be preparing arrangements for the songs we plan to record with Joe Teviño of San Antonio’s acclaimed Blue Cat Studios, though we did start working on one of Michael’s new songs last week with the full band. Something about “…four in the morning, I should be yawning soon”, very subdued but then the chorus comes, and eventually this giant riff — a lot of movement. Lopez probably put it best by saying its like a Beatles/Pantera mashup, at least musically. Mike grinningly approved.
July looks like it will be occupied by cataloging raw tracks from our sessions with Ray Carter and setting out to complete mixes for our EP. August brings not only shows, but a very high likely hood of us dropping “Whiskey Spells” as a single with “Bear Cub” as it’s B-side, all thanks to the help of David McDonald! Let’s see what we can make happen now that our material is getting into the right hands….
If we get some extra time, we’ll probably try out a few experimental jams— Always a good time with my boys in 365! Probably gonna put a little somethin’ in the air while we’re at it 😉
Be easy, yall!
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.
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?
-with love, michael