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And The Light Goes White Pt. 3 (Minus Bob :C)

NOTE: Due to time constraints, Robert Frank was unable to submit his part of the entry as originally planned ::::womp womp::::


Though the drums, bass and vocals were recorded separately at three different studios (Gotebo Studios, One Man Garage Recording Facility and The Stray Cat Studio), the majority of "And The Light Goes White" was recorded/mixed by Robert Frank at Minor Chord Studios. The original plan for 2020 was to get an EP done and have it recorded by Dante White Aliano at his studio The Cone in Los Angeles. I ended up meeting with Dante to check out The Cone, talk more about the direction, and right when I was about to book dates for the session the pandemic hit. Scratch that plan! Once the decision was made to record an album in separate studios only one place came to mind to fully finish the record, Minor Chord Studios. A little bit of history, Minor Chord Studios has been the linked with The Dramedy since the beginning. Nearly every release has been recorded there by main man Robert Frank. He and I met through a mutual friend of ours way back in 2012. Minor Chord is set at Robert's house and back then the control room was in the garage while the band room was in the living space. The bass and guitar amps were set up in the bathroom and a bedroom. I don't remember where the "vocal booth" was but it may have been in the same bedroom. This session spawned "Not The Only One," "Ring For Two," "Little Lies," "Broken Arrows (version one)," "Rejection Piece" as well as early/never released versions of "Lights" and "Judgement Day."

For the "StrAngr(S)tiL" album Minor Chord got an upgrade and evolved into a full blown studio right in Robert's house! At the time I didn't have a band so most of the instruments were played by me. The original idea for the drums was Robert (who is a fine drummer himself) would play a few measures and we would cut/paste the structure. After hearing the demos, and especially the song "Salvation," he offered to play the drums in full for all the songs. And thank god for that! Who knows how the album would have turned out had we done my original plan! As far as mixing the album I really didn't have a vision other than that I wanted it to sound loud with the guitars up front. Total punk rock! Listening back I have some reservations about the way it sounds but hey, that was my headspace at the time. And I've grown as a musician since then.


Which brings us to 2020 and recording "And The Light Goes White." Truth be told, after "StrAngr(S)tiL" I really didn't want The Dramedy's next release to be recorded at Minor Chord. As an artist I always want to do things differently to move forward, and that includes a change in recording facilities, to mix things up and try new things, hence why the original plan was to record at The Cone. Due to the time/financial constraints of 2020, I found myself feeling like it was the best choice to work with Minor Chord again. The Dramedy and Robert Frank has had enough experience with each other to establish a decent working relationship. He and I are familiar with both our work ethics which makes for quick and efficient sessions. And, in a way, I was already doing things differently, because the album was recorded at four different studios. As I previously mentioned I wasn't really happy with how "StrAngr(S)tiL" turned out, so the most important thing I wanted to do for "And The Light Goes White" was to really get the sound I was looking for. I wanted to be ready and not waste time. I listened to so many records (so many) to really pinpoint the direction I wanted my album to sound, as a whole. The one main album I used as inspiration was "Love Life" by Lush. Having done the whole "in your face" thing on my last record, I wanted this new one to be less abrasive. Lucky for me, Robert was VERY familiar with "Love Life." Of course some songs on the record used a different mixing approach to get the right sound such as "Circle The Road" being more influenced by Green Day and Metallica being referenced for the song "Vow." But having "Love Life" as the basis for the album made things easy. I feel very fortunate to have met Robert Frank. I'm sure I'm repeating myself here when I say that I don't really call myself a musician. I don't know how to read notes nor do I know the right terminology for certain things in the music realm. Put me in a room with musicians talking about gear and I would be like a deer in headlights. I'm basically just a guy who enjoys writing, recording and performing music. But even though I didn't really know any of these things, Robert NEVER made me feel uncomfortable. He took it all in with patience and would try as hard as he could to get the sound I was describing. Not only that, he has a good balance of knowledge between underground and mainstream music. Any reference I made, he would know what I was talking about, and if he didn't, he would look it up. And what makes our relationship really work, is that we really just get along. Most—if not all—of our sessions are pretty relaxed and filled with us cracking jokes left and right. KEY in ANY working relationship. ;) And that about does is for this series on "the making of" the album "And The Light Goes White!" I hope you enjoyed every bit of info. Of course there's more to be said but that will have just have to wait for the when I get the autobiography done ;). It's time for me to head over to Minor Chord Studios so Robert and I can get to work on remixing the album for the CD release, stay tuned! You can purchase the digital form for now if you haven't already ;). d.


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