19 August 2008
after Madrid, I was back in Berlin partying night and day with Sarah Maguire and the spotted one (Dalmatina) Tiva. She moved to Prenzlaer Berg and is having a blast there except for the sneaky secret DOG-police who don't want Tiva to run free at all... what a pile of legalistic dogma crap!! Well, I recorded FCKSCHSSE at Nalpa Strasse Studio East with Fabien Leseure, and boy that was fun. I learned about POST rock, and enjoyed recording some German singing. Look out for Cobra, its gonna be huge!
I was in Laussane, Switzerland to attend For Noise Festival with The Mondrians, who I am recording today in South of Spain at Gizmo 7, a killer studio with little apartments, palm trees and a swimming pool. Now thats the way, and we even have a lovely chef who cooks out meals after we make a tremendous amount of noise and music. I had never been to Switzerland before and was well impressed by the town Laussane, and Montreux as well with the super-sexy lakes and huge skies... I go for that stuff really, having grown up near Lake Sammamish and the Cascade Mountains and Snoqualmie Pass. Even The Olympic Rain Forest, La Push and The Wonderland Trail all inspired me to make the crazy outer space, high in Nature sounds that manifest in my productions.
Well untill next time, be well and breathe.
x Gordon
19 August 2008
Nothing going on at all. Two quantum trillion atoms spinning, trembling round their funny little nucleus, while art-supplies go on special offer this Saturday, downtown at K-Mart. That quirky phenomenon called LIFE was officially over in 2002, brougt to you by the Bible and several grey-haired political scandals, in sandals. So now they're trying to CLONE it, imitate it and sell it a s aplug-in for Facebook, a commercial for Mouse Space. Space Pilot Raphael polishes his silver wings and turns another knob in Sunny Southern Spain. An La-2a compresses the bass reality just enough to allow it to marry the loud guitars, and a sweet hit of rock and roll is reborn, ciao for now!!--, x-Auto
13 July 2008
I'm in Madrid working with Zeno and The Stoics, after a holiday in Copenhagen watching Leonard Cohen with the ever delightful Sarah Maguire. The Zeno and the Stoics record is turning out amazing, and I am damn happy about that. The Mikkel Glasser record i was working on in Copenhagen is nearly done, and its on the way to being a very unique and fabulous record as well. Back in Berlin, I have been negotiating with Erik Laser on a new way to promote my own music and productions thru a website called GORDOTRONIC. The plans are in the baby stages.... but maybe it will prove interesting??
Ann Hadlock is in Los Angeles promoting Eve 3000 and playing with a stripped down version of Sirens and Sailors. Jordi and the Satellites from Mallorca, and his other band The Marzipan Man have been rocking round Europa and are scheduled to play at the epic Benicassim festival in Spain next weekend. I am reading the complete works of Allen Ginsberg, and the Motley Crue book called DIRT. they are both very inspiring and highly educational. I just finished a book that really affected me and opened my mind up a few light years wider-- its called OFF THE ROAD by Carolyn Cassady. A very usefull and psychic view of how creativity, madness, relationships, drugs and habitual behaviour bounce off each other in human relationships. A most in depth view of ther BEAT movement and its main protagonists.
Also I am starting to take Alexander Technique lessons in berlin from Meike Strobach.
I recommend it for artists and musicians and those of us who inhabit human bodies in general. Ciao for now, keep writing, and keep the faith in music, a mega-powerful substance.
23 March 2008
Check out planetroc.de
Planet Roc is in this area that used to be a communist east german recording CITY!! Located on NalepaStrasse--its 1000 studios, ranging from closest full of vinyls records containing speeches and radio plays, to massive wooden opera halls with built in pipe organs. all built to withstand tank battles. It was built to record things from Symphonies to radio plays for propaganda and probably mind control purposes during the GDR regime.
Theres a patch bay ROOM, that has about 10 thousand patch holes the diameter of an orange... that connects any room they wanted to the broadcast tower, and also allowed them to spy on the activities (eavesdropping) into each room to make sure no anti-government material or discussions were happening.... shiza!! its an amazing, haunted, half deserted place--- right on the edge of Berlin, on a huge piece of property still with guards that check you out before you're allowed to enter. In the old days no one could enter but the employees and artists, now you just have to have legitimate reason (like when you're working there or have your own studio there....). Its also on the waterfront so theres a river (the Spree) running right on the property. xx
22 March 2008
Verking hard in the former GDR Radio Broadcast Center in Berlin, recording Ithaka Maria from Estonia. She's an excellent singer, and its quite an intense project utilizing several of Berlin's finest musicians on the team-- Tom Marsh (drums) from IAMX, Earl Harvin (legend) on drums as well, PC (Warren Suicide) undisputed king of guitar/philosophy, and Michael Haves (Super 700) on Bass, sitting in the "hot seat" for more than 7 hours.
Thanks to all the musicians, and to Alar Kotkas for his trust and patience!! x
08 February 2008
6 songs by Gordon Raphael on www.myspace.com/autoghostx
these songs were written on the Greek island of Corfu, and were originally performed at a funny old nightclub in Seattle called TUGS, with a band that included Tor Richard Midtskog, Gordon Doucette, Mike Davidson, Cam Garrett, and Ben Ireland-- In those days the band and set of songs was called The "Tears Of Gloom" which Tor translated to French to say "Les Larmes Des Ombres" which literally translates to mean -- the tears of shadow, now isn't that more romantic?
Songs are:
Ring Of Gold, You're Falling, Its So Sleepy In This Noisy Chair, Black Lace Clouds,
City Of Dreams and New York Reaction (with words by Danyeal Reed)
Go freak out on them..... and be our friend.
AUTOGHOSTX
07 February 2008
http://www.myspace.com/sassymaguire
Go here to check out Sarah's first batch of original songs.
They are class-A storytelling, wrapped in Northern English humour.
And a lovely voice to boot.
We whipped up these demos on Schlesische Strasse,
with some fantastic pots and pans playing by Thomas Marsh of IAMX fame.
Tscheuss, bye bye.
07 February 2008
http://www.myspace.com/sirensandsailorssongs
New vibrations from a very dear friend of mine, and a person whom I have worked with over the years..... please check out these adventures..
21 October 2007
In the last days you've lived between NYC, London and Berlin. What was the reason? What contrast do you find in the underground scene?
When I was growing up in Seattle, and working very hard to invent wild sounds on my Arp Synthesizer, recording my own songs and being as creative as possible; I dreamed that some day i would travel and meet people with music as our common language. There are two big mountain ranges (Olympics and Cascades) near Seattle that seemed to keep me locked in and stuck there. I now realize that my own ideas were also keeping stuck, but am quite overjoyed to be moving around and visiting many places to make music now. This year I have been in Paris, Sweden, New York, Berlin, Seattle, Mallorca, Buenoa Aries, Reykjavik/Iceland and London, all for the music and people there, I love it!
As far as "Underground" scenes, well... I feel that so many people are aware of and active in musical, artistic and visual things nowadays that "underground" seems more like a romantic word, describing a time long ago when playing electric music, or making political art was dangerous and almost unheard of! Sometimes I think there is alot of very boring and pointless music being made, talked about, and publicized- and I miss the days when art had a spiritual and social meaning/significance, not just for money and perfume ads, and to get free drinks!! Maybe I am romanticizing as well, and those fantastic days of creativity never really happened! (Only in my mind?!). In my most recent trip to London I became excited and aware of a new movement in music towards an expansion in both musical ability, daring-ness to try more expansive and inventive sounds among some new bands.
Notably; Three Trapped Tigers, Jeremy Warmsley and Ox Eagle Lion Man.
Years ago you started Shoplifter Records. How is it going?
I have always wanted to present the music that I discover to the world.
It started in Seattle when I met Green River, Soundgarden, Skinyard, Feast, Bundle of Hiss; and had my very own bands Colour Twigs, Mental Mannequin and The Goblins. I thought if I could only show the world the recordings and films I was making, then I might not starve to death, and the world would have some amazing art and music to love and enjoy. Since I always recorded music, and made videos, i just collected many bands and songs and ideas that I was hungry for the world to hear. And I still am! For one year I had SONY supporting my label Shoplifter in London. We released Regina Spektor's fabulous record Soviet Kitsch, and then lost our way. I didn't have the skills or connections to make "good business"!! Today I have well over 400 songs by 35 different bands in my laptop, and I am trying to learn how to make Shoplifter Records a much stronger, more vibrating REALITY. Everywhere I go I am recording new songs with cool bands, and want to help them get the music heard and loved in the world.
Listening *Is this it?* It's still an amazing experience to me. Why do you think it was such a smash hit back there in 2001?
The Strokes "Is This It" was a magical time when some live sounding rock music with singing and guitars came out and sounded like a new, fun and infectuous thing! Many people had been growing up only wearing the clothes and hearing the sounds of a technological culture, where money and machines and corperations were acting together to make pretty lifeless, artificial, music, in my opinion. DJ's were worshipped and were THE heroes, guitars were laughed at as "old fashioned" and live music clubs were closing down all over the world, seriously! We created a record that showed what talented energetic musicians playing together in a basement room could feel like. There were basically 11 tracks used on each song, which is not very many, I can tell you. In 2001 many people were asking me to make 60 and 128 track recordings, with 10 different kick-drums, 20 tracks of singing and "samples" to make every sound appear to be "bigger"! It was a very lucky, blessed time for The Strokes and for me, absolutely.
Many people saw in that album and scene (Interpol, Yeah Yeah Yeahs, others) the influence of some particular guitar sound from the city's previous great bands (Velvet, New York Dolls, Television). Is it correct? Where could we find those elements?
There is alot of truth that in the CBGB early days of rock; with The Ramones, Patti Smith, Televison, Talking Heads and Blondie New York was exploding with original, exciting music that really changing the world. Changing the way people thought about art and music, and having alot of fun.
Andy Warhol and The Velvet Underground had created some creative new ideas a little before that too in New York. My view of the truth is that when The Strokes and Yeah Yeah yeah's and Interpol came out, there was no real scene in New York, at all! London was the first place to get excited about this music, and they thought that there must be a great vibrant new wave of rock happening in Manhattan.
The photos and magazines made it look very tasty and good, but really- it was business as usual over in the USA! This "new" music was not considered very big or important by record companies here, and it took a long time, (maybe when The White Stripes released Elephant?) for USA to catch on.
How much of the goal of the first Stroke's record had to do with the basement studio you had on the Lower East Side?
My studio Transporterraum NYC (the original Transporterraum studio is in Berlin!) was a very relaxed and funky place that made musicians feel creative and ready to rock. It had purple and red glitter walls, purple velvet curtains (designed and made by Anna Mercedes and Manny Hadlock) and a cool silver door. My friend Joe Hadlock helped me build it, and designed it with a very good sound, kind of rough, and not too safe! I also had a very kind studio partner named Jimmy Goodman. The sound of The first CD and EP (The Modern Age) by The Strokes was a combination of ideas from the band, ideas from me, and the sound of the room in the basement! Since being alive, and being friends and playing music together was a strong value for the band- we tried to make that be felt in the music by combining as much of the experience as possible to doing it "for real"! Several songs were made to sound very processed and mechanical (Hard To Explain, Soma) and we tried to imitate technological machines. This was created however by still using the human musicians, and finding ways to make their performances sound like robots were playing instead. Tricky, no?
Which do you think were the keys of that recording session?
The excitement of knowing that the world might hear those songs. The fantastic songwriting of Julian, the energy of the band, and how well they played those songs. Some open-mindedness on my part to let The Strokes ideas come through, and not be too bossy! And maybe an attitude to be a bit agressive with the sounds and creativity that I think I brought into the project.
You recorded the album down by the preassure of The Modern Age EP's good reviews and hype. Nevertheless you recorded a master piece. Was at that time, between you and the boys, the felling of beeing working in something important? Or was it just like any other recording session?
For me, working on The Modern Age was alot like "another recording session". I had fun, and liked the guys, and was really suprised that people that young would know the music of Iggy Pop and Lou Reed! But I had been recording a band every day for 3 years, and no rock bands were getting signed, and none of my recordings ever got released. So I really thought I would not hear from the Strokes again! Thank God I did, and that Rough Trade in London enjoyed what we recorded enough to release and promote it! Is This It was started when the band did not yet have and American record deal. We all felt that something really cool, and amazing was gonna happen though. And i imagined that for the first time ever, something I recorded and produced was going to find its way into people's ears all over the world. It was a very energetic and fantastic time during those sessions, and sometimes record labels and magazines were in the room watching us and listening to the songs, which I had never experienced before. I loved it!
Talking about that Modern Age EP, and considering the adorable "down-and-dirty" spirit you once said it has, do you agree that sometimes a bombastic superproduction can ruin some good record? (there are so many examples) That sometimes it's better some "lowfi care" (and proffesional, of course) of the music in order to get to a higher quality point?
Sometimes a lovely feeling can be lost in a record where the producer is more interested in making his own stamp, or too in love with the process of recording and loses the focus. The story of a song and the feeling of a singer is very very important. The process of using machines to capture and create music can be sometimes fun, sometimes overbearing and sometimes a big ego trip.
Production and recording should work with the feelings and story of a song. if the story and feeling are epic and supernatural, the production can go that way too. If the feeling is quiet and personal, and close; there is a way to present that too!
You were an unknown producer back in 2001 when you recorded *Is This It?*Now your work is recognized, but you still remain on the border of the industry (you run a small record label and you continue searching for new artists, as i see in your myspace). Is this an ethical decision or natural movement because of your artistic taste?
Believe me, even when I was recording Is This It, there were people in the music business in New York who thought what I was doing sounded like shit! My tastes and loves in music are many many times questioned and most often ignored so far! I can never tell if i am alone in my views, or if someday people will say "I'm so glad Gordon Raphael released those 400 songs from his collection, they really sound awesome and open up our imaginations!!" I have a big war against, and strong dislike for most of the music i hear in the world. I also don't like many social customs, laws, religions, science, governments and traditions I see on this planet. There seems to be a way that alot of fake and harmful stuff gets passede along to the people and children as "OK and normal". Pressures to be the same as everyone else, pressures to take away freedom to think and act as you wish. Pollution, domination, control and destructive wars. this is in the world, and in the music world too! Of course there is alot of love, creativity and flowers in the world, and some people i meet and hear are doing music that is completely wild and amazing. This is who I find, and record and get very excited to be part of their creative process. Bands like Miss Machine, The Satellies (Mallorca), Van Der Meer and Super700 from Berlin, Eva Loft, Emily Breeze, and some of my own songs express ideas which I truly value and trust. My favorite music tend to have something very original, daring and powerful inside of it.
How is your relation with the mainstream industry. Does anybody sometime underrated your work?
I have never gotten a phone call or email or a hello from anyone in the mainstream music industry, or any other mainstream for that matter! I have called and had tea with many big labels in London, when i first moved there. They smile and chat about The Strokes, and offer me tea, and have me sign a picture for their kids. I play them all my favorite music, and they never ask me to come back for another meeting. This is true. I want to say, however- that every day I am asked by creative musicians to go somewhere and produce music! This makes me feel so very very happy. The businessmen don't want to know me or talk to me or listen to my songs, but people who make music want me to be part of their songs! Wow, I am truly blessed! The music is taking care of me, and showing me a very good time.
You worked at the beggining of *The First Impressions of Earth*, why didn't you continue? What do you think of the album?
I spent almost a year working on First Impressions, mostly the demos as the band were writing the songs. They met another producer during that time, and wanted to try a different way to record. I do things wildly, and based on my own "first impressions" about sound and energy and FUN! This record for them, was very very very very carefully and thoughtfull produced, over a very long period of time.
To me it sounds very "normal" and careful. I love the song Electricityscape, and think it has a cool feeling in the melodies.
In your column of Rockfeedback you told us the band is now planning the fourth album. Do you know if you are going to participate?
I have not heard from Julian in 7 months. I hope he is writing and doing super-well!
I saw Albert and his band play in Berlin, they did a really fine show, and i liked his band alot.
You've worked with Regina Spektor, Fobia, Kill Kenada, among others. Can we can recognize a production style (something like your trademark) in those records?
One thing we experience (in my opinion) in those records is a very compelling urge to listen to unusual and highly interesting atmospheres. I get a very good satisfaction and inspiration from these songs. My trademark is, hopfully to be a very nice window that lets artist's secret wishes to come through into the world. If this is true, then I am a happy man.
Do you agree that the actual rock scene should have another "shake" like the one of 2001?
The world can use a good shake. Hopefully not an earthquake, either! Sometimes music and art can shake the world out of a sleep, and be part of energy that can make things alive, stimulating and fresh again. I would like to think that this will happen again. Maybe its going to be more from the way people treat themselves, and take care of themselves and believe things that will be the new 'rock-and'roll'!!
Less about ego-trips, less about beer and cigarettes and self-destruction. More about opening up to one's own soul and finding out what's really in there to express and share with ourselves and other people. How does that sound?
In which new artists you see the potential for achieving that "shake"?
The most interesting things I am listening to are:
Allen Ginsburg reading his gut-wrenching, mind opening poem HOWL, Melodie Beatty's audio-book of Codependent No More and some recordings of Pia Mellody taliking about Boundaries.
As I said; this may be the newest from of rock-and roll!
How do you see the NYC underground scene today?
The New York underground is basically a shopping mall that has a CBGB store to sell older people some T-shirts and memories of a city that once had a soul. (Ha ha ha), is that mean of me to say? We also have a great Disney Store, 3000 Starbucks delicious expensive restaurants and many tourists. My friend Kenyon from Unisex Salon is as close as it gets for an "underground" revolutionary thinker here.
Is it true that at the begining of your work at the Chateau Relaxo Studio (where you worked almost all time with unsigned bands) you recieved the visit of Ian Brown? Incredible! How was it?
Ian Brown called my studio for no reason except it was close to his house. he didnt even tell me it was ian brown, he just came over and sang a song which i recorded. It was only halfway through the song when I thought "Damn, I know this voice from somewhere!!" I then recognized his voice and asked him, "excuse me, aren't you Ian Brown from The Stone Roses??" He was very very nice, and sang the song in one try, perfectly! A funny story.
Do you know anything about Argentina or Argentine rock? What are your expectations about the trip?
I know nothing at all about Argentina or it's ROCK. Someone told me there is or was a huge 1970's Rolling Stones culture? I hope so. I expect to have alot of fun, and meet people and open to new ideas. Bring on the exploration.
Who are your favourite producers of all times? And the producers from nowadays that you admire or respect?
Nowadays I admire Moses Schneider, my friend from Berlin. he thinks about music in a new and almost magical way- looking for the 'secret of the song" before even starting to record it.
From the past I love George Martin and Eddie Kramer for showing us many new ways to make sounds on Beatles and Jimi Hendrix records. I eat for breakfast Tony Visconti's work with Bowie and T-Rex and Sparks, and my spiritual friend is Jimmy Page and his work with Led Zeppelin. Toss in a little Lou Reed with John Cale (Velvet Underground) and lets never forget Iggy Pop and The Stooges.
Thank you very much.
24 September 2007
Did you notice the intensity with which people were checking you out at that party? I was investigating every chord on the piano - and so were lots of people i saw- and i was looking at all the gear and wondering how the hell you were gonna use it?
Theres a fuck-load of music in the world, and honestly- theres alot of really good stuff too-- but how many players make your jaw drop open, make you jealous, make you sweat cuz they're so damn good at what they do?
not many... in my opinion! but you guys have 3 out of 3 that can do that, and thats whats important for you to realize and have a mega-amount of faith in.
The live show in Toby's livingroom was a sweaty, furious, turbulant musclebound display of pure power mixed with a nice dose of frustration.
Missile blasts of the most ridiculous (I use that term as a badge of ReSPECT!) fast drumming, Nuclear powered piano, synth interplay from hell, and 100 of the coolest guitar sounds and parts possible. A classical-jazz wasteland my friends.
You basically took a studied intellectual approach to harmony,
years of expansive technique, and loads of original sounds, and made them pallatable, skull-crushing and super party-worthy. Congratulations- thats ORIGINAL!