Ash the Bunny,
Sissy Pearl,
Kelly Cook,
Melissa "Melissa Melissa" Cook,& A guy named Tony
Influences
Weird Al, TMBG, Alice Cooper, Jane's Addiction, Red Hot Chili Peppers, Tom Waits, movies, TV, people, animals, gadgets.
Sounds Like
I woke up this morning, put my contacts in. Saw me a zombie in the laundry bin. I rubbed my eyes good, made sure which house I was in. No zombie jumped upon me-- let the day begin.
I said, "Lord alert me if there's something here to hurt me."
I pushed the button on my toaster oven. Out popped a green lady, straight outta coven. I screamed out for my mother's and dug up the label from last night's stuffin'.
I hopped on my bike to make the ride to my car. And I'm dodging the mummy 'bout half way to the bar. I got back my keys and I smoked me some tar. Said, 'Moe, watch out, 'cause they know where we are.'
Stroll into work for my check and stub. Swamp thing creature got me in a bear hug. I yell 'Please help me' to a guy I always snub.
And he simply smiles and says, 'Have a good vacation, bub.'
Cartoon Radio's upcoming first record was crafted with the use of an old
school VHS camcorder and a Philips CDR770
single drive stereo CD burner.
Overdubs were performed by burning an initial
track in the right channel, finalizing the disc
and pulling it to burn anew as an exterior
source--still only in the right channel--
while recording a new track in the left
channel.
This new recording served again as an exterior
source, this time with both channels bussed to
left channel only, to again record a new track
in the right channel.
The instruments are all me, with aid from
Link, Ash, Sissy, and others on chat and
ambience.
Approximately 75 hours of recording time went
into Lamb's Hat and the upcoming follow-up
Weasel Jacket, which consists of additional
songs recorded during these sessions.
Because a camera was the only microphone, all
of the sessions were captured on video. the
tapes are still in Sissy's possession.
Additionally, due to the method used, every
moment of audio-- every take of each track,
rehearsals of the more complicated segments,
and all of the chatter and goings-on that took
place between and during recording-- has also
been preserved on CDR. These, fortunately, I
have.
These recordings originally were intended as
demos for a full band project with Link and
Sissy. A keyboardist was also showing
interest, and devil J was hanging in the wings
ready to play guitar (he did play on a couple
of tracks, none of which were applied here).
The band never materialized, so I simply
continued to work the tracks to completion.
Recording took place between October 2001 and
May 2002. Sessions were at all hours, fueled
with cans of coke and clove cigarettes smoked
indoors.
I was working at a lakeside thrift shop
during slow season, so I was often pardoned
from attending shifts, thus making more time
for recording (some friends of Sissy were
paying our rent).
The at-home vibe is preserved with oodles of chatter and video
games occuring around me during parts of the
recording.
In the summer of 2002, most of the songs on
Lamb's Hat were "released" on CDR as Pavement
Thru The Moon by Air Traffic Liberation-- my
first attempt at a label.
ATL's main function was networking, and all I
did release on it was a double compilation
featuring tracks by all of the above amidst
material by a slew of awesome international
bands.
As for our then-photocopy'd, then-CDR'd roster
of beloved arists, though, their material
wouldn't resurface until the inception of
candyhammer in 2007, and Cartoon Radio stands proudly among them.
