Sonic Sounds Octane

[In Libman]

CurrentlyI'm really only doing Sheer Terror. We just released a 7" in August on Reaper Records (USA) and Rebellion Records (Europe), so it's been busy. We go to Europe for 16 shows in November, and have some other shows lined up and being planned. SSSP has a show in Houston with Kill Your Idols this week. Andrew Orlando (Black Army Jacket , Reservoir Records) , you (Mike D), and myself are contributing a cover song to a Man Is the Bastard tribute compilation, that project is called Staring Contest.

I wrote like 7 or so songs when I was like 18.. played all the instruments myself, then wrote the words on spot, I think. My friend from school, Rob Flato, recorded them all in his parents basement. He had ProTools, an interface, some mics, and knew what he was doing. Musically, I still think it's not bad, lyrically it's all just humor.. songs like "Milk Me Like a Cow," "Pool Jets," "Blow Me, Blow Outs" [laughs]. The "album" is saved in my iTunes as "Auto-Fellatio. [Laughs] Maybe one day it'll be a Record Store Day exclusive.

If I can bring my kit with me, I bring my Tama Rockstar. I bought it off Jimmy Doom (Disnihil) [a King among men from Queens- Mike De Lorenzo] for $200 after I joined Disnihil. I love it. 13" rack tom, 16" floor tom, 22" kick drum. For cymbals I currently use a 20" a custom ride, 19" a custom crash, 18" K fast crash, and 14" a custom Mastersound hi-hats. I have a few different snares, but live I usually use either my Mapex Black Panther hand-hammered brass, or a Q drum co Gentlemen's Aluminum. I also have a Pearl brass free floater sometimes use live.. there's a rotation, I guess.

I also have a Sakae "Almighty Birch" kit, which sounds awesome. The company used to make old the old Yamaha shells, so that was intriguing enough for me to want to try it out. I used it on the Sheer Terror 7" we just did, which I also recorded, and Somerset Thrower also wound up using that kit as well, they used different sized shells, though. I rarely ever "trigger" anything, so the Pearl Free Floater is just my go to, it translates well recorded. I flip flop, though, either kit gets the job done.

I've always loved music for as long as I can remember, so it was always an interest of mine. When we were like 15, Sick of Talk recorded our demo (and eventually both 7"s) with Phil Douglas (Iron Chic) in the basement of the house he was living in, that was one of my first actual recording experiences with someone who knew what they were doing and what we were going for. So, this guy having the gear and just doing it in a basement, I thought maybe this is something I can do one day and I can save all the bands I'm in a few bucks.

Disnihil recorded both records with Will Killingsworth in his house. At the time, in his garage, he had a really cool set up and a lot of gear. Once Sleepwall recorded Is That Factual? with Jason (Lowenstein) from Sebadoh, and he was completely mobile, that was when I realized I don't need a basement or space in order to do this, just a car I guess.. and I had that.

Before even recording that Sleepwall 7", I quit my full-time job at Merch Direct in 2007, [Justin] Beck from Glassjaw asked me if I had a job lined up. I said "naah." I'm pretty sure he shook his head and called me an idiot, but he gave me a job with Glassjaw while they were recording their EPs at the time. I was assisting their engineer at the time Jon Florencio (Inside), and doing whatever else needed to be done. Those few months were extremely influential... watching them record, and practice for the Saints and Sinners Fest was kind of eye opening, it was different than anything I had ever done.

Jon had gotten me a discount on a Digi003, gave me an M-audio octane when I helped him move, so it was kind of on once that happened, which was all around the same time I joined Sheer Terror in 2010. He's been a mentor and a brother to me since 2007 and he still always helps me out and gives advice when I need some. Chronic Death Records was the label me and my friend Steve Gendelman did.. we released two records, the Sick of Talk Raked Over the Coals 7" and the vinyl version of the Disnihil s/t full-length that Chainsaw Safety released on CD. I just figured I'd continue using the name and maybe one day release another record.

I use Pro-Tools..Digi003 (black lion mod) , with an M-audio Octane connected to it with an Adat lightpipe for additonal inputs. Other mic pre's I use are the API 3124+ (4 channel), and 2 Chandler Limited Germaniums. I have small speakers I travel with, but when I mix at home I use Mackie HR824's.

Like I mentioned before, Jon Florencio played a large role in helping me configure a rig suitable for what I was looking to do. As far as being a part of the playing during a recording and gaining some things through that, when Sheer Terror recorded Standing Up for Falling Down LP, we worked with Dean Baltulonis. He had me use his snare, which was a 14" Pearl brass free floater. I bought one after we finished.. that snare sounds really good recorded, I always use it, and always have bands I record use it if they're cool with it. He also recorded our Spite 7" in 2011, which was still early on for me as far as me recording goes. So, watching him work and tune drums definitely was an inspiring thing, ya know ? He had us go with Dave Gardner for mastering on both records he did for us and we also used him on the Sham 69 tribute 7" we did, and our most recent 7", Pall in the Family. He does a great job, and used to work for Amphetamine Reptile, one of my favorite labels, and has worked with bands I love like The Cows, Rocket from the Crypt, D4, etc.

So, it was cool to have a recognizable name from the credits of records I have, working on stuff I'm a part of, and to also have a mastering person in mind to offer to bands who record with me. When we recorded the Concrete Cross LP, which was around late 2012, [vocalist] Artie [Philie] had his friend Jesse Cannon master our record. He did a great job, and since then has mastered a ton of stuff for me. Neither of them have influenced gear choices, but they've been real helpful. Prior to dealing with them through my own bands, I didn't really have go to people for mastering. They're still the only people I mention to bands, but sometimes they have their own person in mind anyways.

I always want a ton of shit.. dream shit? I'm sure I'm in need of an entire recording set up upgrade, besides that a Neve Mic Pre would be cool to have, Royer ribbon microphone, plenty of other stuff. Q Drums makes a full copper kit, those are pretty cool, and they also make mahogany kit based off the old Slingerlands that would be cool to have..a Yamaha recording custom kit, but that that stuff is super expensive. So I'll pass on dream shit for now. I need a hi hat stand, DW5000 I'm thinking.. another crash, the K fast crash is kinda weird. Ludwig made a snare, I think its just called Brass Shell... not a black beauty or anything, I'd like to find one of those. Yamaha Flying Dragon kick pedal, Raeph from Black Anvil let me mess with his and it's been on the list since.

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What happens when you combine a love for uncovering new gems in classical music with two highly skilled performers? Violist Jacob Tews and Violinist Erik Rohde answer this very question with SONIC APRICITY: an album consisting of works they have either commissioned or championed, and the namesake of their musical coalescence.

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