The new full-length from The Love Club is finally available. Features two full drum kits, lots of screaming and a healthy dose of tape hiss thanks to Mitch’s old Akai X-1810. Good, old-fashioned, pissed off psych-rock to help your week along. Dedicated to Michael Curcio.
Stream or download it for free here. Physical copies will be available within the week from their bandcamp or MMMM’s website.
SOULGAZER is a hip-hop project that Kyle Press [of Impressionist/The Love Club] and I have been working on. Putting the music together for this record was a blast. Too hip-hop for people who don’t like hip-hop, and not hip-hop enough for people who do. Stream or download it for free here.
Featuring Vice Verse, Ill Doots, Ittikus the Wolflamingo, Ssengam Niloc, Alex Braddock, Lauren Leilani Iona, and Owen Mercurio.
Artwork by Lauren Leilani Iona.
Special guest appearance by Knight Sounds.
Terrible Millennials is a strange new album from Tom Donohue’s THICK PLASTIC. A mixture of glassy pop writing and Casio-tech arrangements, this bedroom recording has one foot in the uncanny valley and the other stuck firmly in your head. It was an absolute joy to work on. Stream it here.
Have to give this a shot.
Just finished up Kyle’s sax tracking for the upcoming Love Club LP, titled Pearls Dissolve In Vinegar.
Something a little different. A new romantic record inspired by a friend’s dream and a series of inside jokes. Knight Sounds is the culmination of about a year’s worth of very slow work, resulting in some interminably catchy new wave music. You can stream or download it here.
Modified and repaired an old Seeburg drum machine that was beginning to show its age. It had a hardwired line-out RCA cable that was faulty and only about three feet long. I replaced it with a 1/4” output jack mounted on the back panel, so the owner can use whatever length of regular guitar cable they like for the output.
It also has a sort of play/pause foot pedal (read: turns down the volume when bypassed) which was hardwired in as well. The connection was deteriorating, causing the volume to drop out at random intervals. I installed a TRS jack on the back panel next to the new output jack, and added a TRS plug on the end of the pedal’s cable.
The metal-on-metal connections are a lot more reliable for live use, and allow the user more freedom as to where the machine is located in their live setup. The pedal can now be detached for storage, and it can be more easily replaced should it ever fail.