That's Nicky C and Janelle Frenette on the cover, a shot taken from a moving car in Swampscott, 1995. Peep the In Utero t shirt.
This is the last album in what I consider the "year one" set. It was also the first album I made, in 1995, using a four track cassette recorder,
borrowed over a weekend from my man AxTx.
borrowed over a weekend from my man AxTx.
This is us 12 years later, in like 2007, kicking a lot of ass at INC in our band Buddyship.
That's Rat Ward Gary to the right obviously thoroughly enjoying himself.
Notice: I'm playing all the strings open and the top 2 12" speakers were missing from my cab.
trash life
On the first two songs you can really hear me struggling with basic scales, having had no conception of what they were or how they were used. Playing riffs.. ? These are OG recordings, I can hear "niandra lades and usually just a shirt" influence in this stuff.
This is the kind of guitar I had at the time, bought for $100 at the local guitar shop. Except mine was sunburst, not blue. I eventually lost this guitar in my late teens only to find it again maybe 8-10 years later in a punk house in the south. I knew it was the same guitar cuz it had the "Boycott Pepsi" sticker I put on it. I can't remember if I stole it from the punk house, probably not.
The rest of the songs, with the exception of "peep hole", are re-do's from the spring of 2000 made in a bedroom in Lynn, Mass on cassette four track.
This is the kind of guitar I had at the time, bought for $100 at the local guitar shop. Except mine was sunburst, not blue. I eventually lost this guitar in my late teens only to find it again maybe 8-10 years later in a punk house in the south. I knew it was the same guitar cuz it had the "Boycott Pepsi" sticker I put on it. I can't remember if I stole it from the punk house, probably not.
The rest of the songs, with the exception of "peep hole", are re-do's from the spring of 2000 made in a bedroom in Lynn, Mass on cassette four track.
With the four track I was trying to strategically bounce tracks in order to make the most of what I could get out of the machine. Typically I would record a stereo drum machine take, I was using a borrowed Alesis SR-16, on two tracks and a guitar or bass track on the third, bouncing the second and third track to track four. Then I would record over track two with another guitar or voice performance and bounce track one and two to track three. Then I would record two final performances on track one and two. Sometimes while dubbing the bounce, remember this was all in real time, I would record live and get an extra performance or two snuck in.
I had heard the "Sperm Whale" EP by Thrones around that time and decided I needed to spend much more time programming expressive drum patterns.
This stuff is still little kid music made by a child brain.
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