The Unofficial Escapescapes Manifesto

One night last year I was walking down Queen Street here in Toronto. It was about 1 a.m. and I was alone. Although it wasn't the weekend, the summer air had the city in full party behavior. As I approached a well-known Toronto bar, I noticed someone being thrown out the front door by security guards. As it turned out, I not only knew who this person was, but also went to high school with him. I won't mention his name because it is not important to the story.
As he laid on the sidewalk looking like a pile of dirty laundry, I walked up to him to see if he was okay. He looked up at me in his brutally intoxicated state and, without even saying hello, says
"Hey man, are you still doing those large prairie landscape paintings?"
"Yes" I said, and continued on my way.
I haven't spoken to him since.

To be completely honest, I have no idea why I make these paintings. To take it a step further, I am almost comfortable saying that I don't even like looking at other landscape paintings, even my own sometimes.


My very first landscape that I can recall painting was when I was 18 and in high school. At that point I had no real direction in my artwork and experimented with still life, abstract, color fields, watercolor and photorealism. In fact, my first landscape piece was actually a seascape done with acrylic (which I later sold to a teacher who hilariously claimed it was the finest piece she'd ever seen come out of the paint department). It didn't stop there. From then on, all I could think of was landscapes. My focus was channeled into not only the landscape genre, but a very specific, almost minimalist approach to rendering each image.

This shift will be approaching its ten year anniversary very soon. Dozens of canvases and numerous showings later, I'm still producing work in the same style as I did all those years ago. The thought of whether or not I've progressed has never crossed my mind. Yet now that I think of it, I suppose that the only progress I've made is in my technique and knowledge of the materials I use. The work itself remains on a constant thread of ideologies and subject matter. Yet what is the work?

These paintings are large: I don't operate well in small spaces because I am not a small person. I like the idea that the canvas size should be an extension of the dimensions of your body, and that your arms, hands, and eyes should have room to roam freely within that space. They are landscapes, yes. There is always a distinct horizon line, one that I can't help but keep perfectly straight. The colors and moods created are fictional, and the palettes I've used have ranged from the natural blue skies to alien tones such as greens, purples, and yellows.

Although they would readily be classified as landscapes, I almost consider them to be more of cloud portrait paintings, which is where I believe the main focus to be in most of the pieces.

As I mentioned in the story at the beginning, some people believe these paintings to be grounded in the prairie landscape. Although I can understand that they give this impression through their flatness, I would have to disagree on some level. When I arrange these works, I am usually more drawn to marsh-like landscapes than farmed land. I find that the presence of water within a landscape provides endless possibilities for reflections, compositions and dynamism. That's not to say that I don't draw inspiration from the prairies: let's not forget that I drove there with specific intent on studying them years ago.

So why do I make them? I'm still not exactly sure. I think it's because they just make so much sense to me. Also, I think the fact that I still make plenty of mistakes when I paint, and will often paint over work in progress or older work (my most recent painting has four others underneath it), keeps me wanting to continue and practice more and more. The title "Escapescapes" comes from this yearning to leave the urban life for nature, so they have that sense of escapism. Having said that, I don't use reference material for most of these works, and that they imaginative love letters to the outside world. They are generally beautified glorifications of landscapes: the colors used are by and large sweet and warm tones - speaking to the hopeful notion that the grass is greener on the other side.
I should also mention that the majority of my work was done within a room with no windows, no power, and no ventilation, so you can see why the idea of escaping to somewhere natural was a necessary idea.


With that in mind, I would be the first to tell you that these works are inherently selfish. I love that people have been moved by these paintings, but it is very personal work and I do it mainly out of self gratification. This is why I've usually had trouble with the idea of doing commissioned work from photographs.

For now, I will continue to produce these works for an upcoming solo show this summer. I have no desire to stop producing these works, and am fortunate to have new spaces to paint and hang work continuously.


 

the boy cried blue

It's fading by now, but for about an entire week my hair was dyed blue.

I was once asked what my favorite feeling was, after being about four pints of beer deep. I replied honestly: "spite". Although I may have jumped the gun on it being my favorite feeling, it is certainly high on my list. This leads to...

Several months ago I asked my mom if she would be upset if I showed up to Christmas with blue hair. She nearly shit at the very thought of it. I told my band I would dye my hair blue for our upcoming show, yet they didn't believe me. Granted, I didn't that night, but their doubt remained pretty steadfast.

For weeks I would casually remind others that is was coming. Disbelief seemed to be the name of the game, almost as if I was the boy who cried blue.

Almost another week passed by when I made an actual effort to purchase the dye. This was it. Go time. Believe it or not, this wasn't the first time I ever dyed my hair. In fact, I was dying my hair for almost all of 2007, after trying to match my hair to a fake beard I had bought for a halloween party, which was dark brown. I later found out that you can just as easily buy women's hair dye to use because, in reality, it's the same hair, and they have about 400x the options.

So one night, after partying late, I asked two friends to assist me in dying my hair. They agreed and before I knew it I was rinsing my head off into a shower, looking down to what looked like a shot from a Psycho Smurf shower scene parody. It was blue.

And it was the right time: I didn't have a job and I had an entire week off school. Life is very different when your hair is blue. I found myself balancing on the edge of embarrassment and entitlement, as if having that color of hair is reserved for a very specific class of society. Although I really did enjoy walking up to a counter to address the clerk with my hat on, order a coffee, and just before paying I would take off my hat to catch that look from the person serving me. I feel that they either took one of two things away from my appearance: that this guy is a total nut, or knows exactly what he's doing because nobody in their right mind would ever have that hair color.

I suppose it was just one of those things I had to do in my life. When I look back on the photographs of my life, I want to see some fucking blue hair.

I guess what you can take away from this piece is don't be afraid to dye your hair and that disproving people's disbelief in you is one of the most satisfying and dignifying experiences in life. Keep your promises and try not to be full of shit, more or less.

tree trunk progression

Last night I hosted a band meeting; one that I've wanted to do for some time now.
We're coming into our last leg of recording. Our producer, Mike Tompkins, is currently enjoying some much-needed rest in Mexico with his wife. Upon his arrival in less than a week, we'll be hitting the recording studio again for the final recording sessions on this album.

This fact scares the shit out of me.

Being a musician, and having been one for many years now, you begin to take very special care of how your music takes shape. Just as a parent would make sure their child was guided through all the proper steps, given the proper attention, and sent off into the world proudly, musicians are equally enamored with making music that properly represents their passion and vision for their music.

This fact excites the hell out of me.

Firstly, I'm no song writer. Never have been and never will be. I am far too critical of anything I write that even touches poetry, I have no gift for melody, and if I were to finish a song I would hate releasing it because I'd hate to hear people analyze it. So with this aside, I'll touch upon my true passion: the rest of it. The day I picked up a guitar I knew that the instrument alone would never be enough. When I sat on my bed strumming my first chords, I heard possibility. It was like a canal had just been built in my brain that had the ability to channel all of my creativity, vision, and passion. It was only when I picked up drums years later that things were coming full circle - I learned what rhythm was. Fundamentally, knowing these two aspects of music (melody and timing) opened up a valley of creative potential.

This fact brought on curiosity.

Yet, like anything, practice is necessary.
When I listen back to the first album Danny and I ever recorded, Fly Away, it sounds exactly like what it was: two teenage boys sitting in a room discovering a range of instruments, one at a time. If we were to re-work those songs now they would be infinitely different from their original sound. Yet this is the very thing that makes this progression special. I'm sure that if you were to look at the progressive career of a musician in terms of growth, it would look very similar to a tree trunk cross-section; some years were more progressive than others, yet it continues to grow and expand exponentially.

This fact influenced progress.

Now, staring down yet another album, we have more experience, more fantastically talented members, more songs, and more opportunity. Yes, we have all these things, but what do we do with them? Get to fucking work is what we do.

The entire purpose of the meeting I previously mentioned was to take a somewhat different approach to the recording process this time around. As was the case with the previous record, I would say that most of the songs were executed with a "face value" approach. By this I mean that we knew how to play these songs, and we played them just as they were (with maybe the exception of 2 songs). There's nothing wrong with that in actuality; the record turned out nicely. However, due to time restraints we weren't fully able to explore the songs sonically.

This fact makes my skin crawl.

I mentioned yesterday to the band that I was interested in over-recording this album. (p.s. drummers should never hold band meetings). By over-recording I mean that we should really strive for the "no-idea-is-a-bad-idea" approach. Instrumental tracks can be discarded as easily as they are recorded. What I am interested more in is what sounds can transpire from experimentation, because if you think about it, most great pop songs have one strange sonic aspect to them; something that differentiates it from the guitar/bass/drums formula.
I also mentioned that we should bring every instrument we own to the recording sessions. I believe that having extensive opportunities in front of you is far more advantageous to your practice than none at all (I've been trying to put an analogy here for an hour, but couldn't think of anything worthy of comparing).

Another thing I'm interested in, personally, is what to do with silence, if anything. Last night we were all sitting together around the old modern campfire (Danny's mac) listening to rough mix-downs of the record. During certain moments there would be dead silence in the middle of a song that would suit the track just perfectly. Other times we'd sit and think that silence wasn't even an option.
And that's just what do to with the silent parts. Think about how we are going to execute everything else. Thankfully (not luckily), our producer is exceedingly talented at what he does. The quality of the demos (not actual recordings) that he has given us so far almost surpass the quality of the last record already, and they haven't even been manipulated/balance/compressed electronically yet. His talent has obviously been recognized and he deserves every bit of it, so there are obviously things that are completely dependent on mixing that we just have to leave in his hands, which are made of gold, by the way.

This part will be continued...

dode

I found this photo a few weeks back while sorting through my moms photo collection. Others would call it a heap, but I'll call it a collection. The photo is of my grandmother in her youth with a friend (the one in white). I estimated the photo was taken sometime in the mid-1950's

When I found it there was considerable damage. I included the original just to show how much work had to be done. That, and I just have a thing for photo restoration. There's something annoyingly challenging but rewarding about it. Anyway I thought it was a classy photo and thought I'd share.

Also, after applying a spray effect to her face in Photoshop, I noticed something eerie:

Ummmm, what the....? Is that me? Think about it.

PORTPHOTIO pt. 1

As with any of my creative endeavors, I feel the need to further explain myself.
Recently I posted PORTPHOTIO; an online video rendition of my film-based photography portfolio. There are a few things I should mention before/after you watch this video.

For starters, there are two different photo projects within the video: "Mind Spaces" (0:25-1:45), "If The Ladies Ain't Happy, Nobody Is" (2:30-3:10), and "I Could Have Sworn They Were Just Here" (3:40-4:20), which only contains half of the finished series due to time restrictions.

The Mind Spaces series, which I have written about before on this site, illustrates how the basis of our knowledge can be defined by simple four-walled rooms, whether through means of education or life experience. If The Ladies Ain't Happy, Nobody Is is a series of cyanotypes that depicts a 5-minute incident that took place between a group of boys and a single girl in Positano, Italy. I Could Have Sworn They Were Just Here is a creative documentary project based off the idea of abandonment and traces of human presence.

Within the video there is also a large amount of travel photography. Seeing as I always bring film cameras with me when I travel (something I do to large scale at least once a year) it is only fitting that I incorporate that work into my portfolio. Within, countries such as Canada, the U.S., Cuba, Australia, Italy, Fiji, New Zealand, can be seen, whether through landscape or portraiture. This is by no means my entire travel catalog. In fact, I have another 15 rolls of used film sitting in my freezer awaiting processing - another reason why I included "pt. 1" in the films title - indicating that this will most likely be an ongoing process.

Thirdly, I should touch on the digital aspect of this project. Aside from a few select photo's that were printed either chromogenically or inkjet (which I can clarify if anyone was really curious), the bulk of the work was shot on film and printed within a darkroom. Considering that I have an equal (if not more) amount of digital photography, I deemed it necessary to leave that work aside for another video project, which could easily occupy a similar amount of time. Separating these two was critical in my mind.

The video format idea was simply an accessibility idea. Seeing as my artistic website is not complete, I felt a different means of showcasing the work was needed. Considering that we live in a media-friendly age, I thought it best that the viewer relax and enjoy having myself flip through the images for them. Oh, YouTube didn't pick up on it, but the song playing is Sentimental X's - Broken Social Scene. It was the least annoying and most time appropriate song on my computer.

Lastly, how has the pun "portphotio" not been used yet? Sure, if you look it up on Google you will see a slew of sites, but most of them direct you to unknown domains and leave you stranded on foreign territory. If you type in "portphotio" on YouTube, it's the only video by that name. To me, being the YouTube junky that I am, that is some sort of milestone. After searching just now, "Paintfolio" doesn't exist either. If anyone reading this steals this idea, you better lawyer up asshole, because I thought of both.

On a lighter note, I really hope you enjoy the film, because it was intended for you all to see. Keep in mind that this is by no means a completed project, but rather an ongoing one.

Andy Schmidt 2010.

ps. If the video does not fit due to its widescreen aspect ratio, view it here.

the night is young, and so are we

This is a story about two boys in the woods at night.

Recently, while visiting back home, myself and a great group of friends attended a housewarming party in the Pond Mills area of London. After several hours of good times and a multitude of alcoholic beverages, it was time to make the trek home. Seeing as Pond Mills is an area that I would almost qualify as desolate (in terms of London's outline), we decided against taking a cab until we'd arrived at a major road on foot. I had a pretty good idea where we were about 20 minutes into the journey, and I knew that we were nowhere near cab territory. I'm talkin' country-road-no-streetlights-in-sight kind of nowhere. Two friends decided they would call a cab and wait. I had other plans.

I convinced my friend Bryan that we were going to make a fucking pilgrimage, like men, like our grandfathers fathers would. There we were, two boys, walking through the woods, approaching the morning light. I had convinced Bryan to make this journey based on the fact that it would be a funny memory and that it's what two Canadian guys should be doing in winter.

This is something I do on a very regular basis. You see, my theory is twofold.
1. There is absolutely no reason not to make memories, or at least attempt to. I would say more that 50 per cent of any of my actions provides me with some satisfaction, whether it's crossing the street on a diagonal or taking the longest way home. Adventure drives me, as does the quest to make a good story. The need to be entertained, or entertain, is at the core of any of my actions and decisions.
2. If you're going to get shit-faced you might as well use it to your advantage. I can't tell you how many friends I've used this line on, only because it makes absolute sense to me. What's the point? Getting drunk is not very easy to do. Yet once you finally achieve inebriation, you just throw that money away (in a sense) by hitting the sheets? (unless you're about to have sex, which is totally different). All of my closest friends have experienced this with me in one way or another. Three that come to mind are scaling buildings (do it safely please), swindling hospital security guards into allowing us to use a shortcut through the lobby, and hijacking a boat in Toronto harbor in order to use the bathroom. Those last two happened on the same night by the way. I could literally write a memoir on every intoxicated (mis)adventure I've had over the years. Call that what you want, but remember I'm the one with the tales.

So back to the woods.
I cannot put into words the feelings I get when on Canadian safari. During this night, we jumped creeks, hopped rusty fences, battled chest-high grasses, evaded headlights, and ascended underpasses - all in an effort just to get home. We laughed, struggled, and helped one another make the journey home, which was a staggering 7 kilometers. In fact, the photo seen at the top of the page behind the header is one of the fields we crossed.

I guess what I'm trying to say is that life is often too easy. It's easy to hop in a cab and be escorted home, and I'm not saying I don't take advantage of that sometimes. I suppose what I'm getting at is that sometimes you have to sacrifice your own personal comforts in an attempt to have some fun and make memories for yourself. It's also to important to remind ourselves that not only is life easy, it's fucking short. The night is young, and so are we. Let's hop some fences already.

*top photo. Bryan and I, Vancouver, 2007

Mirrors Please

I need a hand.

Well, I actually need some mirrors.

As seen in the rough digital sketch above, I've been toying with the idea of photographing landscapes with large mirrors reflecting the image into several parts of the landscape (the semi-transparent represent the mirrors). However, I don't have many mirrors this size.
If any of you know where I could find some, somebody who has some to spare, or any other information I'd love to hear it. In honesty, the larger the better. If at all possible, some sort of stand as well that it can lean on. Otherwise, I may have to write a blog post directed towards my welder friends. Mirrors without borders are most preferred.
I'm writing this here because I know so many of you are great seekers, foragers, collectors, hustlers, pack rats and researchers.
I'm not asking that you break your day over this, but to just keep your eyes open. Chances are usually good that you'll find one on the sidewalk somewhere. If you snag any leads, let me know through email (andrew.allan.schmidt@gmail.com) asap and I'll reward you with a hug and some beers. You guys are the best. Thanks for looking.

Andy.

the machinists

Yeah it's been a while. For some reason I'll leave the house in the morning wanting to write something, then lose interest over the course of the day, for whatever reason. I could however, spout off on a certain diet that I've been on as of late.

My friend Aaron and I decided to depart on one of the more radical diets known within Hollywood (for film buff's, Christian Bale used this method to lose something like 60 pounds for his role in The Machinist). As I'm sure Aaron looked into the mirror with the same sort of discontent for his body as I did, we decided to hold hands and take the plunge together. That was eight days ago.

The diet consists of mainly apples (of any variety) and canned tuna, with a few personal exceptions (he eats carrots, I eat leafy greens), you know, just to spice things up. This diet/cleanse/whatever I assure you, is not as healthy as it sounds. Even with a daily dose of multivitamins, your body still requires much more than acidic fruit and fish. I realized this days into it. We loosely set personal goals for ourselves. Mine was to either last until this upcoming Friday (rounding off at about 12 days), or to lose ten pounds. I weighed myself on a friends scale across town on the first day, weighing in at 194. I haven't been back since, but I'll ball-park that I've lost about 8. I can see my ribs when I suck in for fuck sake's.

I was attracted to this diet for two main reasons. One, two lose a fare bit of weight. It's not that I'm wildly overweight, but I've just become pretty lacklusted about the way I see myself over the past few months. Not like "eating disorder" bummed, but I'm sure you know what I mean. The second was just the pure personal will to do it, as well as the deprivation of what I hold so dear: food.
I can make almost anything in my kitchen or yours. I love to cook, and I do it everyday. Yet this apple/tuna has got me really bummed because I can't even combine the two into something edible. Sure I can bake apples, but the taste remains.
One of the more challenging aspects of this hunger is just living where I do, and being surrounded by unbelievable cuisine. Little Italy, Little Portugal, Chinatown and everything ethnic in between. Although not so terrible now, the cravings were almost unbearable at times. I actually saw spit shoot out of my mouth once on the street, I kid you not. So in this respect, it is not the process of being hungry, but the reward that will come once it is all over - whenever that may be.

There have been some tough times I'll admit. I actually almost fainted in the computer lab at school last weekend before clinging to a vending machine with my head between my legs, punching in #143 to get some Crispers. All Dressed, of course. At that point, I knew these days were coming to an end. I can't say I was surprised though: apples aren't much aside from water, and tuna, by now, I've cut out of my diet completely and either eat salmon or cous cous. It's safe to say I ruined tuna for myself for a while, which sucks because I cringe at Gold Seal's promotional tuna posters spattered around the streets of Toronto.

I'll post a final weight loss figure on this site once I stop for good.

Oh and a big plus is that you get drunker WAY faster.

twitted

got myself a Twitter account.

come join me at www.twitter.com/andicles

Blair Whatmore would be glad to hear that nickname still lives.

happy trails.

"i've had enough of you man, i'm 'bout to fuck up your plan"

Just when you thought everything was cool, Guru dies.

One of the best rap MC's of all time, and probably my absolute favorite, has passed away from a long time battle with cancer. His flow was so fuckin' cool and never needed to raise his voice above the smooth cadence heard in his delivery.

I used to skateboard in my garage to Gangstarr records for hours during my teenage years, with Above The Clouds usually playing on repeat on some of my very first burned cd's. So many memories attached to this group.

shawty

Since when does Usher need autotuning?

I thought that was mainly used for those who can't produce notes in key?

Let's stick to the classics, because I'm with Jay-Z on this autotuning.

flashes in a wood shop

As I'd hoped, the shoot went fantastically. Even better than I'd hoped.

I arrived to meet the new principle of Beal, Don Macphereson around 2:30 pm today. He was a really nice guy. Him and I chatted until Dave, the head janitor, arrived at the office. At this point, to my surprise, the two gave me a full-access Visitors Pass, as well as the janitors master key which opens every classroom in the school. This was seriously some sort of dream come true.
The shoot was very expedient, and although I would have loved to mull around my teenage classrooms longer, there was work to be done. Off to Mountsfield.

I knew there was no way I'd get the same treatment at Mountsfield. Oh, how wrong I was.

As I walked the halls to the tune of the intramural basketball game down the hall, I was approached by Linda Moffatt, the principle. She asked if I was Andrew Schmidt, to which I happily agreed (do I look like a photographer or something? maybe it was the gators I was wearing on my feet). Instead of lending me the keys, she gave me two personal janitors to escort me throughout the school, opening whichever classroom I wished whenever I needed it. What a trip.

Special thanks goes to principles Don MacPhereson, Linda Moffatt for their patience with me and for their work among their staff on my behalf. Additionally, custiodian staff members Dave, Bob, and Jenna that were so gracious in lending me their time and stories of their own.

Talking about what I saw once in the schools is worth 2,000 words in itself. I'll get to that some day.

ps. Do I look like a janitor in the above picture? That's my favorite photography shirt. Maybe it's because you can't see that it's tucked in. And shit, if being a janitor means having keys to every room in the house, it doesn't sound so bad after all.

dotting the h's, crossing the b's and a lot of purple and gold tape

I was very recently (the pic was taken in bed after the last phone call made, where I still remain) granted full access to both of my childhood schools.

For those of you who may have been following this progression, for my term final project I am ambitiously photographing every classroom I've ever had from kindergarten to university. I'll post my statement some day, but it really boils down to how the roots of our knowledge (socially and academically) can be quantified within the walls of our learning institutions.

ps I can recite that sentence in under two seconds, as I've been reciting it verbally and by email for weeks.

The idea wasn't the hard part of the project, nor will the actual photographing of the rooms themselves. It's the red tape. In hindsight, I should have seen it coming.

In the case of Mountsfield Public School ( my home from grades JK-8), the case is being taken all the way from the permission of the entire staff, to the Thames Valley District School Board. I had to write a detailed form of my intentions, justifying that no children or staff are to be involved. Additionally, they made me assure them that even small images of students that may be seen in the room must be taken down as well. Now that's some tape forya.

With Beal, the current principal I talked to was rather chipper with my idea and granted me full access to the entire school pretty much as soon as I voiced my idea. Aparently Beal has a slightly higher appreciation for conceptual art than the protection of it's students - which I'm all for. That's always been the case there. On top of that, I get to walk around with Mr. Haney, who was the head of the Art department even when I was there.

Principles are very funny to talk to. As usual, when I want something over the phone from somebody who doesn't know me from Sam Hell, I try to start the conversation off with a positive bang by putting an upper inflection on my "Hi! How are you today?" People are usually impressed by this, because most phone calls are bullshit anyway. Yet you see, with the case of principles, they pretty much answer to nobody. Remember when they'd walk into your classroom when you were a kid with those cool suits, 'staches, and fat guts (generalizing huge here)? They were like kings walking amongst ants, and you knew it too. So when a civilian number such as my own reaches their phone line, my greeting is shot down quite quickly with a "good", then deafening silence.

Try it sometime. Try to get something from an old principle and see how far you get before the ice melts to water. Since we both know you won't and have no reason to, you can probable imagine through my experience what it's like. Both shoots are slated for next Tuesday, then it's CARPal-tunnel-photoshopCS4-hands for 24 afterwards.

whoopdy woo

Sure, we won the Olympic gold medal in hockey.
Yet one thing struck me as I was walking the streets after the victory (I was on the bus for the last half of the game, so you can understand when I say I wasn't in the mood): on New Years Eve, everyone screams "Happy New Year!!", on Christmas morning everyone screams "Merry Christmas!", yet when Canada wins the goal - all we can do is stick our heads out the window and scream, which is something I've never really understood.

The Canadian hockey term certainly doesn't make me a proud Canadian, because that makes little to no sense when you think about it. The only reason people stick their heads out the window on those certain days is because they're merely excited they were born in the country that acquires men and women who skate well.

Being Canadian has nothing to do with people on ice.

As usual, to bring some more clarity to the situation, here's George:

bright, bright lights

Sometimes when I'm really hungry, over caffeinated, hung over or head-rushed, I see stars.

I'm sure this happens to a lot of people.

Yet the strangest thing is that within the last month the stars have changed color.

They used to be white lights, now they're blue.

I don't really know what this means, just as long as they don't turn into psycho-red dots.

i knew it sounded familiar

I saw Avatar for the second time last night. Now although the movie is literally a cinemagraphic milestone, the plot is absolutely nothing to write home about. Although at first I thought it was a direct copy of The Last Samurai, somebody else pinned the plot on the head.

americanos with cinnamon

Well friends, it appears we're back at it.

There's been serious talks about recording the next Hue record. We've applied for the government grants, talked to past produced Mikey T, scoped out studio locations, and have begun honing in on certain songs and possible other considerations for the album. The more interesting part of all this is we're possibly recording in March. That's not very far away.

The process of writing and recording is a very fun and tricky thing. Personally, when I sit down at the drum kit to write parts for new songs, I do it somewhat vaguely. Like in painting, I'll rough in an idea to expand from. Timing signatures, fills, splits, cymbal work, absences, different sticks and percussion etc etc. From there, after about a dozen or so run-through's, I should have a pretty good idea of what I'm doing. However, when writing an album, everything counts and you have to be prepared to play those same parts for the rest of your life. I've never actually regretted a single drum line that I've written, but some are just more strenuous than others (like Until Then, which is around 7 minutes of the same thing).

However, it's all quite exciting. I love the process. I pride myself on being fairly expedient in the studio; we're aiming to record all of my drum parts for this record in one day, maybe two. Like the recording process of the last record, I'll have an americano in my hands at all times. I can't drink one of those things without feeling the tight hug of studio headphones wrapped around my ears, and the smell of sound-proofed foam covering the walls.

The writing process has also been quite refreshing this time around. Seeing as we've added two new members to the lineup, the variety of sounds, instruments, and harmonies has opened up gigantic sonic possibilites. The rehearsals have been sounding as good as listening to a record. Writing with five people is a lot of fun, especially since it's less of a stage circus because there is little instrument change-overs when playing live.

Another thing to take into account when writing a record is the songs themselves: not so much the songs on the record, but the ones that don't make it. It's honestly like losing old friends. We have songs we've been playing for literally years that I know won't make this record. Dozens of them. Because as you start to form a record you realize thematically and sonically what it is and where it's going. Some, actually, most songs don't make records because they are either too "this" or too "that". Some rock a little too much, sound like somebody else, or are so over the deep end that it doesn't even sound like it was written by the same band.

Although we'll be cutting songs like chops of meat, the finished product is going to be something very special I think. I want to say it's very different from the last record, which it is, but not too far away. Don't expect to hear any rap or reggae on this record. I will say that we're far less timid this time around, timid in terms of exploration and limitations of the songs themselves. There's grooves, holes, length and chances taken in almost every track. Given that we've had a huge amount of time around to write and demo songs, the work has been allowed to group and expand organically amongst the group, unlike the last record, where the small amount of time to write and record reacted to some material like a miniature dinosaur that expanded in warm water.

Either way, I'll continue to post about any advancements over the next couple months, amongst other things.

vampires

Although there is an endless number of topics I'd like to touch upon, my only real reason for posting is this:

This made my god damn day, twice. I hate this recent trend of vampire shit. I'd much rather the film industry gravitate back towards zombies. At least zombies don't fall in love and smear it on billboards.

biggups to Andrew for the pic...it's the most amazing thing I've ever seen.

kick a blah blah blahhh

After Tiffany informed me of more ridiculous Kick a Ginger Day antics, I had to look it up for myself. So ridiculous. Another cultural reference blown way out of proportion.

Maybe I didn't get kicked because I was out in the sun most of the day? They probably didn't suspect a thing. Besides, if they did decide to kick me, I'd probably allow it out of sheer admiration for their gall. Especially when I'm carrying a dizi in my backpack.

get your shit right

get your shit right

Hue | MySpace Video

If you have an hour, watch this video a few dozen times. I guarentee you'll find something hilarious in it every time you watch it.