"Before Arriving at the factory we are notified that there has been a serious accident, leaving 3 employees in the hospital. We learn that a valve busted and 28 thousand pounds of oil pressure came blasting out of a train car. It took 3 men to fasten a hose to the spout, all the while, trying to keep oil out of eyes, ears, and mouths. 3000 gallons of oil was lost, and the employees had to be rushed to a hospital to have oil cleaned from eyes, and mouths. I'm happy to say that everyone is ok, but the tension on the factory grounds can be felt all the way up in our recording space where we are hosting The Owls."
Thus begins the fourteenth in a series of journal entries by THICK Records kingpin Billy Spunke documenting his label's newest compilation, "OIL". To read the full entry, click on READ MORE, to see pictures from the sessions click here, and keep coming back here every day for the latest installment.
Before Arriving at the factory we are notified that there has been a serious accident, leaving 3 employees in the hospital. We learn that a valve busted and 28 thousand pounds of oil pressure came blasting out of a train car. It took 3 men to fasten a hose to the spout, all the while, trying to keep oil out of eyes, ears, and mouths. 3000 gallons of oil was lost, and the employees had to be rushed to a hospital to have oil cleaned from eyes, and mouths. Iâm happy to say that everyone is ok, but the tension on the factory grounds can be felt all the way up in our recording space where we are hosting The Owls.
Anyone familiar with The Owls sound knows that they seem to fly on another plane, and one would be correct to say so. Upon meeting up and chatting up, it is obvious that the band speaks slowly and chooses words wisely, but beyond this immediate impression of being aloof, is a funny, playful, and insightful attitude, that is refreshing. The music sets in an ethereal groove, with light and graceful drumming underneath an understated bass pulse and intricate guitar work. The instrumentation acts like a slow dance groove high on helium with âs vocals cracking, cutting, swelling and deflating. The musicianship is high caliber and well thought out with the impression of carelessness, especially with Kinsellas vocal approach. During the tracking, I sit and wonder how this track will fit on a "punk" collection. How will I sequence the record? What is the Chicago Sound? Do The Owls belong here? I already know the answer, but I second guess myself, thinking some kid will call The Owls, or Check Engine, or Haymarket Riot anything but punk. I hear the conversation in my head, me defending The Owlsâ¦"but they were Capân Jazz.." and so on. Then it occurs to me that I donât really care what anyone thinks. Duh! I love the band. I think they are innovative. I think they are unique. I know they are good people. I know I donât want a fucking punk comp, with the same "1,2,3,4â pop punk crap that I can no longer escape from these days. Challenge me. Donât make music to sound like other music. Create. Invent. Break down walls. THAT is punk. (damnit, I am trying to define "punk". Grow up already)
The Owls move quick and land the rhythm tracks in a half hour. They use all our gear except for a small VOX 12" combo that Victor overdubs guitar with. Percussion is experimented with, as well as, a vocal double, harmony (courtesy of Tom Daily). The whole session is remarkably smooth and the sonic quality is one of the best yet.
Unfortunately, I have to cut this entry short, Bob Nanna of Hey Mercedes has an early session today. Back to work. Lots of love.