I recorded the demo for “Bell” on a 4-track track and we also recorded drums and acoustic guitar for “Muscle Memory” on Sam’s 4 track. I started recording on Tascam 4-track when I was 14 and since then they have become a tool for writing and presenting new material. It is basically an amplifier that has a rotating drum/chamber in front of the amplifier, which gives a very cool effect. The studio we were in, Coyote Hearing, had the real Leslie who was just too cool to be able to use it. After some experimenting at home with my plug-in version, I quickly found that I liked the way it sounded to play singing through – which I did to sing in the background on “Sixish” and “Something Holy”.
My friend Stephen introduced me to the magic of Leslie’s amplifier when we were recording together in 2018, we used an extra on guitar track version and I’ve loved it ever since. It’s an absolutely tough time to survive and this book does a great job of illuminating the strange intersection of taking on the mundane tasks of life while experiencing the apocalypse. I love the way Jenny Ofel writes about disaster – both globally and personally. One is about standing, and the other is about a widower’s bandit. Songs like “Bell” and “Snowy” were my first attempts to write non-autobiographical songs, and they were completely fictional. This was the only fiction book I read in 2020, the year we wrote and set the Art Moore record.
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