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Posts Tagged ‘custom record making’

Throttle Elevator Music — Emergency Exit

A picture of the cover for Throttle Elevator Music's "Emergency Exit."

Emergency Exit reunites Throttle Elevator Music with legendary saxophonist Kamasi Washington and virtuoso trumpet player Erik Jekabson for an outstanding sixth recording on Wide Hive Records. Containing six new songs and four alternate versions – Emergency Exit has great energy and amazing musicianship.

The band is awesome with songwriters Matt Montgomery and Gregory Howe on many instruments, Mike Hughes and Lumpy on drums, Ross Howe on guitar, Kasey Knudsen on alto saxophone and Mike Blankenship (Spearhead) on organ.

Mostly recorded between 2001 and 2014, Kamasi’s tone is young and hungry, sometimes sweet like Eddie Harris then as aggressive as Pharaoh.

Alexis Gideon — Upgrade Soul

UPGRADE SOUL is an award-winning, digital graphic novel featuring an original score by celebrated experimental musician/composer Alexis Gideon. Every bit as dense and strange as the book that inspired it, Gideon’s soundtrack mines jazz, hip hop, and giallo influences to sculpt a gloriously unpredictable soundscape punctuated alternately by passages of head-bopping bliss and skin-crawling tension.

Guided By Voices — Warp and Woof

Following Guided By Voice’s sprawling double-album Zeppelin Over China, Robert Pollard has written and recorded another full-length in record-breaking time. It’s Warp And Woof, exuberantly barreling through twenty-four songs in just thirty-seven minutes with a brevity similar to mid-90s GBV albums Alien Lanes and Vampire On Titus. GBV kicked this one out in a flash, recorded in studios, club soundchecks, hotel rooms and even in the tour van. 

After completing Zeppelin, Pollard felt the itch to record a few EPs. Just as GBV had done back in 1994, he would use them to channel his everflowing ideas to an outlet. But when a magical boombox writing session produced six fully formed songs in under half an hour, Pollard realized he had an album on his hands. What to do? 

With a band so formidable they’ve been dubbed the Golden Age of GBV, they completed much of the recording on the road. The 2018 Space Gun Tour provided impromptu recording venues. Pollard recorded vocals in hotel rooms, complimentary condominiums, and small studios. Doug Gillard cut guitar tracks for “End It With Light” through his Mesa Boogie rig at the soundcheck at the Ottobar in Baltimore. Bobby Bare Jr. recorded his spacey main rhythm guitars for album closer, “Time Remains in Central Position” at the same show, but in the backstage green room. Kevin March added drum tracks in a studio in his hometown Montclair, New Jersey. Gillard played guitar on “Bury the Mouse” in a van hurtling at 60-plus m.p.h., and Mark Shue laid bass on “Angelic Weirdness” as he balanced on the speeding van’s bench seat….

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