This is Dan McCurry of the Charleston-based indie rock band Run Dan Run. I’d like
to take a moment to share some DIY recording wisdom & mantras that I’ve acquired
over the past 5-6 years with Run Dan Run. RDR has been DIY from the get-go and
much of what we have learned has been through experience. I felt I personally
have learned a great deal in the past 1-2 years working on our most recent album
Normal. I often say that finishing this album felt like completing an associate’s
degree. Perhaps after the next record I can get a bachelor’s : ) Anyhow, here are
some philosophical tidbits in respect to recording.
1. Mantra: “Felt More Than Heard.” – Personally, I like listening to records that have
a lot of depth to them where after the 100th time listening to them you’re still
noticing elements that you never heard before. It’s the little things, you know. You
may think of it all as layers, percussive layers, sustained layers, reverb layers, vocal
layers, etc.
2. Develop your preferences. Have an idea of what you want things to sound like.
Do you like a dead kick? Do you like a thick snare? Do you want people to hear &
feel the sensation of space? Chime-y guitars? Dripping reverbs? Etc.? It’s important
to have a little direction, even if you end up going in a totally different direction later.
Your tastes will probably change over time anyhow, especially if you’re recording a
record over any period longer than 2 weeks. Listen to your favorite albums and
listen to how each element sounds. Take all your favorite sounds and mix them
together. And don’t worry about sounding like a carbon copy of your favorite band.
Chances are you couldn’t do it no matter how hard you try (especially if you’re still
trying to figure the whole recording thing out).
3. Take Time To Setup. The usual “just throw a mic in front of it and hit record” is
probably not going to give you the best sound possible. If you are using live drums,
chances are they are going to shape the overall sound of your recording a great
deal. If you’re recording guitar and the guitar sounds like crap, the best a
microphone can do is capture that crap. Take your time. Tune up, play with the
placement of the mics, try different mics, etc. These days, for example, I’ll set up the
drums and check everything a full day before tracking. With guitar I might spend
30-60 minutes playing with the amp, pedals, mics, etc. to get something that
sounds great to me in the room before hitting record.
4. Quality In = Quality Out. If it sounds good coming in, it’ll probably be easier to
work with and end up being a quality final product. If it sucks coming in, chances
are you’re not going to be able to fix it. So remember this:

> Quality Equipment. Just make sure that when you do buy things, don’t waste your
time or money on something that isn’t professional. Start with a good mic or two, a
good preamp, a good interface, good cables, etc.

> Quality Performances. If it’s not in tune, do it again. If it doesn’t have the moo, do
another take. When your done with it, listen to it. Then listen to it again. You’re only
going to put out so many records in your lifetime. Rushing through it probably won’t
make it better, no, it’ll probably make it worse. So take a little time, not too much, get
it done, but just don’t be sloppy. You’ll know when it’s done when it’s done.
5. Space. If you’re working with a stereo track, you can create a lot of interest and
contrast by playing with the location of a sound in the stereo field. You can do this
with the original signal as well as effects. Picture yourself in the center of a room
where all of the music is being created around you (in a semi-circle, not behind you
unless you’re doing surround sound). Close your eyes as you listen.

6. Experiment. If you’re used to doing something one way, try to do the exact
opposite. Flip something upside down, work backwards, work forwards. It’s all a
bunch of variables. Understand the elements, understand how & why something
works. Dare to question that. Experimentation will lead to creation.

7. Pare It Down Later. If you’ve got 8 channels and 8 mics, why not try using all 8?
You can always drop the least useful later. You never know what you might
capture. When you’re recording, you’re always trying to capture something in time.
Music is a time-based art. You create in time, you experience it over time. A song
cannot be experienced in one instance, just like a book. You can’t get away from
the time factor. It’s a lot easier (if you have the resources) to record more than you
need and pare it down later than it is to find out that you didn’t get enough on tape
and try to create what you need in post-production. Probably not going to happen.
You can create a lot of different sounds and aural textures by blending. 2 different
mics on an amp separately might not sound all that interesting but then you put
them together and you’ve created something much bigger and richer than perhaps
any one mic could capture.

Normal is Run Dan Run’s follow-up to their debut album Basic Mechanics (2007).
It’ll be released nationally on 1.10.2012 on Hearts & Plugs.

This is Dan McCurry of the Charleston-based indie rock band Run Dan Run. You probably haven’t heard of us. That’s okay, we get that a lot actually. If you hadn’t heard, well, we recently put the finishing touches on our sophomore release Normal (out nationally on 1.10.12 on Hearts & Plugs), which we recorded entirely ourselves. I am a total gear head so naturally writing an article about my favorite pieces of gear came easily.

Here is a list of 20 of my favorite pieces of gear in the RDR arsenal and why I like them:

1. Universal Audio LA-610 mkII (mic preamp) – Excellent for vocals, drums, & bass. They sound quite large and have some real body in the low end.

2. Sennheiser 421 (microphone) – This mic is awesome on horns. I love the 5 position filter. Swiss Army Dynamic mic. Sounds pretty awesome squashed.

3. Fender CIJ Jazz Bass, ’62 RI  (bass guitar) – The Japanese Fenders kill much of the USA Fenders except maybe the custom shops, plus they are cheaper. This bass is just incredible and simply “feels right” when you’re playing it.

4. 1975 Fender Vibro Champ (guitar amp) – Delivers the classic Fender chime at a relatively low volume. Excellent for recording as it is so easy to manage. Just remember to use a reverb pedal.

5. Golden Age Pre73 (mic preamp) – Rich analog sound for little bucks. I ran all of the keyboards (except bass keyboard) through this unit. It seemed to flatter the midrange of the keyboard perfectly where the LA 610 mkII simply did not. After running through this the keyboards needed very little EQ.

6. Massey Tape Delay (plugin) – Very intuitive and simple. Rich & warm delay sound, much better than any of the stock plugins that came with my Pro-Tools.

7. Izotope Vinyl (plugin) – I use this thing like an Pre-EQ EQ. Great for changing the character of an instrument in the mix.

8. Voodoo Labs Sparkle Drive (pedal) – All of the Voodoo Labs pedals are top-notch. The Sparkle Drive for me is a tone pedal more than anything. I rarely turn it off. Very true to the amp+guitar sound with just a bit more beef and clarity.

9. Boss DD-6 Delay (pedal) – Very easy to use digital delay. Sounds awesome and I love the trailing delays on this model.

10. Cascade Fathead (microphone) – This microphone has an entirely different sound. I used this a lot on kick drum as well as guitar amps. It is great on low end and has a lot of body.

11. SPL Twin Tube (plugin) – Excellent for adding a little grit and size to a signal. I like to think of this plugin as sort of an EQ as it can easily push an instrument forward in a mix and give it a little space to exist.

12. T-Racks 3 Opto Compressor (plugin) – Super smooth compression. Barely noticeable. I love this on vocal or any other signal that you’re trying to preserve tonally.

13. Fender Telecaster w/ SCN Pickups (electric guitar) – I am a telecaster man 100% for life. The SCNs are dead quite and have plenty of spank to boot.

14. Vintage Slingerland Drumset (drums) – I love Slingerlands! I think the classic vintage drums have a bit more character than most modern drums. It’s a different complexity, like a finely aged wine. Plus they just have a lot of vibe to them. This is all we used on Normal.

15. Zildjian K 20″ Dry Ride (Cymbal) – So rich and complex! I prefer a good bit of wash in my cymbals. I also like larger cymbals for their generally lower pitch. You won’t be hearing a 10″ splash on any RDR records anytime soon. It’s always 18″ plus when it comes to crashes. I also prefer a thinner cymbal.

16. Various Shakers (Auxiliary Percussion) – Honestly you can never have too many shakers. The size and shape of the shaker and beads inside, as well as the density of the materials influence the sound, decay, projection, and playability of the shaker. Sometimes you want something soft and delicate, something that sounds like sand. Other times you might want something really driving and almost piercing. Or maybe you just want to go with the happy medium. Having 3-5 different shakers on hand is a good place to start.

17. Auxiliary Percussion (Auxiliary Percussion) – I think aux percussion really makes Normal, that and the full drum kit on every song. There is not a track on the album that doesn’t feature at least 2 different auxiliary percussion instruments. Aux percussion can really flesh out a song and fill space that no amount of notes can.

18. Shure Beta 58 (microphone) – Great live and for recording. I like the Beta series a little better than the standards as they seem to be a little more hi-fi to my ears and just not as flat. I might say that they are just a tad more flattering. Plus the super cardiod pattern is a plus in nearly all of the applications I use it in.

19. Electro Harmonix Mini-Synth (analog keyboard) – These are somewhat rare and very hard to play due to the touchpad keyboard but it is sure hard to beat the beast-like sound that comes out of this thing when you’re pushing it through the LA-610 mkII. The sound is simply massive.

20. Fender Rhodes Mark I (electric piano) – There is nothing like a Fender Rhodes. It is its own instrument I think. Sure it has the same layout as any other keyboard instrument but I swear that there must be angels in there singing! I fell in love with the Rhodes when recording it on Normal. I honestly never played one much prior to  this point. It’s unfortunate that I hadn’t. It is hands down my favorite keyboard sound now. I am pretty sure that heaven uses the Rhodes for door chimes.

By Gavin Brown:

Solid. It’s the only word that comes to mind when I try to describe The Sea Wolf Mutiny’s First EP, The Last Season. It’s funny, the definition of “solid” is a near perfect description of the band’s eight song EP: “not hollow or containing gaps” and “strongly built or made of strong material.”

The title for the record gives the intent of the band, to create music that is a reflection on the past seasons of their lives.

Our desire is to see the world from the ground up,” says Lead Vocalist Bobby Hatfield. “We have our heads in the clouds a lot, and the record is our attempt to return to ground level.”

From the opening track, Fear and Trembling, the band journeys through frustration, revelation, failure, and ultimately a place of reflection and new direction.

When you know the history of the band (Drummer Phillip Kearse and Bassist Dave Ohlman had never played their instruments prior to joining the band) and the growth and maturity of each member, the musicality that is displayed is almost unbelievable. To top it off, this may be the best work by producer/engineer Kenny McWilliams I’ve heard to date.

Almost all the songs are in the same key, D to be exact. For the listener, you lose track of the song numbers or titles. Instead the record flows from track to track with the grace that Hatfield sings about, either in his chilling low register on the fifth track Over, Around, Under and Through, or his impressive use of falsetto notes on Watery Grave. Guitarist Danny Oakes mixture of swells and drive build around Hatfield’s piano that sometimes hints to a classical influence. To top this off, the bands tight rhythm section blends perfectly in the mix, never overpowering or flashy. And for a studio record, it sounds just like their live show.

To the listener, The Last Season is a record saying, “This is where we’ve come from, and now we move forward.”

“We achieved more than we hoped for,” says Hatfield. “I guess we can be proud of that.”

 The Sea Wolf Mutiny releases their EP, The Last Season, Friday August 12 at New Brookland Tavern along with Foley and The Rejectioneers.

By: Kurt Rambis

Not too many years ago, a show pulled into the New Brookland Tavern to little fanfare. I think that All Good Citizens had more promotion whenever they played. Headlining the bill was moderately buzzing Blitzen Trapper who had just signed to Sub Pop. Opening up for them was a young band that I’m not sure anybody had heard of called Fleet Foxes. Nobody there would have predicted this band would several years later put out Pitchfork’s album of the year. With that came worldwide acclaim and headlining shows at venues whose green rooms were larger than New Brookland. Now Fleet Foxes has put out Helplessness Blues which sees a young band take a massive step from excellent to amazing.

The last time we said hello to Fleet Foxes, we were greeted with vocal harmonies. Here, the album begins with a simple guitar and Robin Pecknold’s voice by itself. While we eventually get to the trademark harmonies, the tone set in the first ten seconds of the album prepares the listener for a different experience. This album is a completely different animal than their self-titled debut. What made Fleet Foxes special on their debut is still present, but what could at times be a dense listen has given way to a massive record that gives both the listener and the band space to move and grow. Instead of an album of only folk songs largely accompanied by vocals, guitar, mandolin and drums, this album sees the band experiment with new instruments, varying tempos, and most notably a certain confidence that wasn’t always present on their previous effort. We see the band “rock harder” with Kinzie Battery and go even softer with “Montezuma” at the same time. The band explores new ground with the dynamic “The Shrine/An Argument,” a song that seems to take you in a familiar direction before making a quick detour to a route you might not have expected. It’s not quick and it’s not the norm, but in the end, it’s a ride your glad the band took you on. The real highlights for me are “Lorelai” and album closer “Grown Ocean.” “Lorelai”stats with a simple drum that harkens back to the proms of decades past before a quietly picked guitar chirps in over it. The song then ambles sunnily along with harmonizing, the aforementioned drum beat and chirping guitar and what sounds like twinkling keys in the end. To me this is the prettiest song so far this year. “Grown Ocean” is the perfect closer for an album that is about as flawless as one can get. Everything you loved about the band is here, and everything you will love listening to this record shares equal billing. The stark finish to this record is genius. Naked vocals with a shimmering triangle and an abrupt end leaves the listener expecting one last flourish to go out with a bang, but instead the bang is provided by silence.

Fleet Foxes have taken their sound, which has been often imitated over the past couple years, and improved it in every way. My nearest reference point to Fleet Foxes is the current output that Death Cab for Cutie has been putting out. No, the two sound nothing alike, but Fleet Foxes are one of those bands that will appeal to just about anybody. What I mean is, this will equally appeal to people who wear beards ironically and people who think nothing looks more badass with a Richard Petty #43 cut-off t-shirt better than a thick, wooly mustache. Helplessness Blues is poised to become one of those seminal records that bands will aspire to and critics will reference for years to come.

Grade: Numbers and letters are worthless, but it’s an A+. For fans of Simon and Garfunkel, Crosby Stills and Nash, Grizzly Bear

By: Hillary Lancaster

The Rocket Summer- I need a Break, but I\’d Rather Have a Breakthrough

Bryce Avary of the Rocket Summer is my Taylor Hanson. Girls, you know that’s a big deal– Which is why, of course, Bryce’s most recent release ‘Of Men and Angels’ is in heavy rotation this summer. Coming from a long-time fan, this album shows how much he’s matured as an artist and is just downright impressive, and the title track off the record is a perfect example of his growth. If you didn’t catch his set at Warped Tour this summer, you really missed out. I know.. I know.. it was 100 degrees outside! (he was in the amphitheater, so that’s not an excuse) or maybe you just didn’t want to miss Emmure (gag me), but trust me, it really was inspiring and worth every drop of sweat. Do yourself a favor: download the album (it’s 7.99 on iTunes! 15 awesome tunes! c’mon! that’s a steal!) and catch him the next time he’s in the South. You’re welcome.

Rocky Votolato-Sun Devil

I seem to have a lot of new albums from some of my favorite bands in rotation this summer.. and Rocky Votolato’s ‘True Devotion’ is no exception.  ’Sun Devil’ is one of my favorite tracks and I think it’s because it’s one of the more upbeat songs off of the record. If you haven’t gotten into Rocky and his music already, you should definitely give him a spin, I promise you won’t be let down.

By Matt Smith

“Bones” by Today the Moon, Tomorrow the Sun

This band out of Atlanta leaves quite the impression. Their live act is spectacularly grungy, plenty dance-infused, and features as many guitar pedal / mixing board acrobatics as Radiohead and U2. If you ever get the chance (they play regionally all the time, making trips through Raleigh, Columbia, all through Georgia, and various other places), see them live. You won’t regret it.

Lately I’ve been enamored with their song “Bones”, off the 2009 EP Heavyweight Champions. It’s got all the bells and whistles of the best indie/rock dance tracks of the past five years, and sounds a lot like Bloc Party would sound if I liked Bloc Party. And if they had a female vocalist. It opens the album with an air of urgency, as if the well-timed and very much together band could fall apart at any moment just from the sheer velocity of the four-on-the-floor tempo. It’s a breathless way to open an album.

Lyrically, Lauren Gibson’s pleading for physical touch (“I’m not asking for much / Just a pulse that I can touch / Just a bit of flesh that I can squeeze”) is analogous to the growing disquiet of our generation’s longing for a return to some sort of non-digital age in which human beings actually existed with one another, in real-time, and weren’t distanced so much by all of the bullshit, both technological and psychological. Of course, I make this association while writing an online essay and lauding a band whose visceral onstage performances are helped greatly by an array of mixing equipment and two sets of Korg keys.

The band is two EPs into the game, and I wonder when it will be time for a full-length. I think the time is nigh. They’ve already garnered plenty of regional and, to a lesser extent, national press. They need to record that debut LP and get out of the chitlin circuit (though, please, do keep playing here in the future!). I think they’ve already proven they have the songwriting chops to continue writing worthwhile music well into the future.

What saves Today the Moon, Tomorrow the Sun from falling into the sort of stale territory so many similar bands have fallen into is not just the gut-instinct guiding the proper amount of synth-pop jambs and remixes that populate their first two releases alongside the heavier stuff, but it’s their commitment to performance as a key component of making music that keeps them vital, and they certainly are not lacking in that department. The four piece is essentially a barrage of pulsating rhythms, feedback, digital trickery and ultra-grunge soundscape design (particularly in its bass guitar and keyboard levels), and it works greatly to their advantage that they’re adept at knowing just where to go on-stage for building up an audience and then tearing them down.

I look forward to much bigger and grander things from this band. “Bones” is a terrific indie single. They certainly deserve the attention. You should give them yours.

Matt Smith is a writer living in Columbia, SC. He publishes film criticism on his own blog, http://mattsmithonfilm.blogspot.com, and is the co-host of the Shadows and Light Movie Podcast (http://shadowspodcast.com)

THE CARRIER, ADVENT, Torch Runner, Blacklines, In Regret – Round Hill Community Club 2707 Two Notch Road, Lexington SC

The Carrier is on their Spring Break 10` tour with Advent. This tour will be appearing Sunday, March 14th with locals Torch Runner, Blacklines, and In Regret.

Torch Runner

For fans of Cursed, Colony, and Just Die! Torch Runner (Greensboro, North Carolina) is loud and chaotic.

Blacklines

For fans of Modern Life is War and Verse. This Charleston local band has been making a pretty heavy impact recently. With soon to be released split 7” with Columbia locals In Regret, we will see what is next to come for this South Carolina hardcore band.

In Regret

For fans of It Prevails, Shai Hulud, and This is Hell. These Columbia locals have really come into their own over the past few months. In Regret is a great band with a lot of potential, if you haven’t listened to them, take the time to check out to the songs on their myspace and you won’t regret it.

Advent

For fans of For Today, Life in Your Way, and Bury Your Dead. This Christian hardcore band has been a mainstay of heavy hardcore for the past few years. This band includes the previous drummer of Beloved but separates itself both lyrically and musically. Advent relishes in the intense breakdowns which were sprinkled through Beloved’s work. They are touring on their recent release Naked and Cold. Naked and Cold is heavy, energetic, and chocked full of breakdowns.

The Carrier

For Fans of Dead Hearts, Defeater, and Killing the Dream. The Carrier has a creative blend of intense vocals with slow and melodic rhythms permeating in their emotionally charged albums. Their use of repetitive rhythms and isolationist lyrics makes one lose their self in the music. While a little melodramatic, The Carrier puts on an intense show by pulling the crowd in and leaving everything on the stage. One aspect cherished about seeing this band is being able to relate to the melodramatic/depressing/isolationist lyrics and being sucked in by their enthralling presence and The Carrier promises to provide.

8pm

Round Hill Community Club

2707 Two Notch road, Lexington SC

On March 6th the House of Hardcore brings Former Thieves with Into It. Over It. and Dire Wolf.

Dire Wolf is a hardcore band from Michigan.  They sound a little like Converge, but more so like Integrity.  They have that heavy doom sound with faster parts intertwined.  They are coming off the release of their most recent EP-Gloom (self-released).  You can find both their EPs (Gloom and self-titled) free on their myspace.

Into It. Over It. seems a little out of the place for this show, considering he is a singer/songwriter but don’t jump to conclusions, Into It. Over It. Is good stuff.  Into It. Into It. Over It. Is a solo project of Evan Weiss (The Progress, It’s A King Thing, Up Up Down Down), and 52 weeks was born from his goal to write one song a week for 52 weeks starting on his 23rd birthday.  Some of his vocals remind me of Minus the Bear without the technicalities but other times it is similar to Bright Eyes or Death Cab for Cutie.

http://intoitoverit.com/

Former Thieves – Control and Illusion (LIVE) from Tim Dodd on Vimeo.

Former Thieves is a heavy punk band from Iowa.  This band is one of the more intense up and coming band.  They blend a heavy technical sound with bursts of energy, reminiscent of Brain Worms, Pianos Become The Teeth, or Touche Amore.  Former Thieves is touring on their 12” The Great and The Alleged Great (Mayfly Records).  This 5 song LP is full of energy and dark lyrics, and one would expect their live performance to be complementary.

http://www.myspace.com/formerthieves
http://www.mayflyrecords.net/?page_id=3

Show Information:
http://www.myspace.com/carolinacorebookingamppromotions
http://schardcore.blogspot.com/
http://houseofhardcoresc.blogspot.com

By: Chelsea Jones

I don’t care.  I miss Nathan.