Photo: Basia Jacaszek
Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. Under the microscope this week: Jacaszek, an old neo-classical favorite who recently graced us with the carefully orchestrated—and delicately paced—doom and gloom of Glimmer (available now through Ghostly International)…
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Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. We’ve already told you why we love Veronica Falls’ debut LP; now it’s time to delve into what drives one member—drummer Patrick Doyle, who wanted us to let you know that the rest of the London-based group does not in fact endorse The Gilmore Girls…
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Photo: Jeffrey Harmon
Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. This week we delve into the dense beat suites of Alias, which swirl and swing their way through his new Fever Dream LP…
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Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their most obvious musical inspirations for a minute and share what really went into the making of a particular record. Since Agalloch is one of the country’s most compelling but reclusive metal bands, we didn’t expect to hear much back from them about last year’s Marrow of the Spirit LP. Guitarist Don Anderson and drummer Aesop Dekker came through with a couple hints about their creative process, however.
Check them out below, alongside two lengthy cuts from their fourth full-length…
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Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. Here’s what Gary War “ingested” while making his murky, synth-chased Police Water EP, available now on Sacred Bones…
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Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. Since we’re not quite sure what the hell’s driving the twisted pop tunes on Cerulean (the full-length debut of Baths, available now on Anticon), we went straight to the source: multi-instrumentalist Will Wiesenfeld, who shared the album’s ‘philosophy’ and the strange stories behind a handful of songs. Not quite what we usually get from this feature, but we’ll take it!
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Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. Today’s installment is one of our best yet—a brutally honest breakdown of Woven Bones’ punk-in-drublic debut (In and Out and Back Again, out now on HoZac) by frontman Andrew Burr. The trio’s month-long east coast tour starts this week and includes a free South Street Seaport gig with Yellow Fever on July 2.
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Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. Ellen Allien keeps things simple in her guide to Dust, giving us a few clues as to how some of the album’s more polarizing moments—like the beat-flecked balladry of “Sun the Rain”—came about.
The BPitch Control boss also shares her love of long nights/mornings in Berlin, a place that’s helped her find love and Dust’s first single. Speaking of Allien’s longtime home, you can check out her city guide from our first issue here.
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[Photo by Guy Eppel]
Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. Today’s installment is about Adam Green’s surprisingly sincere Minor Love LP; surprising because this guy used to sing songs like “Crackhouse Blues,” “Chock On a Cock,” “Bunnyranch” and “Mozzarella Swastikas.” Okay, those were his early solo efforts, but you know what we mean. This time around, the former Moldy Peach is channeling Transformer-era Lou Reed and his cheating girlfriend.
“I didn’t realize when I was recording my record that my girlfriend was cheating on me,” explains Green. “I called her almost every night, and after a while, I could tell that something was wrong. I think that her cheating on me caused my mood to be extra-gloomy while I was recording. That must affect how the record sounds. Thank god that she cheated on me.”
Thank god indeed. We also endorse all of the following outside influences. And if you’re in New York, be sure to check out Green’s Teen Tech art show, which is open to the public this Friday and Saturday at the Morrison Hotel Gallery Bowery. Green’s also headlining Bowery Ballroom shows both nights.
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Recording Under the Influence is a recurring self-titled feature where we ask artists to ignore their musical inspirations for a minute and share what really went into the making of a particular record. In Ikonika’s case, we’re talking about much more than the 16-bit beats of her beloved Sega Mega Drive system, although they certainly played a part in her debut LP (Contact, Love, Want, Have, out now on Hyperdub) as well. For one thing, the post-dubstep producer is a Gemini.
“Some psychology friends of mine have told me that I don’t have a personality,” she explains. “Instead, I adapt to other people’s. So I can be confused sometimes—like today.”
Honestly, we can’t tell the difference. From our end of this trans-Atlantic call, Ikonika (real name: Sara Abdel-Hamid) is nothing but a film nerd who also happens to sculpt some of shiftiest beats in the business—restless productions that make perfect sense once you hear the stories and dream worlds behind them…
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