Now where was I?

This is becoming a theme. Blah blah, progress being made, OH WAIT HIGH PROFILE GIG, that was fun, now try to recapture momentum…

This time, it was again a PAX. PAX Prime in Seattle, to be exact. I really kind of thought I’d be used to this by now as this is the 5th one Metroid Metal has done, but this one was no less hectic and exciting. I’m not as nervous as I was for the first couple, but I somehow managed to not actually go to the expo itself. I spent most of the time either at our table or at the venue. I did get a little hang-out time and that was cool. Actually, one of my favorite parts about this one was an increased sense of camaraderie between all the bands. I really appreciated and enjoyed that. But now it’s back to the real world and that means trying to get back into the groove of recording this album.

By my count, there are 6 songs with drums recorded. Most of them have at least a scratch bass track recorded, and one of them has guitar and vocals! I’ve got several more songs in the works, and it’s just a matter of getting them practiced and recorded. Kevin has been unavailable lately (at least when I’ve been available) but things are in flux in his world, so hopefully it’ll all settle down soon enough.

The good thing about being away from all these songs for a little while is they’re exciting and fresh now that I’ve come back to them. The bad thing is I may have forgotten how to play a couple of them.


I’m doing something different this time around, and it’s a pretty drastic change. I’m using click tracks.

Ok, actually, this isn’t new to me, I’ve done this for years, but Kevin doesn’t generally need them, and doesn’t like using them. As I’ve mentioned before, we would practice the songs to be recorded, then when he felt ready, he’d just play the songs unaccompanied and I’d record him. He did this for the Yes, Mayhem album, both Metroid Metal albums, and the unreleased Life on the Blue Dot album (I really need to finish mixing that), so it’s been standard operating procedure for some time for us.

No more!

Kevin wants to do professional session drumming, and he’s certainly got all the chops to do that, but click tracks are a certainty in that environment – especially if he hasn’t established himself yet. So, we’re doing that as practice for him.

I don’t actually mind the inevitable ebb and flow of the tempo when he’s playing without a click. I think it lends a more live feel to the whole thing, but it can be difficult down the line for other people to track on top of it – especially other people who aren’t used to playing with Kevin. That said, there were a couple of places on the first album where tempo variations made overdubbing very difficult, and I almost had to scrap a song because of it. I worked it out in the end, but I hope to avoid some of that this time around. I’ll probably create a whole host of new problems for myself but c’est la vie.

How much? Too much.

I bought some package from Musician’s Friend that included a whole bunch of free XLR cables I’ve been using for my drum mic setup. I’ve only had them a little while, but I’ve already replaced two of them because they just sort of go bad and introduce all sorts of noise and distortion into the recordings. I’m going to end up replacing all of them because another went out on me during the last couple of recording sessions. So, free is more than I can afford apparently.

That said, I’m now up to 4 demos recorded with a couple more songs ready to be worked out. Since I don’t have all the songs worked out completely like most of them were for the last album, I’m taking time to record, listen back, and live with them to decided what changes I need to make rather than just rush to tracking like Kevin wants to do. It gives me a chance to get James and Grant involved in the process a little more as well rather than just handing them finished tracks and saying “make a guitar noise here.”

So, I guess the moral of my story is, if you purchase a package from Musician’s Friend, and they offer to include free XLR cables, don’t expect to rely on them for anything other than maybe a clothesline.


No, the next album isn’t going to be Commodore 64 music as much as I may wish that was the case. However, demo recordings are finally underway. MAGFest was later than normal, and PAX East was earlier than before, so they kind of ran together and prep for them pushed Yes, Mayhem stuff to the side momentarily. It feels good to get back on track.

I’m also working on a radio edit/press kit for the first album. I figure SOMEONE might want to play it, so why not put it out there?

Once more, it begins…again!

I’ve broken ground on this thing, finally, again. Last night, Kevin and I had our first official practice/recording session for the new album. We worked on an old song of mine that I’m tearing apart and rebuilding into something I can finally be satisfied with. We recorded some loops of some of the parts just to kind of get a sense of how things work together and to give me something to listen to/think about until the next time we get together to play.

Get equipped

Since the first album, I’ve picked up a number of upgrades for my recording setup.

The first album was recorded using James’ 4 track Fostex digital recorder using whatever mics I could scrounge. I picked up a PreSonus Firepod and some dedicated drum mics. I’m now using 7 mics on the drums instead of just 4, and the results have been pretty good so far. I used this same setup to record drums for Metroid Metal’s Expansion Pack. I picked up some Audix drum mics – a special kick drum mic, 3 tom mics, and two overhead condenser mics. I’m still using my SM57 on the snare. I’m also recording in a carpeted room in the basement of my new house instead of Kevin’s brick and concrete cave. I haven’t installed any sound dampening stuff on the walls, so I’m close-micing everything and making sure the overheads are pointed so they don’t pick up reflections from the walls. The first drum tracks I recorded sounded awful because the slapback was almost as loud as the original hits. I’ve sorted all that out now, and the drums are sounding better than the first album, which I guess is the point.

I will try really hard not to ruin them in post. No promises though.

I now have 10 drum tracks recorded, and at least rough bass tracks for all of them. I let you all hear works in progress previously, so why not now. Here’s a drums and bass mix that gives a decent idea of where the album is at this point. This song is fairly representative of the direction this album is taking, I think. There’s very little “production” done on here. I think volume mixing and panning is about all I’ve done with the drums, and there might be some compression on the bass.

A Thing – a work in progress (bass and drums)

This is just Kevin and I, but I’ve started sending out tracks to collaborators, so I’m eager to start getting stuff back in the not too distant future.

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Let's do that again!

I’ve had a chance to sit and relax a bit after I finished everything for the last album. I have way more good reflections than bad, so I’m inclined to start this whole process again. The reaction to the first album was pretty fantastic so that was very fulfilling. Thank you to everyone who downloaded the album, commented on it, or just cranked it up. I listen to it all the time still, so at the very least it met my primary criteria – be an album I want to hear.

As I mentioned, I started writing new stuff as a way of procrastinating finishing, so that’s where I’m going to start with the new one. Like before, I’ll be pulling in some older demos and giving them the full band treatment, but I hope to have more brand new stuff this time around.

I’ve been doing preproduction type of stuff and that mainly consists of figuring out what songs I have, what songs I could have, and what remains to be written to get some of this stuff to a usable state.

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I wrote most of the instrumental parts on the first album, but I was most excited about the parts other people came up with, so I’m going to leave plenty of room for collaboration this time around. Hopefully, that’ll result in more interesting things, but I’ll still try to maintain some clarity of vision for the project as a whole.

I’m happy to say that my core (James, Grant, Kevin) has expressed interest in reprising their roles, so that’s a pretty good start right there. I hope to include more special guests this time as well, so the scope of this thing could get well nigh unmaintainable, but I’d like to at least see where that line can be drawn.

I’ve given James, Grant, and Kevin copies of what I have so far. I’ve got way more than a single album, so I’ll probably be trimming stuff as I go and probably adding other things as they come along. I hope to start tracking drums in late January or early February, just like last time. Metroid Metal Live is playing at MAGFest again, and that’s taking place Jan 13-16, so we’re busy getting ready for that at the moment.

I’ll try to be better about writing about the process this time, but again, no promises. Thanks for sticking with me through the spotty updates.

Here we go…again!


I could post a long winded screed about this whole process and how glad I am it’s over, but just go listen to the music.  That’s the important part.



I haven’t been here in a while, as a few of you have figured out, but I’ve been spending all my time working on music instead of updating the blog.

Ok, just kidding, but seriously, there hasn’t been a lot to talk about.  I did start a couple of posts that I didn’t finish, but they were mostly of the “soooo busy” variety.  That’s probably why I didn’t finish them, come to think of it.

Here’s the short version:

Bought a house and all that entails
Played a bunch of music in front of a ton of people (MAGFest, PAX, Asheville)
Played a dream gig (w/Jonathan Coulton at PAX East)
Recorded an album (other than this one)
Recorded some MM tracks (working on one now, by the way)
Started recording ANOTHER not-this-album
Learned way more than I originally wanted to about small engine repair
Learned way more than I originally wanted to about toilet repair

I could go on.

So that’s why things have been slow going on the Yes Mayhem front.  I’m pleased to report that although progress has been slow, it has still been progress.  I can report that primary instrumental tracking for all songs is done.  DONE.  There is one song that is waiting on vocals, and a couple that are waiting on some odds and ends and fixing.  I’m planning  a blitz to knock out these last remaining issues.  James and I are going to lock ourselves in the studio, just like old times, and record and mix and giggle.

In the meantime, just to prove that I’m actually doing something, here’s a song that just got finished.  This is an unmastered semi-rough mix, and it is subject to change before it’s final, but I’m pretty pleased with it.


James Moats: vocals, guiro
Grant Henry: guitar
Dan Taylor: bass
Kevin Lawrence: drums
featuring Jason “Xoc” Cox: crapparatus

The Final Mile

11/12 songs are mastered and done – ready to go.  I can barely believe it, but there it is.  I’ve been listening to the final versions of the songs, trying to figure out a decent order for the album, and have to keep reminding myself that this is my album.  Don’t get me wrong, it certainly sounds like me – it’s very weird and loud.  That’s how I like it.  It’s just so much better than I could have done on my own, so I’m all kinds of appreciative to all the guys who helped out.  I expect the whole thing to be completely wrapped in about a week, and that’s going to be a load off my mind.  Finally, I’ll be free to devote some musical energy and headspace somewhere else – like these new songs I’ve been writing!

Anyway, what this process has shown me more than anything else is I suck at blogging/journaling/diarying/etc.  So sorry about that.  I promise, the album will be more entertaining than this thing.

So, as promised, a mastered track, and one I haven’t shared before.  We’re doing a sampler for PAX again, and this is going to be on there, but I’ll just throw it out there early.  This is called Whore Shoes, and it pretty much got written as it was being recorded.  That’s unlike most of the other songs that were finished and demoed before I even got started.  I’m really pleased with how this turned out.

Whore Shoes

James Moats: vocals
Grant Henry: guitars
Dan Taylor: bass
Kevin Lawrence: drums
featuring Jason ‘XOC’ Cox: accordion, wurlitzer

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