We gained momentum. Back then, we (Mark and I in particular), networked the shit out of the “scene”. People might not have known the band, but they sure as hell knew us. From that, we realized we had to take it to the next step. So someone (maybe Mark) found a “real” studio way out in Suffolk that we could afford and in we went to do what would be referred to hereafter “The Dare Sessions”. In retrospect, the stuff sounds great and reflects a simplicity and focus that we didn’t get back to (in my opinion) until FLOOD. We were going to do an album, called INEVITABLE and we actually recorded a lot of it on tape. Said tapes have been sitting under my mom’s desk for 14 years. These sessions were not without drama of course, Ash and I in particular clashed, which in a weird twist, paved the way for our future collaborations and friendship (hey I’m in his wedding party, bitch).
But the cracks were there. As I was making inroads to take us to the heart of the scene in Chicago, our relationship with Ash, his interest in techno reaching a fever pitch, began to crumble. We played one final disaster of the show on Long Island (including an 8 minute “encore” of CROSS) before not seeing Ash for a few years.
Down to a trio, Tom, Mark and your hero flew out to Chicago to work at the Warzone with Chris Randall, Van Christie and Jason McNinch. Chicago was the eye opener. These were the guys who were doing it and living it and we soaked up the entire experience. Big studio. Big guns. And there we were, tracking a demo that was going to go to Wax Trax…supposedly…Anyhow, we went to the clubs, we saw some gigs, we recorded all night and everything clicked and we left with a demo that was miles ahead of anything we had done previously. I can remember the three of us crashing in the hotel, up 20 plus hours straight, unable to sleep, cause we were so excited. I remember turning 23 (or so) in the studio and thinking there was no place I wanted to be.
5 comments:
I wholeheartedly agree with Frank about the focus of the DARE stuff. Gee, I wasn't around for anything in between DARE and Flood. What does that tell you? : P
What FJ isn't accounting for is that it was the first time that I had been in a proper studio. I'm pretty sure Mark was in one with Universal Discourse (how have they not come up yet???) and maybe Tom recorded in one with Special Agent Gumby, but I don't think so. Tom and I both had our choking moments at DARE that slowed the pace down here and there...
I'm also surprised you didn't mention the most significant piece of gear since the QY10 that you got around this time - the Kurzweil K2000.
In response to Ash's three comments above:
1. I don't think that's a coincidence. The aggression lacked an "in-house" tech producer type (sorta like Jamie in Acumen) who understood what the band needed, which is exactly why I begged you to come back for FLOOD.
2. I believe this was the first time we ALL were in a proper studio, though I can't speak for Mark, as you're right, he might have done some stuff with UD (which will be mentioned eventually). Mark can clear that up if he ever gets off his ass and reads this.
3. I got the K2000 after using Randall's. He had given me discs and discs of sounds to use for it (some of them were John Fryers) I saved up like crazy for it as back then it cost more than my Macbook Pro. Once I got it though, forget it. It's collecting dust at Brandt's right now, but mostly because I have no room for it here, but at Gold Street it was constantly in use.
The Kurzweil made a recent comeback on the first half of "Leningrad," but for the most part it sits in the corner. My girlfriend is begging me to throw it away, and I would oblige her, but the ATA case is too heavy to lift down the stairs.
Post a Comment