Caleb Groh - Ocelot

A few years ago Caleb Groh, Chad Wahlbrink, and I did the bulk of drum tracking for Ocelot. We tracked most of it in our living room (Chad and I were roommates at the time), and the operation was very relaxed. We tried all kinds of things that were very strange; I recorded a voice memo on my phone while sitting on it during a drum take for "Smokey Mountain Angel (of Doom)" and we mixed that in with the other drum mics, I set up my toms backwards, we set up ASC tube traps around the kit (that was actually a really good idea). I really love it when the environment / vibe / mood in a recording setting is very open. We were not efficient at all, but we had a ton of fun, and our playful approach led to some really creative ideas that I'm proud of. I know Caleb approached the entire record that way, and teamed up with Chad - the great encourager - they are a dynamite duo for creativity in the studio. 

Ocelot just came out today and I love it. I don't listen to things I record on very often, but this will probably be spinning in my car for a while. 

Tracking drums with / for the one and only @calebgroh wizard

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Normal day at the #pinkmailbox

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Making crazy music with crazy friends. Loving this.

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Step / Fall : Canvas

I recently made an EP entitled Step / Fall : Canvas. I took video of myself recording it. 

I think all artists have mixed motives. Here's my mix of motivation for making Step / Fall : Canvas:

  • I wanted to take my idea for "live recording" electronic music further. On Jan 1, 2016 I released Bridgeanother EP of mine which came together in the excitement of my figuring out how to record clips into Ableton, sample them into the OP-1, and record those samples all in real time without a break in the music. It was exciting to be able to make an entire song at once (not counting the drum recordings) even incorporating the sampling tricks I've been obsessed with for the past year or so. I liked how that allowed me to record video of the entire recording process fairly easily and share that so people can see how what they hear was made. Since releasing Bridge I learned even more ways to capture cool electronic tricks in real time, particularly sequenced gates, and I couldn't wait to make more live recordings.
  • It was a great outlet for compositional experimentation. I write a lot of music. Most of what I write these days is not for me; it's for a client that expects music that fits certain criteria. It's very functional and I do enjoy the work. I love that I get to work on my production and composition chops every day. But I am an experimenter. I rarely followed the directions with my legos when I was a kid. Whenever I get the chance I try and do something new, follow some curiosity. This live recording concept is a great way to make something using unusual methods, with enough context to keep creative traction and come up with a finished product. 
  • Life is a canvas. I'm particularly fond of thinking of things in terms of painting. It's a great analogy for most things. Recently I've been thinking about how life is a canvas and we paint it according to how we live our lives. It's obvious to think of the steps you take in life as being paint strokes, but recently I've been thinking that it's more about the combination of steps and falls that we take through life that really create our painting. The falls might be as important as the steps, causing us to dig our heels in deeper to our ideas, our motives, and to figure out who we really are. 

You can download Step / Fall : Canvas here.