Vostok Sound Organizationの公式レーベルブログ

by penelox3

ジ・エース インタビュー / パート3

The Ace interview Part 3

Part 3. 「レコーディングとソングライティング」

Questions from Tatsuhiko answered by Jonny Magus Of The Ace

3. It seems you are recording songs so frequently. Could you tell me the process of the recording?



We record as much as we can, but in our perspective we don't really record enough, as we have plenty of songs. Our main limitation is cash, as with all bands, so we record when we have gathered enough money. Our first priority is trying to raise the cash. We work with Carl Rosamond at Billiard Room Studio is Leeds. Carl is a master sound engineer and he is superb at mixing; basically, he is a great bloke to be around when dealing with creativity and song. It is always great fun when we record with Carl, even when we're working hard. Travis and I have been recording with him since 1999. Carl is a busy live sound engineer and has been touring with various acts all over the world for the last few years, so we try to book him when he is back in Leeds.



When we have the cash and Carl is around, we charge into the studio. We usually record, mix and master songs over one weekend, trying to put the songs down as quickly as possible. We limit ourselves to four songs within a session, as we've found we can just squeeze that many songs into the time we have and still get a great mix. In terms of picking songs, we democratically choose four songs from the pool of new material we have, then we go in, record them and hope for the best. We have recorded every which way with Carl over the years, from the keeping it real analogue reel to reel methods, to keeping it unreal with all out digital trickery. We're not purists, we'll use whatever method is the most efficient in getting the best sound for our songs in the time we have to record.



4. What do you always pay attention to in recording? Because your music usually seems to be categorized into Mod/Garage genre, but there's always some strong, catchy hook in your song, which sometimes tends to be forgotten in the genre. Are you conscious of it?

 レコーディングに際して、いつも何に注意を払ってますか? というのは、あなた方の音楽はたいていモッド/ガレージのジャンルにカテゴライズされてるように思えますけど、曲にはまたいつも強い、キャッチーなフックがあるんですよね。これはこのジャンルでは時として忘れられがちです。その辺りは意識してます?

I think it is the songs we choose rather than the way we record. We always try to vary the mood and style of our songs as much as possible. I think the only constant is that nearly all our songs are in the upbeat, keep it to the short type of tunes. When we record the more visceral garage numbers like our tunes Industrial Slit and Tonight, we try to put as many hooks in as possible, whether it be the chorus, certain riffs, big chords changes or a simple chuck berry style solo. Hopefully amongst the mayhem, there is enough melody to keep the ears listening.

 それは録音のやり方よりもむしろ選ぶ曲の話だと思うね。俺たちはいつも、出来るだけ曲のムードやスタイルを拡げようとしている。唯一一貫しているのは、俺たちの曲がほぼすべてアップビートで、短い曲のタイプに絞ってる、ということなんだと思う。"Industrial Slit"や"Tonight"のような荒削りなもっとガレージナンバーを録音する時は出来るだけ多くのフックや、コーラス、リフ、大きなサビへのチェンジとか、シンプルなチャック・ベリー・スタイルのソロを入れようとしたりする。そういう破壊的ななかにも、耳馴染みの良いメロディーが十分残ってるといいなと思うよ。

I think with a lot of the bands ploughing the mod or garage genre, they obsess over recreating various retro sounds, rather than actually concentrating on the song writing. Primitive or not, a crap song is a crap song, no matter how great the sound of the recording might be. To be honest, you never really know how a song will turn out until it is recorded, but some effort in putting together a solid verse and a catchy chorus can make all the difference. If you're clever enough, then you can do a middle bit.


I think we try to concentrate on our songs in terms of simple song constructions, but with a maximum amount of energy, hooks, guitar riffs and licks, melodic bass lines, big rhythmical beats then we hope that the chorus is catchy enough.


We try to vary the style and mood of our songs. New tunes Turn The World Upside Down, Gatso and Alright have a 70s influenced mod power-pop punk feel of The Jam and The Undertones, so that is a slight shift from our past 60s influences. Saying that, we have songs like Supernatural, Wings of Wax or Adamantine Sorceress of Ecstasy which are rooted in the whimsical jangly pop of the 60s, from the likes of The Byrds, The Beatles, the Searchers etc, we like to let those chiming guitars ring out. We also have a tune in the mid-60s mod style big chord crashing mod stomper SuperCool Super Cruel, a killer garage tune called Tonight, and a psychedelic pop song called Elysium Sky.

 さっきも言ったように、我々は曲のスタイルやムードを拡げようとしている。新曲の"Turn The World Upside Down"や"Gatso"、それに"Alright"なんかはジャムやアンダートーンズあたりの70年代に影響を受けたパワーポップ/パンクの感覚を持ってて、わずかながら過去の60年代の影響から動いてる。それに関して言えば、我々には"Supernatural"や"Wings of Wax"、あるいは"Adamantine Sorceress of Ecstasy"(今回のコンピ収録)のような、バーズ、ビートルズやサーチャーズのような60年代風のフラフラしたジャングリーギターポップに根ざしてるものがあって、ああいうギターをジャンジャン鳴り響かせてるのが好きなんだよな。それでいてまた、60年代中期のモッドスタイルのビッグコード・ダンスチューンたる"SuperCool Super Cruel"、ガレージの必殺チューン"Tonight"もあるし、サイケデリック・ポップの"Elysium Sky"もまたある訳でね。

b0131930_16203770.jpgI think varying the sounds of the guitars helps to create stylistic variation within our songs or so we hope. We try to adjust our guitar sounds in the studio, crunchy sounds, crashing chords, chiming guitars, dizzy fuzz, punchy distortions etc… these are like a paint palette of sound which can give a song its character. Also the way we try to sing a song hopefully will add to a tunes mood. A full on throat ripping train wreck of a vocal will suit the garage or punky numbers. A bouncy melodic voice goes well with the poppy songs. Overall, I think we mix up late 70s mod power-pop influences with the 60s obsessed mod garage sounds that we all really dig.


(part4 に続く)

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by penelox3 | 2009-03-19 16:27 | The Ace