Column: Gordon Raphael #9, Oct 2002
By: Gordon Raphael
Summer-2002 in England was certainly amusing in its choice of weather. The beginning and middle were wet, dark and cold - but the end was so glorious that it made up for the prior damp spells, offering bright sunny weeks that even seem to be continuing into the Autumn.
Lately, whatever the climactic conditions, I have been a little busy recording bands in Wales, London, Bath and Mallorca; even went on a field-trip to Stonehenge and Avebury to check out if the mystical powers there were as deep as the ones that I grew up with, floating around the Pacific Northwest, near Seattle... Hmm, well, I certainly seem to remember that the energy was a little more obvious in the rain-forests, Indian lands and mountains of Washington State, not to mention the jagged black cliffs by the sea in Oregon.
A lot has happened since last time, and things are really moving ahead rapidly in the music-scene here. The band I recorded in Bath is called X is Loaded, and I was asked to produce their next single '13 Days' for Boss Records; it was great visiting their town and working there, viewing that interesting and almost mythical architecture, and feeling the summer sun whilst walking down the Grand Parade. For those unaware, X is Loaded are a mega-talented band who have a raw emotional side mixed with intense instrumental ability and great singing. Their first video was shown on MTV2 and I have high hopes for the single we made together.
One of the biggest things that's also happened is the finalization of my own compilation album to be released in November by Things To Come, one of Boy George's labels. It features nine bands and eighteen tracks: all things I either produced, or am trying to bring to fans of unusual, brilliant music, and the package is modestly entitled 'Gordon Raphael Presents: Top Hits Volume 1'. Incidentally, I listened to this collection after it returned from the mastering laboratory, and couldn't be more pleased with the results - there's such a genuinely huge variety of sounds and styles on offer, but I think something of a rare quality unites all the songs... I'm hoping some of you get a chance to hear it, and, possibly, might feel inclined to agree with me...
Aside from all this, the summer started off for me with a recording-session in Monnow Valley, Wales. In a twist of fate, this was the location that I was originally supposed to work within during February, when I first arrived to England; as you may remember, however, I was fired before we even got to the studio! But, this time, my hosts were Tetra Splendour, a group signed to EMI and a lucky find for me. From the original demos, I knew there was something interesting and powerful about the group, but finally seeing them - first in a London practice-space, then in the studio - introduced me to one of my new favorite bands. Despite this, I usually never work for record-labels, or even signed bands, so I was a bit wary of having to please not only the guys involved, but a major label, too.
We worked for five days in a countryside studio with a river running by, aesthetically pleasing landscapes all around. 'Barracuda' was the main song I was hired to produce, but I wanted more, and we finished four further compositions - inclusive of 'Main Beam', 'Clock Patience' and 'Kilo'. Now, this doesn't happen all the time with me, but after completing these recordings, I feel I was transformed. Over the next few days, I felt that hearing these four tracks back and enjoying the band's work so much was a kind of initiation.
The main singer and keyboard-artist is named Gaz, who runs synths, a Hammond, and Fender Rhodes whilst singing gargantuan melodies, the whole process held together particularly intensely, combining a ragged rock feel with a gorgeous modern symphonic element. (Reassuringly, in this case, symphonic does not = cheesy!) I'm telling you - it rocks majorly, but has a majestic quality just below the surface. Pete, Tetra Splendour's guitarist, also has a really amazing connection with music - evident in his playing at all times... He has really discovered some guitar sounds and riffs that can open a lot of ears and minds... I can't recommend this band highly enough, and I must thank Duncan, Tetra's A+R man, for signing this band - an ensemble that clearly is not a 'lowest common denominator' group.
Several months ago, I wrote here about Anna Mercedes, a singer I met in Seattle, worked with in New York, and finally imported over to London for more immediate rock action. I helped her in finding musicians and now, a short time later, we emerged with Miss Machine, a dream band of some of the hottest rockers in the UK. And now Anna's songs have come to life with a vengeance. We just recorded five songs in one and a half days, from which a single called 'American Girl' will be released.
Anna's voice is amazing, and she sang all her lead vocals in the space of three hours - and fantastic she is to record, too, because she truly conjures up some disturbingly psycho-singing: a really wide crunchy tone combined with deranged breathing and screams that are at once torturous and enjoyable.
Offering visions of a future guitar collection, and all the drugs and groupies he'd ever want, Anna has found a young guitarist named Kevin. He wears his guitar so low, that I expect him to play with his feet, but he's got an ingenious way to hunch over all the way and still play... The main problem is that he gets a little too excited when he performs live; we are looking for some pills to slow him down a bit, or an easily concealed ball and chain to secure him to his fuzz pedal onstage. Other than that he's a nice guy, who just happens to love torturing people at parties with a never-ending collection of the most annoying songs ever written.
So you know, Miss Machine are going on a shopping trip this week for a record label because touring is expensive and the show must go on forever. There are some London dates coming soon, and we'll keep you posted.
And, again, I am forced to write about The Satellites, my best friends from Mallorca. They just played a gig at the Bull & Gate, London which honestly made my jaw drop... Now, I've recorded these guys, seen them live in New York, Mallorca and Valencia, and have even run sound for them at ocean-side festivals on their island - but this was different. Even though they've recently had time off, the band were absolutely riveting onstage. Surpassing even my high expectations for the night. The sound was perfect, and even though both guitars were being strangled, smashed and whammy-barred to oblivion, they were always in tune at the perfect moments.
Jordi, singer and guitarist-extraordinaire of the band, always pushes it over the top, whether it's at being quiet and beautiful or screaming two octaves higher than anyone should be able to. (No, not like Mariah Carey.) Everyone present felt some faith restored in the power and scope of rock. Nyo Nyo, Puter and Michael were playing from some advanced state themselves - even beyond where we filmed them at a concert in a small village on Mallorca. Speaking of which...
The video produced for their track 'In Another World' has turned out pretty good - my first attempt to capture images using the same basic techniques that I appreciate in music. In a massive effort to bring more Satellites to London, I am going to begin importing their records from Spain and putting them in selected shops, along with the video, which may even get shown on TV... Their show here was just definitely one of the best gigs I've seen this year (actually, the same can be said about Tetra Splendour), and since arriving in London, I'm pleased to have seen many really outstanding performances by a rather large number of excellent bands. Again, I haven't seen so many top notch f**ckin' rock 'n' roll bands in one place since the glory days of Seattle. Ah yes, but I digress.
In other assorted adventures, I had a rainy but insane day at Reading, visiting with The Strokes on Julian's birthday. I really wanted to stay in the rain for Jane's Addiction, but wussed out to the Rough Trade tent for a mid-storm party. I thought the sound was temperamental for the festival in general for that day, and The Strokes, while performing really well though Julian was injured, lost some of their impact due to the almost phase-shifting PA-system.
And, finally, I met the drummer for one of my preferred bands - though not many know of them. They were called Subcircus, and I accidentally saw them open for Love Spit Love in Seattle, winning me over completely as a fan... Check out 'Carousel', their first album, if you can find it... These days, their sticks-man Tommas is managing a Copenhagen band called Nu that features female-singing and serious rock. Who knows, I may be working on that project as well.
Alright, 'til next time, keep your eyes peeled for the new 'Twinstar Revolution' magazine; I was blown away with the current, first ever issue because half or more of the musicians they report on are the ones I either worked with, or am in love with - the whole project forming a similar effect to a latter-day school yearbook for me! And, thankfully, they seemed to agree with me about the coolness and rocking motion contained in these people's songs. Good to know. Updates about my compilation-album will be here on rockfeedback as they appear, not to mention details on a new monthly club-night you all should stay tuned for...
See ya.