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2014-11-16 Going on the Record

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When I decided to sit down to write about the process of recording this CD, I found myself veering into a level of verbosity that is unusual even for me. Though I've spent my whole life dreaming of making albums and music videos, I was surprised at what a Very Big Thing it was and how many things I felt like I could say about the process of making this album. And that's just thinking about the song part of it...I'm saving the art and stuff for later. That's part of how I'm hoping to fool you into thinking Iíve learned a little concision. Ha!

In sifting through all the things I could say, I kept coming back to the emotional side of things and the little snapshots in my head as I sift. I'll throw some actual snapshots in here for you (because a picture's worth a thousand words but doesn't add to the proof that Iím verbose...)

First came the anxiousness when I learned the drummer I really wanted on the album (Ben Crosby) was moving away. I knew we didn't have enough songs ready for an LP, but I couldn't miss a chance to get Ben recorded. I'm pretty sure that I didn't stop holding my breath until we had all of Ben's drums recorded. (And then, of course, that was also mixed up with my upset that he was leaving. That kept me feeling extra-emotional all through the process. Pity the people who worked with me!)


Another little dose of anxiousness was quickly relieved when Johnny Straube (of Post Adolescence) was available to pick up bass when the bassist we'd been playing with didn't work out. Johnny stepped in, wrote new, killer basslines, and then recorded in our available window.


I got a little more relief when Jason bought into doing an EP to make sure we got Ben on the record. We both try hard to hold ourselves and our work to high standards, and I wasn't sure he'd agree that doing an EP with Ben instead of waiting and doing an LP was the right call. Fortunately, this is one of those times we agreed.


Next came the rush of a project. I love to be involved in a big, meaningful, goal-oriented project. Even when I'm stressed over unexpected issues or sleepy because I was up late working, I actually feel really fulfilled by it. Work hard on something I love and end up with some lovely proof of that work? Yes, please! My poor bandmates can tell you that I love that fulfilling feeling so much that I often mistake it for fun. I'd apologise, but I'm unlikely to change, so it would seem disingenuous...

Amber, taking it seriously

Scattered all throughout was the little glow I get from learning (because I don't see how one can work with a good producer and not learn something) and the big glow I get from making art with people I dig. There's little that makes me feel more like I'm doing something that justifies and makes the most of my existence...

Amber and Jason giving thumbs up

I loved being challenged and pushed by the producer (the incredible Mark Clem). I loved watching talented musicians give their all for something that means the world to me. I even loved finding my weak spots, because that gave me a chance to work on them. I'm not saying it wasn't difficult and exhausting, but it turns out that I've got a taste for that particular flavour of difficult and exhausting.

Mark Clem

And that's why, as soon as possible, I'll do it again. The creative part of me will love it (for obvious reasons), and the logical and methodical part of me will love the planning and analysis and list making...And, unless the cheers after songs are all lies, you will love the music that you get at the end of the process.

Ed Brooks

For now, though, we hope (we truly believe) you'll love the songs on Each to Each. That you'll hear the talent of both the musicians and the non-musicians (in addition to producer Mark Clem, Ed Brooks did a brilliant job of mastering). That you'll find your own connections to the songs and share those with us.

Amber dreams of you loving the album

As always, I'm here to hear your thoughts and requests. Drop me an email, lovely.


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