Been listening to this song on repeat, and will continue to do so for the next few weeks because Ovipositor will be trotting out a cover of this at our upcoming show with Generalissimo and Cartographer at the Hemlock in SF on July 26.

Lungfish, “Mated,” The Unanimous Hour (Dischord, 1999)

PS – Speaking of Cartographer, the duo just played a handful of Midwest dates, including a set at the PRF BBQ Rock Fest in Chicago, a live recording of which can be downloaded by clicking HERE. Highly recommended.

Ovipositor went into the studio last Tuesday, May 25, 2010 to record our fourth album (the second on which I am the bass player). Because we were (and still are) really happy with the way the last record, Oakland Minor, turned out, we decided to go back to Eli Crews at New, Improved Recording in North Oakland, a cozy, top notch recording space owned and operated by Eli and his partner John Finkbeiner, where a ton of great bands have captured a lot of great music.

We booked a single day to track all the basics, which meant setting up in the same room and bashing through all the songs as cleanly and quickly as possible. We managed to get 13 songs on tape in one session, recording no more than two or three versions of each (except for one song, tentatively titled “Ride The Mechanical Nun,” which I think we did five times, but only kept two takes on tape). We’ll choose one take of each tune, and go with it — no splicing or dicing, no surgical ProTool moves to add the drums from one track to the bass and guitar of another, etc.

That’s not the way a lot of bands / studios work, but we’d rather practice our assess off and spend just enough time in the studio to get something tight and visceral, than spend too much time in the studio and polish the skin off of, or choke the life out of music that we’re pretty adamant about maintaining some levels of spontaneity and transience anyway. Besides, its not like we’ve got (or frankly, want) record label budget money behind us. Ultimately, we don’t really make any money on this stuff, so we tighten up and do our thing as efficiently, effectively and affordably as possible.

Not only is NIR a perfect place for a band like us in terms of budget and general vibe, but it’s an analog-to-digital audio nerd’s ideal work space, where the best of 2″ tape and ProTools operate in harmonious conjunction. We’re all about that. Eli knows how to get the most out of the room and it’s temporary inhabitants, so we feel like there’s someone on the boards who not only has the skills to get the job done, but is a genuinely good person who genuinely cares about the product that comes out of his studio. When everything lines up like that — when the band works hard, and the engineer knows his shit and cares about his end of the bargain — it’s hard for things to not come together right. So needless to say, we’re looking forward to continuing the process through the completion of this as-yet-untitled record.

For tracking, the process was pretty basic, and I don’t recall every single mic Eli threw up around the room (I saw Royer and Blue mics, among others), nor did I pay attention to all the hardware doodad settings when I was in the control booth (if I was in there, it was to listen to playback). But here’s a little rundown of how things shook out from where I sat. But first, PLAYBACK IS A BITCH, the Ovipositor in-studio album trailer, shot and edited by Colin…

PLAYBACK IS A BITCH Trailer from Nadir Novelties on Vimeo.

We loaded into the studio at 9am and spent a few hours working with Eli and his assistant Carlos to set up the gear. Drums always take the longest because the process of mic placement is the most crucial, so Colin and I took our time with the guitar and bass rigs. My bass setup is really straightforward: Fender Jazz (US-made, DR Lo-Rider nickel strings) to pedals (Boss TU-2 tuner, Pro-Co Rat distortion heavily modified by Colin, Dwarfcraft Devices Eau Claire Thunder distortion), then into a DI box, splitting the signal out 1) directly to the board, and 2) into my Ampeg SVT 4-Pro amp, which was on the floor next to me, upright on its side; the amp lined out to my bass cabinets — Ampeg SVT 1×15 & 2×10 — which were miked in an isolation room behind me. (Isolation is important to keep each instruments’ signals clean and free of each other, especially with bass, which is omnidirectional and can/will bleed under and through everything else if it’s left out in the open.)

Colin plays through two small vintage combo amps, a ’60s era Sears amp that was set up in the live room behind a gobo, and similar era Silvertone in another isolation room. For two pretty small amps, each has a notable snarl to it, and together they round out a mean, growling tube-driven sound. He used two guitars on this session: a (nearly) brand new Electrical Guitar Company Custom all aluminum hollow body with Alumitone pickups in standard tuning (strummed with steel picks; metal up yer ass); and a generic Telecaster copy that he has dialed into some weird tuning. These were played through two homemade pedals, the Brayer (dubbed such because it makes awesomely awful noise) and the Rockalizer (which makes things more rock, duh).

Mark’s kit is a mix-and-match setup of various pieces (I don’t enough about drums to get more specific than that), but pretty straightforward: kick, rack tom, floor tom, snare, hi-hat, crash and ride cymbals. We played together in the same room, listening to the live mix via headphones so we could hear what it all sounded like, and we talked to Eli through the room mics, while he talked back to us in the phones through a mic in the control room. We recorded live to an Otari 2″ tape machine (used two reels throughout the day), which Eli then dumped into ProTools, and copied over to an external hard drive that Colin took home so he can load the sessions into his studio computer and take care of the vocals and guitar overdubs there (further cutting our studio costs), before we go back into NIR to mix the record.

The overall studio experience was loose and fun, and though we did a lot of laughing and joking around and nerding out on stuff, we were also pretty driven and focused on making sure we got as much as we could out of our time. And to be sure, 13 songs is a marathon session; ask most bands who have worked in a studio and they’ll tell you that five or six songs in one day is pretty good. We’re not professional musicians, we don’t make terribly complicated music, and we’re not shooting for the charts here, but we know what we want and we’re fairly certain we know how to get it, and we’re happy with what we’ve got so far, so we expect to end up with (another) solid record.

Stay tuned for more as the process marches on: We mix over two days in late July, we’ll have it mastered some time shortly after that, and then, hopefully, we’ll sell a few copies. Oh, and we’re playing a show on July 29th at the Hemlock in SF with our friends, and damn fine rock bands, Generalissimo (it’s their album release party), and the mighty Cartographer.

In the meantime, here’s a photo gallery of our day in the studio (or click over to the set on Flickr to see this set at full size)…

It’s been about two months since this tour happened. I suppose that’s more than ample time to digest, brain-dump, edit, reform, re-edit, reconsider and re-re-edit the experience in writing. We haven’t played together since, but we’re getting together next week to blow off the cobwebs, so I figured it was now or never. And at this point, fuck it, I just want to get it out of my head and out into the world…

What follows is a collection of thoughts, observations and anecdotes from the Ovipositor / Generalissimo Fall 2009 Northwest tour, which landed at venues in Chico, California; Portland, Oregon; and Bellingham & Seattle, Washington between September 30 and October 3, 2009.

Ovipositor is Colin Frangos (guitar/vocals), Mark Pino (drums/vocals) and Max Sidman (bass).

Generalissimo is General Zikovich (guitar/lead vocals), General Little (guitar/vocals), General Meyer (Guitar/vocals), General Brubaker (bass/vocals), and General Iannacito (drums).

Ovipositor Rocktober ’09 Tour, Part 1: Chico, CA

The venue, LaSalle’s, is the kind of vaunted Chico college establishment that typically caters more to dance club DJ night and jam band / nu-metal / top-40 type acts (a.k.a. money-makers), which Ovipositor and tour mates Generalissimo are definitely not. Because of the four-band bill, each band was allotted a half-hour set, with strict 15-minute between-set times. Cool. It meant a 20-minute set for us. And 15-minutes is damn near an eternity for us to break down and load off stage. We’re efficient like that.

It was a disparate collection of bands:

Ana Lucia, apparently relatively new on the local Chico scene, I can only describe as occupying the space somewhere between Dave Matthews Band and Nirvana. Take from that statement what you will. They displayed a good degree of technical proficiency offset drastically by an annoying stage presence (typical rock faces and cliched moves) and music that I found blandly repulsive. To make things worse, the house sound was dialed in so the vocals were way above everything else, to ear-jarring levels. It was a rough 30 minutes, which I spent on the back patio catching up with an old friend.

I think Generalissimo treated this show as more of a practice / warmup, but they killed it nonetheless, in front of a crowd that was largely indifferent to their music and their schtick, both of which I really enjoy. It’s always unfortunate when a conceptually and musically interesting band with the chops to back it up is deemed unworthy of interest simply because of unfamiliarity. There were a few folks who genuinely seemed to enjoy them and “get it” but the general sense of apathy that permeated the club’s atmosphere during first three bands was most noticeable during the Generals’ set. Shame.

We played third, I butchered the shit out of an older Ovipositor song that I’d recently learned, and obviously hadn’t practiced enough before we hit the road (I thought I knew it…guess not). Otherwise it was a tight, short set that I didn’t deign to record…which I sort of now regret. But fuck it. Like the Generals, we looked at the Chico show as a warm up, and I wasn’t really interested in capturing it for posterity. I was told by several people that the sound in the room was good, but the sound on stage sucked, a muddy mash of searing, toneless guitar fuzz and muffled, wooly bass, and the only thing coming through the monitors were vocals and kick drum. Frankly, with stage sound like that, I’d rather go without a monitor feed.

Cold Blue Mountain was the headlining act, it was their EP release party. I generally like the kind of music they play — I’m a fan of Isis, Pelican, et al…that super big, wide swooping flavor-of-the-month instru-metal. Problem is, CBM hasn’t really developed their own sound or found their own niche, so in the end their music lacked dynamic and kinda came off as just in the style of those other bands. I took the free EP, though, and I do like it. They sounded pretty good live, and most of the people in attendance were definitely feeling it, more so than the rest of us, so…shows you what I know.

We managed to snag a comped room at the Holiday Inn thanks to a sympathetic old friend at a local weekly magazine that had some trade on the books. Regardless of the playing situation, a clean bed and hot shower are always a nice way to start off a tour.

Ovipositor Rocktober ’09 Tour, Part 2: Portland, OR

It’s a longer drive than I remembered from Chico to Portland, and when we arrived in the Emerald City I was actually happy to hear that Travelocity had screwed up our reservation at the Governor, a swanky downtown hotel that Colin had gotten us relatively cheap rates for. Instead of a single and a double, they booked us two singles. I like Mark just fine, but there’s no way I was going to risk having a Trains, Planes & Automobiles moment with our drummer (“THOSE AREN’T PILLOWS!”). After a minor amount of chatter from behind the front desk, we were told that Mark and I would be sharing a penthouse suite for our trouble (and a minor upgrade fee). Score.

A note about the rock ‘n’ roll-ness of staying in a place like the Governor: Under no circumstances should you assume that Ovipositor is balling like that. We have very few fans, we make honest but largely incongruous and often times uncomfortable rock music, and we never, ever turn a profit. That’s not why we do this. It’s artistic expression, it’s more for us than for you, and above all else, it’s fun. It just so happens that we all work for a living, and though none of us is a millionaire, we all do well enough to afford cheap deals on decent rooms through discount travel web sites when a couch or floor doesn’t avail itself to us on a tour stop. And when said discount travel site fucks up the reservation, we’re more than happy to reap the benefits of their apologies. I know, it’s not very rock ‘n’ roll, it definitely doesn’t go with the whole ethos of pulling off a week-long Northwest van tour…and I don’t care. I slept in a king sized bed that night, in front of a 60″ flat screen TV and a fireplace that turned on with a switch. All for a little more than the price of a basic double room on discount. If you have a problem reconciling that with any ill-perceived notions of indie rock credibility, you can bring it up to me in person, or otherwise go fuck yourself.

Ovipositor, “Theme From Ouch” Live at Kelly’s Olympian, Portland:

The Portland show was right downtown, a few blocks from the hotel, at a bar called Kelly’s Olympian. Nice stage, a good sound system, and a friendly and capable sound guy. All of our gear was miked with a classic live setup (57s on the cabinets, I didn’t see what was on the drums), which is a level of on-stage professionalism we’re not necessarily used to, so that was nice. As soon as we arrived at the venue, loaded in and set up — we played first — I ran headlong into some amp troubles, which I ended up fixing by pulling one of the cabinets, the 2×10″, out of my setup, reducing my rig down to a lone 1×15 cabinet. Luckily, we’re not that loud of band, and since the speaker was mic’d and running though the house system, I think it all worked out okay.

The Portland show, despite my amp troubles, was a good time. I felt pretty good about the set we played, I think Colin was particularly on that night, and despite the fact that there were very few people there, it was still a good crowd, thanks largely to the supportive nature of the other bands on the bill — Generalissimo and Portland’s Cougar, which has since changed its name to East Wenatchee, Iowa — and a few boisterous friends who attended. The Generals nailed it as usual…in fact, I was consistently amazed through the tour at how tight they were night after night.

Cougar…er, uh, East Wenatchee, Iowa (seriously, don’t ask). A trio of grizzled and obviously seasoned vets making full-bore garage rock. I loved these guys because they played great, dirty, stripped down power trio music. Bonus: The drummer gave us a few 7″ records from his other band, Rapids, which is also really dope. (Double bonus: Colin and saw The Jesus Lizard a couple of weeks later in SF, and it turns out Cougar bass player Tom Glose is also the frontman in Black Elk, which was the opener on TJL’s recent West Coast jaunt.)

Cougar, Live at Kelly’s Olympian, Portland:

After the show, we hit up Voodoo Doughnut, which is open until 4am, and got their famous bacon-maple bar, which definitely lived up to the hype, especially washed down by a tall can at 3am in the penthouse suite of a posh downtown hotel. We hit Fuller’s for breakfast the next morning, then Jackpot Records for a little fuel for the musical soul, and broke north for Bellingham.

Ovipositor Rocktober ’09 Tour, Part 3: Bellingham, WA

Bellingham was great from the minute we arrived. We received a warm welcome from our host, local impresario, independent record label legend and garage rock god Dave Crider. Mono Men, the Garage Shock festival, Estrus Records (Man…Or Astroman, Moonie Suzuki, Mono Men, etc.) — music fans have Crider to thank for a long run of great music and staunch support of independence both as an art form and a business model. And he’s a hell of a guy to boot, friendly, riotously funny and extensively accommodating. It was an honor to be his guest.

After testing my amp (which had miraculously cured itself) in Crider’s living room, we decompressed a bit from the drive, sampled a local beer — a “growler” of IPA from the local Boundary Bay Brewery — then repacked the van and headed downtown to the venue, where we loaded in, and set up (we playd first again).

This show was in a subterranean art space called Jinx, which was hosting a show as part of a local Friday night art walk, so it was free. Which meant we got paid with dinner coupons at the local taqueria, Casa De Pasa, and a cooler full of Pabst Blue Ribbon cans. All good. Free food and beer as is (almost) as good as money on tour.

I knew going into Bellingham that it’s a college town (home of Western Washington University), but I was still a little surprised at how college-y it really is. While we were at the Casa De Pasa, we were surrounded by all manner of hipster college kid types, from backwards baseball cap frat boys to crunchy hippie kids to urban-hip and tight-pant stereotypes. I expected none of them to be at our show, and they did not prove me wrong.

The Jinx Art Space “stage” is a no-frills alcove set back from a vast concrete underground art gallery space, with a basic PA system for vocals and nothing else in the way of house sound. All good. Colin, Mark and I have enough experience playing without much in the way of amplification beyond our own rigs, and I’d rather have a stripped down live operation than just listen to kick drum and vocals from a monitor drown out everything else. The sound in the space proved to be a little weird (the recordings are gonna take some extra work to sound right), but we didn’t care. It was a comfortable venue.

We played to a pretty thin crowd made up mostly of the few friends we had in attendance, some of the guys from the other two bands on the bill, and underage attendees who couldn’t drink in the parking lot with the majority of the folks at the show. I’m usually pretty surprised when people stick around at watch us play, to be honest. It’s not like were a household name, our music can be a bit of challenge, especially in the live setting, and we tend to start on time. On this particular evening, we were told that show started at 9, and because we played first, we started at like 9:02. We don’t mess around much on stage, we play tight sets (short sets, too, if we’re the opening act), we rarely talk much between songs, unless one of is tuning or adjusting something, and even then, there’s not a lot of witty repartee coming from the stage. The point is, when we play a show, and especially if we play first, if you blink you might miss us.

See more tour video from Colin: Nadir Novelties.

I think we played a fairly good good set in Bellingham, and even threw in a song we don’t do much live, an artsy little number from our latest record called “Chewy Wires” that seem to fit the artsy vibe of the venue. I like playing the song because the bass parts contain liberal use of double-stop chords, which not only lets me get my bass-nerd rocks off, but I it think sounds cool.

The Generals were on-point (yet again), playing a bit longer than they had the previous two nights, to a crowd that knew a bunch of their songs and were more than happy to sing along. Though Generalissimo plays a slightly off kilter and tight-as-a-drum brand of metal-flavored rock, they embrace the concept of brevity in songwriting and manage to incorporate a mixture of odd timing and big anthemic choruses that can get stuck in your head all too easily.

Bellingham was the first of two shows we played with Police Teeth, a four-piece — two guitars, bass and drums. They’re jeans-and-t-shirt rock guys (and Adam has a nifty haircut with a matching mustache) with a knack for driving rhythms, backed by relentless energy and a ton of skill. They played a long set to a hometown crowd who couldn’t get enough. I generally like my rock a little darker, heavier and less peppy, but there’s more than enough fuck-you in their music to give me what I need. Plus they’re super nice guys. At the beginning of their set, they passed the jar for us, which yielded a pretty good take. Like I said, nice guys.

Ovipositor Rocktober ’09 Tour, Part 4: Seattle, WA

We hung out in Belingham for most of the day after the show, since the trip from there to Seattle is only about 90 minutes and we wanted to spend some time with friends and exploring the town a bit. After digging through one of the most impressive and well-stocked antique spots I’ve ever been to, and wandering the downtown streets, Dave and Becky Crider met us at the Boundary Bay Brewery for lunch, where they introduced us to their friend and brewmaster Aaron Smith. We nabbed a table in the back of the brewery’s busy restaurant, and settled in for a bite to eat. On top of the round of beers we ordered, Aaron began bringing out a steady stream of the brewery’s special IPA, a 10% alcohol beast that was described as something that “must be respected.” After a few pulls off a goblet of it, it was easy to understand why. Powerful stuff. Between the hearty beers and great food at the Boundary Bay Brewery, even the cup of strong coffee I had after lunch couldn’t ward off the need for a nap, and I slept in the Criders’ living room late that afternoon, and on the van ride down to Seattle.

By the time we left Bellingham en route to Seattle, I really felt the fatigue setting in. In my square, everyday life I get up around 5:30am on weekdays, I commute over the Bay Bridge and bust my ass in the internet mines, I have a 16-month-old daughter (which can be a full time job), I try to play as much music as I can, and I even try to get out into the night once in a while. All that’s tiring enough, but I have the luxury of falling back on the comfort of routine, my own bed, (mostly) healthy home cooked meals and some regularly scheduled downtime. Things are less predictable on the road. Downtime is generally spent cramped in a van, a comfy bed isn’t always to be had, and sleeping can be a dicey prospect; system-debilitating things like rivers of readily available and often free beer, crappy heavy food and gas-station snacks, all piled up on top of late nights and early mornings can make things rough. And we were only out for five days. I know, right…goddamn pussy.

The beauty of it all is that, if you haven’t reached the end of your rope or completely burned out your health, salvation can be found in a few beers, some good (or even not-so-good) food and the energy that comes with getting on stage and making some noise. It’s the recipe for a temporary rejuvenation that returns a fire to the belly and a glint to the eye. That’s what Slim’s Last Chance Chili Shack was — energetic salvation on the last stop of this short tour.

Slim’s, a lone neon beacon in the Southwest industrial Seattle night, is a punk rock bar and venue, and chili shack. Apparently, no one really lives in that part of town, but the brisket chili is absolutely amazing, and they serve what might just be the best french fries I’ve ever had. And the Pabst was on the house. The bar’s sound system was nice, almost too much system for the room, but that’s not something to complain about.

Police Teeth, Live at Slim’s, Seattle:

The evening’s lineup was opposite from the night before — Police Teeth, Generalissimo, us, then Crider’s band, The DTs — and despite my secret desire to play first that night and just get it over with, I really enjoyed ramping up tsome energy level by watching Police Teeth and Generalissimo. Because of the four-band bill (and possibly because of wicked hangovers), they both played brief, really tight sets. Another night on tour for the Generals, killing it as usual, and Police Teeth actually moved their mics off the stage on to the floor to give themselves more room to rock-dance while kicking out the jams. I can generally go without exorbitant on-stage rock moves, but if the band can bring it musically, as Police Teeth most certainly can, I don’t mind the accompanying theater of spectacle.

Generalissimo, “Swarm” Live at Slim’s, Seattle:

By the time we hit the stage, the crowd had grown to include more people than just other bands (another perk of not playing first), and I think things went pretty well for us. Mark was really on a burner that night, pushing the rhythm of just about every song except the opener (“When I Die”), which I don’t generally mind so much. It makes things interesting.

Ovipositor, “Navvy” (Pere Ubu) Live at Slim’s, Seattle:

Colin had mentioned more than once throughout the trip that, because we were playing right before The DTs in Seattle, we had to really hit it right that night. I’m not sure if we did, but after watching The DTs, I fully understood what he was talking about. There’s not a single miss in the DTs’ repertoire, they might be the perfect rock ‘n’ roll band — one of the best guitarists I’ve ever known paired with the one of the best rhythm sections I’ve ever witnessed.

The DTs, Live at Slim’s, Seattle:

We meandered back to Oakland over the next two days, getting back into California in one long stretch, and taking a break in lovely Weed, CA, where we got rooms at the Hi-Lo Motel for the night. I spent the evening eating pizza and drinking beer, then sitting in my room trying to reflect profoundly on the tour, but all I could come up with was that I had a lot of fun playing music in strange places in front of strange people for a week. And that’s pretty much what it’s all about, I guess.

Here are my photos from the trip…

It’s about time we had some product to sling, but I still say it was worth the wait. The custom screen printing and die-cutting on the package looks and works great, and aside from the absence of the album info on the spine on the package, it’ll sit nicely on the shelf along side your other favorite CDs. (People still buy CDs everyone once in a while, right? Right.)

Here are a few photos of the newly released physical version of Oakland Minor (holler at us over at the Ovipositor site for some mail order action):

(Front)

(Back)

(Open)

(Interior)

Saturday night’s show was a bit of a trial run of a tour setlist for us, though we have a pretty good repertoire of tunes at this point, so we plan on switching up every night. Of course, we also played last, which, to quote Colin, meant that we were either headlining the show or cleaning up the mess, depending on how you look at it. Turns out it was a little bit of both.

Generalissimo and Cartographer killed it, and of course I forgot both my camera and my digital recorder so I failed to document their greatness (stay tuned, however, for plenty of Generalissimo tour photo action in the coming week). They played to a good crowd that trickled in as steadily as they trickled out as the evening went on. By the time our set ended, the audience had thinned out. Luckily the homie EJ showed up right before we played and managed to get some photos of us in action. So here you go, just like you were there:

Ovipositor is going on tour September 30 through October 4, winding our way up through Northern California to the upper end of Washington State and back. We’ll be traveling and playing with our friends, and damn fine fellow Oakland band, Generalissimo, and we’re really excited to hit the road.

Here are the dates as they currently stand, so here ya go…

September 30th-Oct 4th: Goin’ north with Generalissimo:

• - 9/30: Chico @ LaSalles w/ Ana Lucia and Cold Blue Mountain.
• - 10/01: Portland @ Kelly’s Olympian w/ Cougars.
• - 10/02: Bellingham @ Jinx Art Space w/ Police Teeth.
• - 10/03: Seattle @ Slim’s Last Chance Chili Shack w/ Police Teeth & The DTs.

This is, of course, in addition to our upcoming show at the Hemlock Tavern in San Francisco, with Generalissimo and Cartographer.

We’d love to see you when we land in your town. So come out and buy us some beers, we’ll do our best to repay you in rock goodness.

Ovipositor, “Oakland Man,” Oakland Minor

See more here, and peep the whole scene here.

For about a week, this site had a splash page redirecting back to the old WordPress.com subdomain, and because I think I suffer from a mild case of OCD, it was really pissing me off and I was a bit obsessed with it. I spent too much of my so-called free time over the last week trying to straighten the shit out, and finally, yesterday, I managed to get everything in line. I’ve spent the last 24 hours jiggering with stuff to make all the bells and whistles ring and…whistle.

It’s pretty much the same site it was before, but I updated the theme to a new version, and I now have more control over content, better statistical information, and better scalability for future growth. I’m still working on stuff here and there, tweaking some minor design bits and trying to streamline some shit. It’s a work in progress but it lives.

Ovipositor live… If you’re in SF this week — Thursday 8/6, around 10 p.m., to be exact — hit up Thee Parkside at the bottom of Potrero Hill and catch Ovipositor (I play bass) play with The Blind Shake from Minneapolis (see the flier at the top of the sidebar). It’s been more than a minute since we played out, so we’re looking forward to hitting a stage again (for better or worse). Besides, we’re doing a short Northwest tour at the end of September / beginning of October, so we need to warm up a bit. And we’re stoked to be playing with The Blind Shake because they’re awesome.

Finally, just for shits and giggles… Ovipositor guitar player Colin is buying a slick new camera and, I assume, while researching came across this video shot by said camera of an upright bass player. Because of the insanely fast frame rate of the camera and the frequency of the string vibration, there’s a strange yet very cool effect happening on the strings of the upright. Check it:

Colin developed and launched an all-new web site for the band, complete with history, streaming music (listen to all three records!), and a pay gate to buy all three albums. Sweet.

We’re still working on the screen-printed packaging for the Oakland Minor CDs (cover pictured here), but you can buy it as a digital download or disc (we’ll get it to you in a special limited edition package of some sort) through the site, and we’ve also got some business type deals in the works that will land the records on all the major online retailers in the coming months. More on that soon.

In the meantime (and thanks to the networking prowess of drummer Mark Pino), we’re basking in the glory that comes with getting Oakland Minor reviewed in the latest issue of The Big Takeover magazine — Issue #64, with The Decemberists on the cover. I can’t find the review on the site, so here’s a scan of it:

Finally, one last note about shows…We don’t really have any booked right now. One of the three of us is out of town at any given time pretty much all summer, which has made booking shows particularly challenging. But we’re still doing our thing at Colin’s Beatnik Dungeon weekly, so the next time you see us live, you’ll probably hear a whole mess of new stuff. We’ll let you know when that happens. In lieu of live show news, here are a few songs from our last show at the Starry Plough in Berkeley back in March…

Ovipositor, “Burning Breath”

Ovipositor, “Intermission”

Ovipositor, “When I Die”

These songs were recorded with a Zoom H2 (captured as 320kbps mp3, using the 120-degree mic array), which was set in a mic stand afixed to the front of the sound booth. No effects were applied to the recording.

Since I’m the only member of Ovipositor who’s got a page on Facebook, I took the liberty of setting up a fan page for the band. If you’re on Facebook, hit it up, add yourself as a fan, and write something nice about the music or us as people (if you hate the music).

Check it out — click here.

NERD

It all started on Friday at the AES (Audio Engineering Society) Show at Moscone Center in downtown SF. It’s the nerdiest audio nerdfest I’ve ever been too, and it goes down in SF every other year (alternates between the Bay and NYC). I have to be there for work, but I’d be lying if I said I didn’t get certain degree of personal satisfaction out of it. I record bullshit at my modest home studio (Maxin’ & Relaxin’ Studios, Oakland CA), and play in a three-piece rock band, so audio geek shit is kinda interesting to me…at least, in a much as it relates to what I’m doing.

After running through all the dope boutique outboard studio gear, new microphones, and niche software plug-ins, I found myself short of interest. This took all of five hours. Not that there wasn’t some excitement afoot — DigiDesign’s ProTools 8 and Cakewalk’s Sonar 8 were released with much fanfare, but since I use neither in my studio, those demos were of cursory interest to me. Still, it’s not like I was there against my will.

I had plenty of opportunity to get my nerd on, and the Universal Audio both alone made the whole day a worthwhile venture. The top-notch pro-audio manufacturer was showcasing all kinds of crazy-awesome stuff: new UAD-2 cards, which I’m told they can’t make fast enough to keep up with demand (and I believe it, I have a UAD-1, and I freakin’ LOVE it); the 710 Twin-Finity tube and solid state preamp and DI; the LA610 MKII channel strip; and the Moog Multimode Filter plug-in for the UAD-1 card (I know where my next $200 in nerd-related expenditure is going).

I looked at — and at times tried (and invariably failed) to find the rational to invest in — a lot of other cool stuff too, like Eventide‘s digitalModFactor effects pedal, which, among other things, allows users to update it by downloading new software from the internet; Radial Engineering‘s Phazer Box and new Phazer Bank; Line 6‘s Pod Farm amp and effect modeling software; and handheld field recorders — the Marantz PMD60, and the Sony PCM series handheld devices, which are both pretty cool (Marantz wins; the Sony doesn’t record to MP3).

ART HOUSE MUSIC

Since I spent the day looking at all the shit people use to make music sound good, I figured I’d go to a show and watch some people actually play good music. After AES, I headed over to Less Respect $tudios, drank beer, watched Olberman and listened to G-Pek play with his new Serato set-up for a few hours while a crew gathered. Eventually we made our way to 111 Minna to catch the homies TopR and Grand Invincible. It was starting to rain, but that didn’t keep people from hitting the spot; it was already kinda jumping off when we got there at about 10:30, and it just got more and more poppin’ as the evening dragged on. SF’s own Melina Jones set it off, and she kinda killed it. Grand Invincible — DJ Eons and Sacred Hoop’s Luke Sick — laid down the smokey golden era jams and TopR is still pissed at the world, and really good at explaining why. Good rap show.

Bonus: Half of the art currently on the walls at 111 Minna — which is primarily an art gallery, for those of you who aren’t knowin’ — is by Henry Lewis, the painter and tattooer who has been working on my left arm sleeve. It’s been a while since I’ve seen his painting, and it’s better than ever. Check it out this month at 111 Minna.

NERD, PART 2: UNDERGROUND SOUND

Saturday afternoon, slightly hung over from the night before and tired as hell from having to get up at the crack of dawn and get on a day-job-related conference call, Colin and I hit Mr. Toad‘s in SF, where we met mastering engineer Ben Adrian to sit down and master the new Ovipositor record, Oakland Minor. The subterranean mastering suite is dope, a simple setup with a single mastering station, a small couch, muted moveable sound walls and carpet, and two huge, really great sounding Dunlavy SC-IV monitors.

I know the record isn’t ever going to sound as good as it did coming out of those Dunlavys, but it sounds pretty good in my living room, in my car, and coming out of the puny computer speakers in my office, too, so I know Ben did a good job. We’ll be working pretty hard to sound that good when we play live again in December at the Hemlock.