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MASK
Tem texto novo na minha página no portal MySpace.com.
MASK
By the end of 2005 we began the rehersal sessions of what should have been our first album, Andaluz Aurora. When I reffer to the pronoum "we", I mean "myself, Marcus, and the other two guys, Arthur and Daniel", that join a brazillian underground band called Andaluz. As it happened when we recorded some themes in the middle of 2005, the three of us were having a vacation time from our "official professions". At first time, in July 2005, we recorded seven songs for the sessions we use to call Hanoi Sessions. These songs were "Azure", an early version of "Beladona", "Lava", "Sonata ao Luar", "Luna", "Pródigo" and a cover version of classical Hüsker Dü "New Day Rising". All songs and lyrics were composed by me, with the obvious exception of the HD cover and our "Beladona" - music by Arthur Kowarski, Daniel Derenusson and Marcus Marçal, lyrics by Marcus Marçal. And although we were a band that hadn't already seen its own reflection in a "sound mirror" and those songs were to be futurely improved afterwards, in my opinion it's sadly our best recording up to now. Maybe there was a good mood 'cause it was recorded on my birthday.
And as I said, by the end of the year we were eager to play some new tunes and record new songs we had been playing. Although there were some musical themes composed by the three of us, most of the songs I made up by myself, alone. So, first of all, I began to make home recordings of these songs, mostly acoustic versions, and the guys had just to listen to them at home in order to get to know the material properly and make their own part on the arrangements, which I also made suggestions for the bass or even the drumbeats. And when we used to meet each other to practise, I did know that Arthur had listened to those CDRs made by myself, but I was worried Daniel wasn't doing his part. So we decided to take some time to dedicate ourselves exclusively to rehearse the new tunes in order to record them, as a pre-production of what should have been our first album, Andaluz Aurora.
We found a studio located at Barra da Tijuca, Rio de Janeiro, near the guys' home - they are blood brothers - and we started to play some sort of nine or twelve hours a week and did make overall recordings of ALL of these rehersals. These recordings we used to reffer to them as The Vira-Lata Tapes. But I began to notice that something was not doing well when I became aware that the owner of the studio we used to rent was taping our rehersals in Pro-Tools secretly, without telling us he was doing it. One day I left my guitar screaming feedback and went to the studio cabin where there were the soundboard and the computers, and they were the owner and a technician barking like a dog that I wasn't allowed to enter the room. OH SHIT! But it was too late, as I knew that they were recording my songs without my explicit consent, besides the overall we used to carry home after all the rehersals. And as we had some dates scheduled later at this studio, the guy afterwards made us an offer: because we're regularly practising at his studio, he would make us a cheaper price on the studio rental. I didn't say too much about what was happening to the other guys, but we wouldn't go back there EVER. I feel really flattered when I think our sound was supposedly good enough to let someone bootleg us behind our backs. But if something like that could be for good or for our own benefit, why would someone hide it from us? Do you agree, Mr. Proudhom?
I didn't have any idea if my bandmates had some kind of obscure agreement with that guy, so I came to the conclusion that it was time to make a new "real" recording as soon as possible. So I was told that here, near my home, there was a recently opened new studio and they would make cheap prices for us to rent the place - a guy at a CD store where I'd rent some CDs/DVDs told me "out of the blue". Then I thought we should make just one rehersal session and a few days later enter the studio to properly record our new tunes. We weren't ok as "a real band yet to be recorded", but we could play lots of news tunes. In my opinion, the timing was running out due the urgency of our "vacation" time. More than a year later, today I'm absolutely sure that all of our previous rehearsals and the money spent were just for nothing if we didn't make that recordings at that time. And I knew I was right!
We rent the place to record twenty songs in just a twelve-hour session. I know it's crazy, but it was the only way we could afford or handle it at that time. I thought everything was fine when, the night before the session, Arthur called telling me he was thinking his brother wasn't in the mood to play. Here in our town, I really do know there are a lot of people jealous of the unusual sound we're making (you can hear our sound here at Ijigg: http://www.ijigg.com/Andaluz/albums/ ), so it came to me to call these tapes as The Sal Grosso Tapes due to african traditions so common in Brazil, and I thought it should be a nice name for those future tapes we're just to start to record.
The morning after, close to the time that was scheduled for us to play, Arthur calls me once again and say his brother Daniel got home late at night, drunk, and didn't think he would be able to play. I just couldn't believe it! So I brought my acoustic guitars to the studio in order to do the recordings all by myself, just not to throw the money away. I even didn't change my electric guitars strings. Arthur got the studio, left his basses and some pieces of his brother's drum kit and went home to rescue his brother from his hangover. In that meantime I stayed at the studio preparing the room with the technician in order to make our record.
Arthur and Daniel entered the studio two hours later and we started to record. Daniel insisted to play a piece of his drum without a microphone on and I was pissed off enough to argue about anything. So we played nineteen of the original twenty songs we were planning to record. It wasn't perfect but we did in a way I couldn't ever imagine. After all that shit happening, I played on the automatic mode in order to advise the other guys about the songs I wrote and about the arrangements. Nutshell, it was something insane. But we did! As Daniel made up his part, Arthur and I could rearrange the songs with overdubs and post-production.
Still I didn't notice that there were evil people playing us behind our backs like marionettes in our own recordings we did pay for...
to be continued...
All rights reserved to the author. You're not allowed to reproduce this text in any form without permission. I apologize for the broken english!
Texto open-source de Marcus Marçal. Não é permitida a reprodução deste texto de forma alguma sem permissão prévia, seja em sua forma integral, parcial ou mesmo sua tradução. Por favor, contate-me antes via e-mail.
Tem texto novo na minha página no portal MySpace.com.
MASK
By the end of 2005 we began the rehersal sessions of what should have been our first album, Andaluz Aurora. When I reffer to the pronoum "we", I mean "myself, Marcus, and the other two guys, Arthur and Daniel", that join a brazillian underground band called Andaluz. As it happened when we recorded some themes in the middle of 2005, the three of us were having a vacation time from our "official professions". At first time, in July 2005, we recorded seven songs for the sessions we use to call Hanoi Sessions. These songs were "Azure", an early version of "Beladona", "Lava", "Sonata ao Luar", "Luna", "Pródigo" and a cover version of classical Hüsker Dü "New Day Rising". All songs and lyrics were composed by me, with the obvious exception of the HD cover and our "Beladona" - music by Arthur Kowarski, Daniel Derenusson and Marcus Marçal, lyrics by Marcus Marçal. And although we were a band that hadn't already seen its own reflection in a "sound mirror" and those songs were to be futurely improved afterwards, in my opinion it's sadly our best recording up to now. Maybe there was a good mood 'cause it was recorded on my birthday.
And as I said, by the end of the year we were eager to play some new tunes and record new songs we had been playing. Although there were some musical themes composed by the three of us, most of the songs I made up by myself, alone. So, first of all, I began to make home recordings of these songs, mostly acoustic versions, and the guys had just to listen to them at home in order to get to know the material properly and make their own part on the arrangements, which I also made suggestions for the bass or even the drumbeats. And when we used to meet each other to practise, I did know that Arthur had listened to those CDRs made by myself, but I was worried Daniel wasn't doing his part. So we decided to take some time to dedicate ourselves exclusively to rehearse the new tunes in order to record them, as a pre-production of what should have been our first album, Andaluz Aurora.
We found a studio located at Barra da Tijuca, Rio de Janeiro, near the guys' home - they are blood brothers - and we started to play some sort of nine or twelve hours a week and did make overall recordings of ALL of these rehersals. These recordings we used to reffer to them as The Vira-Lata Tapes. But I began to notice that something was not doing well when I became aware that the owner of the studio we used to rent was taping our rehersals in Pro-Tools secretly, without telling us he was doing it. One day I left my guitar screaming feedback and went to the studio cabin where there were the soundboard and the computers, and they were the owner and a technician barking like a dog that I wasn't allowed to enter the room. OH SHIT! But it was too late, as I knew that they were recording my songs without my explicit consent, besides the overall we used to carry home after all the rehersals. And as we had some dates scheduled later at this studio, the guy afterwards made us an offer: because we're regularly practising at his studio, he would make us a cheaper price on the studio rental. I didn't say too much about what was happening to the other guys, but we wouldn't go back there EVER. I feel really flattered when I think our sound was supposedly good enough to let someone bootleg us behind our backs. But if something like that could be for good or for our own benefit, why would someone hide it from us? Do you agree, Mr. Proudhom?
I didn't have any idea if my bandmates had some kind of obscure agreement with that guy, so I came to the conclusion that it was time to make a new "real" recording as soon as possible. So I was told that here, near my home, there was a recently opened new studio and they would make cheap prices for us to rent the place - a guy at a CD store where I'd rent some CDs/DVDs told me "out of the blue". Then I thought we should make just one rehersal session and a few days later enter the studio to properly record our new tunes. We weren't ok as "a real band yet to be recorded", but we could play lots of news tunes. In my opinion, the timing was running out due the urgency of our "vacation" time. More than a year later, today I'm absolutely sure that all of our previous rehearsals and the money spent were just for nothing if we didn't make that recordings at that time. And I knew I was right!
We rent the place to record twenty songs in just a twelve-hour session. I know it's crazy, but it was the only way we could afford or handle it at that time. I thought everything was fine when, the night before the session, Arthur called telling me he was thinking his brother wasn't in the mood to play. Here in our town, I really do know there are a lot of people jealous of the unusual sound we're making (you can hear our sound here at Ijigg: http://www.ijigg.com/Andaluz/albums/ ), so it came to me to call these tapes as The Sal Grosso Tapes due to african traditions so common in Brazil, and I thought it should be a nice name for those future tapes we're just to start to record.
The morning after, close to the time that was scheduled for us to play, Arthur calls me once again and say his brother Daniel got home late at night, drunk, and didn't think he would be able to play. I just couldn't believe it! So I brought my acoustic guitars to the studio in order to do the recordings all by myself, just not to throw the money away. I even didn't change my electric guitars strings. Arthur got the studio, left his basses and some pieces of his brother's drum kit and went home to rescue his brother from his hangover. In that meantime I stayed at the studio preparing the room with the technician in order to make our record.
Arthur and Daniel entered the studio two hours later and we started to record. Daniel insisted to play a piece of his drum without a microphone on and I was pissed off enough to argue about anything. So we played nineteen of the original twenty songs we were planning to record. It wasn't perfect but we did in a way I couldn't ever imagine. After all that shit happening, I played on the automatic mode in order to advise the other guys about the songs I wrote and about the arrangements. Nutshell, it was something insane. But we did! As Daniel made up his part, Arthur and I could rearrange the songs with overdubs and post-production.
Still I didn't notice that there were evil people playing us behind our backs like marionettes in our own recordings we did pay for...
to be continued...
All rights reserved to the author. You're not allowed to reproduce this text in any form without permission. I apologize for the broken english!
Texto open-source de Marcus Marçal. Não é permitida a reprodução deste texto de forma alguma sem permissão prévia, seja em sua forma integral, parcial ou mesmo sua tradução. Por favor, contate-me antes via e-mail.
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