Album Update #7
Three, Two, One, Whoa.
I’m coming back from an intergalatical, cosmically mercurial and magical three-day recording session and holy smokes - what a trip. We went deep, folks, and I am on FIRE with enthusiasm. Matt sent me a rough cut of what we worked on and OMFG. I’ve been playing it on repeat and it keeps getting better.
The song we recorded was This Old Grave, AKA Smoke and Silk and Memories. It’s the biggest success so far. Ironically, it was the song I was most unsure about, and is now the song I am most confident and excited about.
Day 1 of recording was laying down the scratch track. This meant me playing guitar and singing the song to the digital metronome, to make sure the whole song lined up with the click. The click is what we then build on by adding instrumentation to the beat. Only when the scratch track is perfected are we able to add any other instruments.
At the start of the day, I said to Matt, ‘I really want this song to feel grounded, steeped in support, and deeply rooted.’ He seemed to know what that meant sonically because he then developed drums and bass that I am obsessed with. The heartbeat and transitions created by the drums and bass evoke an incredible and supple and rooted landscape for the rest of the song to grow and thrive and fly.
Day 2 was piano day.
‘Where do you wanna start?’ Matt asked.
‘With the bridge!’ I said.
Wait till you hear it. Holy f*ck. :)
I spent about six hours toiling with developing piano for the song’s entirety and I seriously feel more connected with the keys than I have in years. Piano was my original instrument and hot damn, it was an epic reunion. Chords, and arpeggios, and transitions, oh my. The piano was like a kaleidoscope of sonic affirmations that kept whirling and coloring the song.
Day 3 was tightening up the piano parts, doing a bunch of vocal takes, and re-recording the guitar. I’m super pumped that I finally aced what is called ‘muted strumming.’ It’s when you strum the guitar and instead of letting the notes ring out, you add a little bit of pressure/weight to the strings with the palm of the hand you’re strumming with. It’s so cool because while it still creates melody, it adds this really fun rhythmic effect that I looooooove.
Last but not least, I did some hardcore vocal takes. Now, I have been recovering from a sinus infection and bronchitis for a week, ok? I was not feeling pumped about doing vocal takes, but I thought ‘what the hell, I might as well try.’
AND LET ME TELL YOU. They are fire, people, FIRE. I’m no Tina Turner or Pink or Katy Perry, ok? My vocal vibe is breathy and subdued, but can be strong and supported when I really go for it. Matt totally worked with what I have for pipes, and after listening back, I feel SO VALITED with how he is mixing my vocals. Like, OH, THIS IS HOW I SOUND? THIS IS HOW I SOUND!? THIS IS HOW I SOUND!!!!! I can lean into my voice, and work with it, instead of wanting it to sound entirely different.
So, we have successfully recorded three whole songs, with two to go. I’m a little unsure of what from my repertoire I want the fourth song to be and I may be writing one song from scratch.
Before, if I felt unsure about something, I’d go into a panic. Now I’m like, ‘Huh! I wonder what will come next?’ Before, when I was feeling really timid about presenting my work in the studio, I now am feeling emboldened and confident. Thank you, Goddess.
As always, thank you for being with me. You are crucial here.
With heart,
Allison