The next five songs on the Hustle EP are now mastered! We will be releasing all of the tracks for sale on May 4th. Get your pre-orders in now to get a special video invite to our new commercial.
Dan's leaving the band and we're not taking it well, so each member of the group tries to kill him but fails and dies in the process while Dan remains unaware. Silent film style; any dialog is dubbed in the video portion and text is shown on a different frame with a graphical background.
Scene 1: Brad tries to run Dan over with Flo at train crossing but the van dies on the tracks, won't start up again, and Brad is killed by a train.
Scene 2: Tiger has sniper rifle w/Rob as his spotter but Rob sneezes the shot is missed and it ricochets off a wall and kills Tiger.
Scene 3: Dre gives him a racket to play tennis with that has dynamite attached to it and they play a round of tennis. The dynamite doesn't go off until Dre is looking at it later to figure out why.
Scene 4: Rob coats a joint in poison and puts it back in the container. He goes to practice and gifts Dan the joint not realizing it's the wrong one. While riding a Lime bike home he takes out the poison joint and smokes it absentmindedly and falls over on his bike dead.
No one asked so here's my opinion... Does it sound good to you? If it also happens to sound good to your friends, fans, the market, parents, small flightless birds, or that woman you really wanna fuck even though she seems way out of your league, that's all well and good I suppose. But originality starts from within. So who are you sonically from within? Do you sound exactly like the artists that have influenced you? Are you an odd ball with a library of music theory at your disposal? These answers will appear the longer you stick with your craft, even if it starts to sound "weird" to others. In fact, if it's getting strange, push it further. Stay the course untill it sounds truly awful to you because that's where your boundary is. The easier path is to meet a specific market demand stylistically, which is a valid way to profit from what I read. However, risk involves finding your own voice and the journey will build character traits worth more than money. Even if you determine that your sound is completely derivative at least you'll have discovered a new dimension of yourself.
Had to revisit Fastback Studios today after our session last week. It went well and I think we got all the drum parts we're after for the next five songs, Satisfied, Positive, Keep Up, Bite The Hand, and L.O.L. The important thing is that we had a good time making it. Plenty of usable vocal and guitar parts from the session. I used a Shure SM7 to record vocals like the one I saw James Hettfield use in the Some Kind of Monster documentary and I like it a lot more than the stationary mic I used for our original EP. Jake is still new to the studio environment but he fucking killed it. We got this overlayed drum part near the buildup at the end of L.O.L. that is gold. Current plan is to fix any bass or rhythm mistakes in December then we can lay all new lead & rhythm parts over the bass drums. Doubling will be used heavily and I intend to lay down doubling and harmony for my vocal tracks as well. Might play around with vocal harmonies through different mic styles. Should be done with the tracks by April provided we can get Ed Brooks to master again. Between Ed on mastering and Jason on engineering/mixing, I'm hoping these new tunes elevate the rest of us mere mortals to the heights of musicianship. Fuck it, at least this is fun!