tape op magazine


This one is for all my dorks out there, meaning people who actually read and shit. Great white overrated “lofi” God/Man Pollard reveals the schematics on how he makes hundreds of albums that sound like they were recorded on a four track (big reveal: they were recorded on a four track).  Extra special taste of Cadbury goes out to the corn balls at Matador for dis-inviting me and the boy Young Oasis from their office for having the temerity to suggest that maybe our rapper client wouldn’t like having black and white posters to advertise his album. Know your lane ladies! That’s Dr. Brown’s advice for the day. 

From the second issue of the intermittently fascinating Tape Op

Shannon [Stephens] was singing and writing the songs. She was playing guitar and we had a cellist. I was playing the recorder because it was all I could do. It was really bad ethnic folk-pop music. I had long hair, wore Birkenstocks and I owned a Hacky Sack–that’s where I was coming from. I wanted to learn to play guitar because it seemed like if I was going to get anywhere in this band, I had to play guitar. It was 95 degrees all summer and I would come home after work, sit in my room for five hours, sweat and strum the guitar–strum E major over and over.
—  Sufjan Stevens in Tape Op Magazine talking about his college band, Marzuki

Emitt Rhodes - Live ‘Til You Die/You Should Be Ashamed/Lullabye/Fresh As A Daisy

This YouTube poster has compiled their four favorite songs from Emitt Rhodes’ self-titled debut into one video, which is very handy, as I was looking to post any of these particular four this morning. Emitt was a home-recording pioneer in the early 70s, and often referred to as “the one-man Beatles” for reasons that should become obvious about 18 seconds into Live 'Til You Die. He had previously been the main singer/songwriter in a 60s also-ran group called The Merry-Go-Round (who have some decent songs and some really terribly ponderous songs), and he used the money from his solo record deal to build a pretty decent studio in his parents’ garage, where these were made. I knew of Emitt’s name for years, partly from Lullaby’s inclusion in The Royal Tenenbaums, but mainly because Tape-Op Magazine (the creative recording magazine) mentions him often, seeing as how he and R Stevie Moore are kind of gurus of the home-recording movement. When I finally bought this self-titled record at a sale in a garage in the suburbs in a blizzard a few years back, I was just blown away by this songcraft. Much like the first time I heard Big Star as a teenager, all I could think was: “Why isn’t this on the radio all the time? How could this have failed to be huge in 1970?” Some questions have no sensible answers.