New Noise Magazine is pleased to be bringing forth the exclusive premiere of Mono by Sunday State. The songwriting ability of this duo is on grand display with this EP. The process of recording itself proves how detail orientated the band is. The six tracks on Mono present a band full of poise, energy, and versatility in their creative energy. Take a listen below, and read about each track from Sunday State themselves!
Larry Crane (Producer/Tape Op Editor): This record was not mixed in mono; it was tracked with the intent to be a mono album. Nothing was mic’d in stereo and all sounds were captured with the intent to present with depth of field – front to back as opposed to left to right. No digital recording devices or effects were used as well; not for any stupid retro-aesthetic reason but just to see what would happen. Tracking was on 16-track 2-inch tape and mixing was to 1/4-inch tape through a Rupert Neve Designs 5088 console.
Steve Turner: I was exited to do this project for a bunch of reasons. 1, Michael and Kurt had a handful of cool tunes. 2, I’d known Larry Crane for years but had never gotten to record with him, his Tape Op magazine was so cool. 3, Thom is a killer and versatile drummer as well as a fellow 45 collector. Some deep record nerd conversations would definately ensue. 4, I had free reign on the bass. 5, a bit of lead guitar! 6, recording in mono? I’m in! 7, a fully realized local project: mastered at Telegraph Mastering, pressed by Cascade Record Pressing, where I happen to work. 8, good times!
Call Your Bluff
Michael Carothers: I asked Steve if he had any recommendations for a vibrato pedal and he said, “just buy the cheapest pedal you can find.” I did. I think my guitar sounds like a ray gun, Thom calls it the rubber band sound. Kurt’s lyrics often have a strong sense of setting. He’s the grainy narrator of this fuzzy 3 minute art house film.
Kurt Foster: Michael had already given it a name before I wrote the words. Really it was as simple as following that sentiment and rolling with the feeling of those three words. Then Steve melted faces with some guitar noise at the end and we knew it was complete
Michael Carothers: This song is the Stones Beast of Burden on a steady diet of Raymond Caver poems. Kurt sings the final lines: “Rode the train upstate. Clatter tracks and teeth. Grinds away not safe. Not even in his sleep.” Really, it’s an adult lullaby, sing it to yourself in a spinning room when sleep becomes a stranger.
Kurt Foster: A friend and I once did an all night bender in New York City and then kept going through the next day. We rode in cabs, on trains, on bikes, sang along to whatever music we heard – we sang to ourselves the songs we grew up on. Then ended up in Albany.
Michael Carothers: I love that the chorus has no lyrics, just an odd bass line, pensive drums, and barely a murmur of a single guitar chord. Larry Crane had us take it from a slow song to an even slower song, the tempo of a cloud passing across the sun.
Kurt Foster: Sometimes you try to stop writing songs about your ex wife. Sometimes you don’t.
Michael Carothers: If James Bond ever dies, they should play this song in the scene. Steve’s woozy bass lines sound like a willow tree.
Kurt Foster: Like naked people sliding through space really, and a nod to my daily anxiety of failing miserably.
Michael Carothers: I’m not claiming I know what this song is exactly about, but Kurt’s lyrics here are equal parts cracked snow globe and post card returned to sender.
Kurt Foster: Once took a road trip with a girlfriend knowing that by the end of it we were going to be through. Only issue was that I just can’t wait to share news. We broke up 45 minutes in to the trip but continued on for the long weekend since the hotel deposit was non-refundable. awkward.
Thick As Thieves
Carothers: Yeah, no big reveal here; I really dig The Fall. Mark E. Smith’s had this vibe of, “let’s damage this song and abandon the possibility of hits.” So… I put a kazoo on the recording. Kinda like Crosstown Traffic too, if Jimmy Hendrix got so lost on blotter that he only could remember three barre chords.
Kurt Foster: The bass line of this songs reminds me of everything I love about older music, and Carothers is a master of guitar tone. Magic.