Released October 2nd, 2015 on Dualtone Records.
I met Wild Child while in Savannah, Georgia at the Savannah Stopover festival. I was at Dollhouse Studios doing live sessions of bands that performed at the festival for my video series, Off the Avenue. It was Sunday morning, the last day of filming, and Wild Child was the first band we were shooting that day. We all arrived supremely hungover from the festivities the night before and bonded over our collective "shame spiral." After the session, I hopped in their big red dodge sprinter and we went to brunch. There was some sort of magic in the air, we got each other. Immediately we started planning doing a record in Savannah.
Months later, we came back to Savannah to try out a few songs -- see if there was really a fit, or if we were just having a weird day. The team was set, I would co-produce the record along with Dollhouse's Peter Mavrogeorgis (The National, Sharon Van Etten, Philip Glass, Nick Cave). We did three songs in a weekend -- Fools, Bullets, and Bad Girl. The vibes were definitely still there, and stronger than ever. Fools just felt amazing as were working on it, and ended up being the title track of the record. It was collaborative, fun, and visceral working on a song with that many people.
We left the spooky and quaint town Savannah yet again, went our separate ways. We would return twice more that year to finish the record. Once in October for a few weeks, and again in December. After it was complete, we passed it of to Chris "Frenchie" Smith (The Dandy Warhols, ...And You Will Know Us by the Trail of Dead, The Front Bottoms) for mixing. After shopping it around a bit, the band landed on Dualtone Records. As of the time I'm writing this, the album is not out yet. Stoked to see it get out there into the world!
Released January 27, 2015 on Jade Tree Records.
You Blew It! wanted to record an EP for Jade Tree. This was a dream come true for me, because I grew up on Jade Tree Records. It was tons of fun doing this record. We did it in about 4 days start to finish. One of the highlights was using my vintage 1950's Wollensak tape recorder as a guitar amp. These little guys were made before solid state technology, so they were powered by a tube amp. So, you can basically just bypass the tape section, plug a guitar and speaker into it, and you get a nasty little tube amp that makes some great noises. We used it on drums, bass, and vocals for a really gritty distortion sound.
I made this record with Pompeya!
made this record with priest!
I made this album with Roadkill Ghost Choir
helped engineer this album with William!
I mixed this album for Young Rapids!
I produced this album with Saskatchewan!
I mixed this album for Day Joy!
I helped with some arrangement on this album.
I helped Good Graeff with arrangement on their EP Good Job Go!
I produced this album with Orlando's The Wilderness. One of the most interesting aspects of this album was the tuning. The singer Eliseo had gotten super into the 432hz philosophy (google it, tl;dr: it's supposed to be more pleasing and resonate with your body), so we did the whole thing to 432 hz. This meant tuning all the guitars down, pitch shifting pianos, detuning synthesizers. It was kind of a pain, but a fun constraint to work with and the first and only time I've made a record out side of A 440.