Brooklyn’s day-glo retro-futurists Future Punx are back with a brand-new full-length called 2020.  Band leaders Jake Pepper and Chris Pickering engineered and mixed the album largely on their own, and I assisted throughout the process – from song-selection and recording through additional production and preliminary mixing at Studio Windows.  The resulting album feels like the strongest realization of their instant party-starting electro-rock dreams, just in time for summer!  2020 is currently available for streaming & download on their Bandcamp page, with plans for a physical LP due later this year via Dull Tools.

It’s been waaaaayyyy toooo loooong since I’ve updated this page, and as a result I’ve decided to switch this page over to a more standard blog-style format from here on out: shorter updates more often.  In the meantime, here’s a ton of things that I’ve worked on which have come out in the last few months:

The Drums released their new record “Abysmal Thoughts”, the first for Anti Records. The reception has been across-the-board good, with a variety of publications proclaiming the “music has never been better” (AV Club), “the purest version of his vision yet” (Allmusic), and “a treasure chest of an album in which you’ll find something different and unique hiding within each listen” (Paste). I worked closely with Jonny Pierce on this – (re)recording many of the live instruments, developing arrangements, adding synths and effects, and mixing the entire album.  The album was beautifully mastered by Joe LaPorta at Sterling Sound, and I’m thrilled by this being out in the world.  Watch the video for lead single “Blood Under My Belt” and stream the album in its entirety below.

 

Eaters – my electronic/art rock group with Bob Jones and Christopher Duffy – released our second untitled record on Dull ToolsCLRVYNT debuted the first single “Embrace the Strange” ( “It’s a gnarly track, illustrating how the band can rocket from one starting point to the far reaches of space”), Impose and Brooklyn Vegan ran some insightful interviews, and positive reviews graced Post-Trash, Flood, and YellowGreenRed.  Favorite quote (from Post Trash): “Eaters have made an album that rewards those who listen by providing a different experience each time you put it on. Layered, complex, and varied, it pays off in different ways. It’s a record that gives you new favorite moments after you listen. Like light going through glass, the sounds refract outward based on who is listening. Give it a listen and see what sounds make it to you.”  We’ve got some great shows coming up late-summer/early-fall, and new songs and sculptures in the works – stay tuned.

 

Gold Dime – the arty no-wave trio led by Talk Normal’s Andrya Ambro – released their debut Nerves on Fire Talk.  I mixed this expansive feedback-soaked LP last year, Sarah Register mastered it, and it’s been gaining nice press from Impose, Brooklyn Vegan, AdHoc, and more.  They’re playing around NYC quite a bit, and you can stream/purchase the LP directly below:

 

NYC singer-songwriter Tica Douglas released their latest album Our Lady Star of the Sea, Help Us And Protect Us on Team Love.  I mixed and mastered this album, which ranges from intimate guitar-and-voice ballads to full-blown compositions with synths, drums, horns and more.  Tica and the LP received a great deal of press, with features in MTVImpose, CLRVYNT, and Bandcamp (who also named it one of the spring’s best releases).  Stream it below and then go pick up a copy on LP.

 

Australian darkwave maestro Buzz Kull released his debut LP Chroma.  I co-produced/mixed/mastered over the course of many months, trading files back and forth as the songs took shape.  It’s been a long time coming, and I’m so happy to see this killer LP out.  Chroma is out now on Burning Rose, and you can stream it on their Soundcloud.

 

Canadian trio Telecomo recently released their debut album For Sale.  I recorded/mixed/mastered this collection of tightly-wound jangly garage anthems, which you can stream below and purchase from their Bandcamp page.

 

Prog-punk/psychedelic hardcore group Fucked Up released the Year of the Snake EP, the latest in their ongoing series of Zodiac-themed epics.  Noisey interviewed the guitarist/song-writer Mike Haliechuk about the record (which I mastered), calling this EP “the best one next to 2008’s 19-minute long Year of the Pig.”  Pitchfork also praised the EP, saying “even after decades’ worth of relaxing boundaries, Fucked Up bastardize hardcore in a way that gives off the thrill of creative heresy.”  Year of the Snake is out now on Tankcrimes.

 

Former Dirty Beaches ringleader Alex Zhang-Hungtai has a trio called Love Theme.  Their new self-titled LP (which I mastered) is out now via Alter, with songs on Pitchfork and FADER, and they’re touring North America this September.  Check it out:

 

The Tills – a wild and catchy psych-garage group from North Carolina – released their new LP CANON. I mastered this record, which was recorded and mixed at The Fidelitorium by Missy Thangs, and it slays.  Amplifier Magazine and Clture both featured the group, calling it “thoughtfully unkempt and unpredictable at times, catchy yet familiar”.  CANON is out now on Phuzz Records.

 

And NYC-based glitch-pop duo HDLSS recently released the LP Selections from DUMB.  I mastered this record along with my studio partner Yale Yng-Wong, and tracks have been featured on FADER, Stereogum, and Noisey.  Stream the thing below:

 

I also edited and mixed the feature-length film component of Radical Hospitality, a long-form installation by Montana Simone at IDIO Gallery, as well as assisted on sound-design for the installation itself.  The project is based on her experiences while traveling through the Middle East, Mediterranean, and Western Europe, being welcomed in both “hostile” cultures and by refugees alike.  The abstract film serves as the guide/anchor to the installation, which also featured large-scale sculptures, interactive music, and a zine of found photographs.  The trailer is streaming below.

 

Thank you for reading.  Please write me at jonathan [dot] schenke [at] gmail to get in touch.

Beech Creeps – s/t

 

The self-titled debut from Brooklyn’s Beech Creeps is out now on Monofonus Press!  Critical reaction (from press and fans) has been real good for these guys with another song (the massive slice of sludge “Arm of the T-Rex”) and a full album stream hitting Stereogum over the past few weeks.  They share many kind words, calling the album “aggressively imaginative rock… [that] feels raw and blood-thirsty in a way that current rock just doesn’t anymore.”  They also hit the nail on the head when they talked about the aspects of “fun” and “play” in this music – we had a blast making this record.  I’m also just very proud of the work that we did, so it’s real treat to see if finding such an appreciative audience.  Check it out now if you haven’t already!

Eaters recently released some new material as well – a contribution to the ‘Dreams’ series by the website Stadiums & Shrines.  The premise is that each artist receives a collage of a foreign land, and musically interprets it as they imagine it.  We chose Finland (which neither Bob nor I have been to), and the result is above.  Make sure to visit the site in order to read the hilariously bizarre dream sequence they’ve depicted, replete with giants, talking reindeer, shape-shifters, soul-birds, and lots of laughter.

Eaters live, photo by Sam Cole

 

We also played a couple of fantastic Eaters shows in February.  We started the month by playing with our Dull Tools homies Parquet Courts and Future Punx at Palisades on an instantly sold-out show.  These three groups are so intertwined and supportive of one another, it was a wonderful family affair.  And just recently, we supported Dan Deacon at the record-release show for his new album Gliss Riffer at Rough Trade NYC.   It was an absolute treat to be a part of that show – playing some new material, on a proper stage and sound system, to a new audience, with an old friend on his big night.  The L Magazine had some great things to say about us, and Impose took some fantastic photographs of the night.

I spent some time this month working with the duo Lushes on their upcoming album Service Industry.  They recorded and will mix the record with Aaron Mullan (Sonic Youth‘s studio engineer and leader of the band Tall Firs), and we worked primarily on creating synth parts and providing treatments for samples and vocals.  It was an interesting and different approach to record making for me – not that I haven’t done these things in the past, but that I usually work on those things during recording or mixing a record.  Working exclusively on synths and treatments allowed us to expand the record while keeping the original sound/vision intact.  I’m a fan of the band and their debut What Am I Doing?, and was really psyched to work with them on this one.  Look for the record later this year on Felte.

I also started working with Forest Fire on their new record.  Their previous record – 2013’s Screens – remains one of my all-time-favorite record-making experiences, and we were all twitching with anticipation to start a new record together.  We did a few days of basic tracking at the end of the month, and will be passing files back and forth throughout the spring.  I’m really curious and excited to hear how this album develops, but it seems to be refining and expanding upon the electro-romantic streak of Screens.

Make sure to visit Lightning Bug’s bandcamp page, where they’re posted their debut record Floaters as a pay-what-you-wish download and cheap cassette.  I mastered this record earlier this year, based on an introduction through a mutual friend, and was mightily impressed by the quality of their work – a potent blend of Broadcast-style psychedelia, krautrock, shoegaze, and ambient drift.  I just re-listened to it as I wrote this post – it’s great!

Also now available on bandcamp is Wondering Home, the new album by Hums & Haws.  Matt and I worked together at Experimental Sound Studio in Chicago, so it was great to bring it back around again to work with him on this record.  My friend Nick Broste recorded it, and I mixed much of it (along with a couple songs by fellow ESS engineer Todd Carter) and mastered it here in Brooklyn.  Enjoy!

And in case you were wondering – yes, I re-did my website.  Hope y’all like it.

Eaters live

Lots happening since my last update…

Eaters toured the northeast/midwest in October with Lace Curtain and did some non-CMJ shows during CMJ in New York.  We played some great and memorable shows with some great and memorable bands – too many to mention, but special shout outs to Protomartyr (always awesome), Turn to Crime (psyched to be working on a collabo with these guys – Derek, whaddup??), Koko vs Real Life in Montreal (seriously, please record something!), Dull Tools (represent), Big Mama’s House in Philly, my Chicago people, and of course David/Lace Curtain.  Impose posted some photos of our show with Protomartyr at Death By Audio, even sneaking one of man-behind-the-curtain/third-Eater Chris Duffy.

 

Eaters also appeared on Driftless Ambient 1 with an improvised composition titled “Banner of Your Choosing”.  I love how this song came about and turned out, and really happy to be a part of this compilation.  Stream it above, and check out track-by-track details and hear the whole record on Dazed.

For the month before that, I was working with Liturgy on their new record.  It’s an immense record – intricate and beautiful and fucking heavy – and its the culmination of years of work by Hunter, the band, and many others.  I am thrilled to have been a part of this album, and absolutely can’t wait for people to hear it.  We recorded at the illustrious Strange Weather in Brooklyn, with additional recording and production done by my long-time friend and associate Frank Musarra, and mixed at Doctor Wu’s.  I wish I had something from it to share, but I don’t, so just watch this clip of them playing with Peter Fonda on drums instead.

 

Watch WE THE ECONOMY – This Won’t Hurt a Bit on Vimeo.

I do have plenty of other stuff to share though, like this short film by Mary Harron (director of American Psycho and I Shot Andy Warhol) that I sound-designed and mixed.  It’s a part of We the Economy, a series of shorts about the US economy, produced by Morgan Spurlock (Super Size Me) and Paul Allen (co-founder of Microsoft), which screened for free last month and are currently streaming online with supplemental information about the wide variety of topics covered.  Mary’s is called This Won’t Hurt a Bit, and is about the the history and sorry current shape of the American healthcare system.  Bob Balaban, Lili Taylor, and many other familiar faces appear – this was really fun to work on.

 

 

There are several new releases out this week that I worked on as well.  I co-mixed the new Dream Police record Hypnotized with Kyle Keays-Hagerman at Doctor Wu’s in the spring, and it’s out now on Sacred Bones.  Dream Police is Mark and Nick from the Men, and this record veers way off into psychedelia and synth-rock, getting comparisons like “a scuzzy and potent take on that whole Drive soundtrack sound” and “a demented Dire Straits record”.  The record premiered on Pitchfork Advance, and made it into Stereogum’s Heavy Rotation – check it out!

 

 

The new Future Punx EP I’m So Inspired is also out this week via Dull Tools.  Drummer and swell guy Jason Kelly recorded and mixed much of this (with the basics tracked at Rubber Tracks), and we worked at Doctor Wu’s to finish the mixes and master.  It’s got a classic new wave vibe, like some lost classic from the early 80s, hitting all the right notes for people pining for more bands like Devo, the Units, and Tom Tom Club.  Noisey debuted the song “Forgive the Doubt”, and Impose posted the video for “Spike Train”, their track with Parquet Courts on the LAMC series (and which we mastered in the same sessions).  People between NYC and Texas should make a point of checking them out on tour, and people everyone should listen to the EP, streaming above and on sale now.

 

 

Parkay Quarts/Parquet Courts have a new record called Content Nausea out this week as well.  Austin and Andrew recorded and mixed this themselves about six weeks ago (fastest turnaround ever, no big deal), though some work we did together during the Sunbathing Animal/Tally sessions shows up here as well.  I love the detours and explorations they take as “Parkay Quarts“, and it’s cool to see some old favorites re-imagined and find a home alongside some killer new stuff.  Of note is the mastering job by Joe LaPorta at Sterling Sound and how cohesive these recordings made on a 4-track cassette, on an 8-track reel-to-reel, in Ableton sessions, and from a karaoke jam sound together.  Awesome all around – check it out above, out now on What’s Your Rupture/Rough Trade.

Lots more happening now – thanks for reading!

Mazes - Wooden Aquarium

Two very different but equally exciting records that I worked on drop this week – Wooden Aquarium by the British band Mazes and Social Rust by Brooklyn’s own PC Worship.  I love the way both of these records sound and I love both of these bands, so it’s wonderful to see so many reviews remarking on the sonic quality and calling them both the best of each band’s work.

I produced the Mazes record this past February, recording it upstate at the Fat Cat studio and mixing it at Doctor Wu’s over the course of two weeks.  It was a crazy bonding experience – everyone jet-lagged (I had just got back from Australia), the rental van getting robbed outside my apartment (my bag with my laptop, hard drives, camera – gone), getting snowed in upstate and digging our way up to the studio – and I think that intensity and camaraderie really comes across.  DIY Magazine has been all over Wooden Aquarium, with a glowing review, an interview with Jack Cooper, and a track-by-track stream and guide; NME gave it a 8/10 review; and it was BBC Radio 6’s Album of the Day last week.  Alan Douches did a great job on the master – this record sounds incredible.  Wooden Aquarium is out now on Fat Cat Records.

PC Worship - Social Rust

Social Rust is just nuts.  I mixed and mastered the thing so I’ve probably heard it more times and more in depth than anyone aside from lead-worshipper Justin Frye, and there are things that still catch me by surprise.  This record sounds unlike any other record I’ve ever worked on – a mud-and-blood spattered, moth-eaten tapestry of absurdity – and I love it.  Ad Hoc interviewed Justin about the record, and Impose Magazine raved: “Social Rust is PC Worship at their very best, even if their best is dissonant and unsettling, voyeuristic and creepy, maniacal and rapturous. Maybe it’s a reflection of the times, or maybe it’s just a good record. Either way, listen to it and lose yourself a little.”  I couldn’t agree more.  Social Rust is out now on Northern Spy / Dull Tools.

Also out this week is the re-release of Mannequin Pussy’s Gypsy Pervert, re-mastered and re-sequenced on vinyl for the first time.  I mixed this with them last year, and it’s killer – I’m really psyched to see it getting another life.  Check out this interview they did with Impose recently, and go see them when they come through your town soon.  Gypsy Pervert is out now on Tiny Engines.

And out next week (September 16th) is the newest single in Famous Class Records’ LAMC series (#13) – Parquet Courts b/w Future Punx.  It’s kinda like the return of Fergus & Geronimo…  “This is Happening Now” was recorded during the Sunbathing Animal sessions and mixed this summer, “Spike Train” was recorded and mixed by Jason Kelly, and I mastered both sides.  All proceeds go to VH1 Save the Music – a non-profit dedicated to music education in public schools.

Parquet Courts also recently released a music video for “Bodies Made Of” recorded live at their show at Sugar Hill Supper Club this summer, and directed by Iain Forsyth and Jane Pollard (whose amazing Nick Cave pseudo-doc 20,000 Days on Earth comes out later this month).  I recorded, mixed, and mastered this bad boy too.

I recently went on a road trip to Cleveland to see the opening of the new university center at Case Western Reserve University, which houses Welcome to Cleveland, a new interactive installation I worked on with Thu Tran, Ivan Safrin, and Bobo Do.  It was incredible to see and hear our work in the space, and surreal to be back on my old campus and honored at the opening.  Check out that photo below for an idea of what I’m talking about (that game on screen is inspired by the 1986 Balloon Fest, where your head controls a helicopter and you try to pop as many balloons as possible).  The games were as completely silly and weird in real life as we had hoped, so it was extra exciting to get to work with Thu, Ivan and Bobo on a new game this month.  I’m sure more will be announced about it soon, but it’s even sillier and even weirder than the others.

Welcome to Cleveland

I also had the opportunity this past month to do some sound design and mixing for Mary Harron (director of American Psycho, I Shot Andy Warhol, and The Notorious Bettie Page).  The short film is part of an upcoming series about the US economy produced by director Morgan Spurlock and Microsoft co-founder Paul Allen, and is a black comedy about the healthcare system.  It was fantastic to be a part of this project, and hey – I learned something too!  The New York Times ran a story about the series, which airs this fall.

I’ve been doing more mastering recently as well, working on a split EP with Tonstartssbandht and Hot & Cold, finishing up the Beech Creeps record from this summer, and mastering a single by Von Hack.

And while I’ve been doing a lot of post-production this month, I did get a chance to break out the MX-5050 with the band Pocket Hercules down at Seaside Lounge.  The tracks sound cool, we’ll be mixing in a couple weeks at Doctor Wu’s.

Eaters have been keeping busy too.  We have a show this Saturday (September 13) with Survive from Austin, TX, an incredible band live by all accounts – get your tickets and come on out!  We’ve got some new material coming out this month, including a track on the newly-announced Driftless Ambient 1 compilation.  And more shows soon, including a tour with Lace Curtain (a Total Control/Rat Columns offshoot) and some CMJ shows.

Doctor Wu's

I had no idea I was a producer you don’t even know you know until I came across this article by Brooklyn Magazine last week.  I’m listed along with such fantastic engineers as Jarvis Taveniere (great guy and fellow MX-5050 enthusiast), Chris Coady, and Shane Stoneback.  Thanks guys – you made my week!

I just finished a new record by NYC punks/goons Nuclear Santa Claust called Je Ne Sais Claust (yes, really).  We tracked it live to the Otari MX-5050 at Seaside Lounge one weekend and mixed and mastered it the next at Doctor Wu’s.  It was a total blast to work on, and a total blast out of the speakers – we harnessed a great Black Flag/Dead Kennedys vibe in sound and intensity, and cracked each other up constantly.  I can’t wait for this to come out on Don Giovanni Records.

 

I’ve also been working on a heart-felt documentary/portrait of Gil Scott Heron.  Told from the perspective of candid interviews with his closest friends and associates, it’s less of a biography and more of a tribute to a departed friend.  It was directed by Iain Forsyth and Jane Pollard, whose excellent current film 20,000 Days on Earth (a pseudo-doc starring/about Nick Cave) premiered at Sundance and will in theaters nation-wide next month.  I feel very honored to be mixing this film.

I was back in Chicago a couple weeks ago to work again at Pitchfork Music Festival.  I realized it was my eighth year working for the festival, and fifth running sound on the Blue Stage – whoa.  It’s always good to be back with the old crew and see a bunch of old buddies in the Midwest, and it’s the only front-of-house system I’ve ever seen with a Crane Song limiter – I love mixing on that system!  Bonus: in the airport, I came across this two-page article on Parquet Courts in the July issue of Rolling Stone!

PC Worship - Social Rust

I am thrilled to be able to share some music from the new PC Worship record Social Rust.  Pitchfork (and Stereogum and Impose) posted the semi-title track ‘Rust’ last week, to pretty unanimous excitement.  I mixed and mastered this record earlier in the year with lead-Worshipper Justin Frye (who recorded it at Roulette), and we blew each other away with what we came up with.  It’s honestly one of my favorite records I’ve worked on recently, by one of my favorite bands playing, so hold on to your butts.  Social Rust comes out September 9th on Northern Spy / Dull Tools.

 

Another skronk-tastic record I have to share is Jungle Green Meets the Blood Sisters.  Andrew/Jungle Green has worked with me to master his last few releases at Doctor Wu’s, and it’s been really fascinating to hear the growth and diversity of his music.  He’s released two singles of lo-fi doo-wop crooner jams with Kingfisher Bluez, but this new EP is a concentrated burst of no-wave-y freakouts focused around food and girls, featuring The Books‘ Paul de Jong on cello tantrums.  It’s a free download, and worth every penny!

 

And while we’re talking about guys upset about food and girls, I’d like to point out that The Last of the Great Romantics is now available online!  I mixed this film with director Duncan Skiles last fall, and it made the festival circuit earlier this year.  I’m a big fan of this rom-com – it’s clever and funny in an endearingly humble way, and as they point out on their site, cheaper than a cup of coffee!  Check it out!

 

Eaters is playing next week (August 13th) at Nothing Changes (formerly Weird Wednesdays) at Home Sweet Home in Manhattan.  We’ve got a new song in the reportoire, so come hang if you’ve got nothing better to do on a Wednesday night!  We play first, Future Blondes headline.

Thanks for reading this!  I’ve got a lot of great projects on deck, will post more when I can… feel free to reach out at jonathan[dot]schenke [at] gmail[dot]com

EATERS - front cover ref

Pitchfork recently ran a review of the Eaters LP, my collaboration with my friend Bob Jones.  There are a lot of great quotes (“the textures on Eaters are beautiful: Grim and subdued but so rich you could raise tomatoes in them”), and it’s honestly just amazing to see our personal project recognized on such a large scale, regardless of the just-ok score and slightly slighting tone.  Mixed emotions for sure, so we spent the rest of the day making a track for an ambient compilation due later this year – can’t wait for everyone to hear it.

Eaters are playing two very different but equally exciting shows in a couple weeks.  The first is Friday July 11th at Glasslands Gallery, opening for !!! – tickets are going fast, but some are still on sale.  If you can’t get a ticket in time or just would prefer to watch synthesizer music on the beach, then you should come to the Brooklyn Vegan/Dull Tools Beach Party!  It’s taking place Sunday July 13th at the Rockaway Beach Surf Club, and we’ll be playing alongside our friends Future Punx, Final Bloom, and newcomers Royal Garde.

Brooklyn Vegan/Dull Tools Party Flyer

I’ve seen Future Punx absolutely slay the last couple times they played and they’re some of my best friends around town, so it goes without saying that I had a blast working with them on their new EP I’m So Inspired.  Jason Kelly (funkiest drummer I know and a walking-talking-smiley-face to boot) did a fantastic job of recording and preparing the mixes, which I spruced up and spazzed out at Doctor Wu’s.  It sounds as epic and fun and trippy as you’d want a band called “future punx” singing “see you in the future” to sound – really epic and fun and trippy!  I mastered the thing too, which should drop later this year.

Recording Beech Creeps

And while we’re on the topics of “fun”, “trippy” and “beaches”, I should probably talk about making the new Beech Creeps record.  They’re a trio of dudes who played in bands like Pterodactyl, Ex-Models, and Yeasayer, and the album’s equal parts noisy, catchy, and goofy.  It’s kinda like if the Melvins wrote a record harnessing the good-time riffage of bands like Thin Lizzy and Blue Cheer, which was then turned into a beach-themed Saturday morning cartoon.  We recorded it live at Secret Project Robot and mixed it at my home studio.  Oh, and if you’re a granola-eating hippie like me, you should make a point of trying the Coconut Almond Beach Crunch flavor of Mark’s Monster Crunch.  It’s incredible!!

I started playing and recording music in the midwest, first in Cleveland then in Chicago, and met a lot of amazing musicians along the way.  Among them were a crew of Bloomington, Indiana folks like Elephant Micah, Bronze Float and Vollmar.  It was a nice surprise then to get an email from David Brant of Bronze Float, asking if I’d be interested in mixing and mastering his new album Standard Candles.  It was recorded by Joe O’Connell (aka Elephant Micah), and features performances by members of his old band and Vollmar.  The songs are both deeply melodic and humble, reminiscent of records by Lou Barlow, Skip Spence, and Arthur Russell (in his Love is Overtaking Me vein).  It was wonderful to reconnect with David, and I’m just happy to have played a part in getting these songs out there and restarting this project.

Fa Bonx 7"

I also recently mixed and mastered the new single by glam-punk duo Fa Bonx.  I really dug working on their first single (‘Jilto Boy’ b/w ‘The Rinda’ on What’s Your Rupture?), but this new one blew me away!  I found this review of ‘The Rinda’ up on Pitchfork (“an immediately gratifying burner… wide-eyed, candy coated rock’n’roll”), and they recently did a hilarious interview with CMJ.

Mazes - Wooden Aquarium

I’m thrilled to be able to share this first song “Astigmatism” (via Spin) from the upcoming Mazes record Wooden Aquarium, due September 9th on Fat Cat.  We recorded this upstate at the Fat Cat studio to 2″ 16-track tape in the middle of multiple blizzards, and mixed it over at Doctor Wu’s.  It was a wonderful experience, walking away from the sessions with not only an incredible sounding record, but some really good new friends as well.  I miss these guys, damn Atlantic Ocean…  Heather Strange from Future Punx and I did backing vocals on this record, and Teenage Cool Kid/fantastic painter Bradley Kerl did the artwork.

 

And Parquet Courts continue to bring in the accolades, from Rolling Stone naming ‘Raw Milk’ the number 1 song-of-the-year-so-far, to a write-up in the Guardian, to a review on NPR’s Fresh Air.  If you haven’t heard Sunbathing Animal yet, me and everyone else don’t know what you’re waiting for.

Also: Careers, the Beverly record by my friends Frankie Rose and Drew Citron., is out this week on Kanine Records.  I did some tracking with them early on in the process, and to be honest, I’m not sure how much of it made the final cut…. drums on 4-5 songs, some vocals I think, maybe some guitars and bass?  Regardless, it’s a fun blast of Amps-style buzzy pop music with gorgeous harmonies, mixed by my studio partner Yale Yng-Wong at Doctor Wu’s.

Eaters Live @ Moogfest

So, many things…. first of all, thanks to everyone who came out to or helped put together any of the Eaters shows.  The tour was great – nothing like driving around the midwest with one of your best friends, playing music you’re excited about, meeting new people, and hearing a bunch of interesting sounds along the way.  The album’s out now on Driftless Recordings/Dull Tools.

Sunbathing Ani-Mania continues!  Parquet Courts recently debuted their new Stooge-y single ‘Black and White’  on Late Night with Seth Meyers [spoiler alert: Fred Armisen jumps onstage for the feedback solo, but Austin upstages him anyway] and released the album version the next day (stream it up above).  Slow-burner ballad ‘Instant Disassembly’ surfaced last week, and immediately grabbed a Best New Track nod from Pitchfork (stream that down below).  Sunbathing Animal is out June 3rd on What’s Your Rupture/Rough Trade.

I’ve been working with artist/director Thu Tran on a series of games for the new Tinkham Veale student center at Case Western Reserve University (where I went to school and met Thu… trippy).  The six Cleveland-inspired games are displayed on a 30′ LED screen in the middle of the main atrium, and are played through a motion-controlled Kinect sensor… so basically you’re just jumping around or punching the air in front of this giant video wall.  Since the installation is designed to run continuously in a public space, Thu and I decided to treat the sound design as a sort of generative ambient music…. something that registers to a participant as reacting to them, and that can also blend pleasantly into the background for everyone else in the space.  I’ve always enjoyed working with Thu (like on her shows Food Party and The Misguided Guide to the Origin of Everything), and it was a pleasure to collaborate with Ivan Safrin (who’s designed such bonkers games as Space Cruiser, a flight simulator at the Hayden Planetarium, and Sidescroller, where players run around a room with 20 monitors from screen to screen) and Bobo Do (whose work you may have seen projected behind Beyonce once or twice).  There’s an inherent goofiness and giddiness in the games, but there’s also a depth and beauty in everyone’s work that truly amazes me… I can’t wait to play them in the space when the building opens this fall.

Veale Center

I’ve been doing some mastering lately too.  I finished mixing and mastered the new PC Worship record Rust – this thing is unbelievable… just wait.   Jungle Green brought me a couple more damaged crooner tunes for a new single coming out on Kingfisher Bluez, following the Twelve-and-a-half Minutes of the Most Beautiful Love Songs Ever Written EP we worked on last year.  I also worked on an EP for Bordeaux, an off-kilter synth-pop duo mixed by my studio partner Jake Aron at Doctor Wu’s.  I recently mastered a new EP for gloomy doomers Vibrant Light as well.  And I just mastered Girl Talk and Freeway’s ‘Suicide Remix’, featuring A$AP Ferg – a new version of their Add (N) to X-sampling tune off Broken Ankles.

I’m in the middle of a few new projects, but please write me at jonathan[dot]schenke[at]gmail[dot]com if you’d like to talk about sound.  Thank  yeur!!

 

EATERS - front cover ref

Eaters, the labor of love shared between Bob Jones and myself, is finally out in real life.  It’s available digitally through Driftless Recordings (https://itunes.apple.com/us/album/eaters/id859836126), on vinyl through Dull Tools (http://dulltools.bigcartel.com/product/eaters-s-t-lp-preorder-april-22nd), and to stream on Ad Hoc.

I’m nearly overwhelmed with excitement about this album coming out.  Bob and I spent nearly two years working on this, writing and stripping it down and building it back up, looking at it from every angle, until we arrived at this conclusion.  I am both proud and humbled by the work we put into this thing, and I can only hope people will enjoy it as much as we do.

My good friend Chris Hefner created a video for the first single ‘Far’, which was his end of a four-year-old barter that I finally cashed in on (if you want to see/hear my end, check out his first feature The Pink Hotel).  This video is incredible – Bob’s and my jaws dropped when we first saw it.  Interview Magazine debuted the video, along with an interview with Bob and me about process and creation.  Impose Magazine picked up on the second single ‘Bury the Lines’, saying “somewhere in the siren of synths, the life cables and chords of yesterday and tomorrow are cut and trumped to a tune that reminds us all to live for today,” which I really liked.   And The New Yorker hyped our record release show at Glasslands, dishing out some extra attention to my engineering work while they were at it.

We’re taking off on tour later this week, starting with the show at Glasslands April 17th and hitting the Driftless showcase at Moogfest.  Check out these dates, come out if you can, and bring your friends!

Thur 4/17: Brooklyn, NY @ Glasslands Gallery (w/ Yvette, Dan Friel)
https://www.facebook.com/events/246054458905903/

Fri 4/18: Philly, PA @ Kung Fu Necktie (w/ Void Vision, Hiro Kone, Jeff Zeigler) LATE SHOW
https://www.facebook.com/events/229565430566944/

Sat 4/19: Cleveland, OH @ The Happy Dog (w/ Man Forever)

Sun 4/20: Detroit, MI @ PJ’s Lager House (w/ Especially Good, Turn to Crime) https://www.facebook.com/events/681531381889483/

Mon 4/21: Chicago, IL @ Township (w/ Golden Birthday, THIN HYMNS, ADT)
https://www.facebook.com/events/661557683907029/

Tues 4/22: Columbus, OH @ Cafe Bourbon St./ the Summit (w/ George Brazil, Matt Horseshit)

Wed 4/23 : Nashville, TN @ Betty’s Bar (w/ Ttotals, Dirty Dreams)
https://www.facebook.com/events/238586033014449

Thu 4/24: Asheville, NC @ Moogfest (Driftless Recordings Showcase)

Mon 4/28: Baltimore, MD The Crown (w/ Jenny Graf, Shana Palmer, and Alexander Trust)

 

Eaters Press Photo - FINAL

The Fader recently premiered the first single from Eaters, my new project with my buddy Bob Jones.  The song’s called “Far”, and my good friend and associate Chris Hefner (director of The Poisoner and The Pink Hotel) just completed a mind-blowing video for the track, which should hit soon.  The (self-titled) album comes out April 15th through Driftless Recordings and Dull Tools, and I can’t wait for people to hear it.  If you can’t wait either, come check us out this Friday (March 7th) at Death By Audio with Future Punx for their 7″ release show (which incidentally I mixed and mastered).

We just wrapped up the new Parquet Courts record last week, and it’s every bit as satisfying and exciting as you might imagine.  We worked on this puppy for about 10 months, across three recording sessions in two different studios (Seaside Lounge and Outlier Inn), with two different mix sessions plus a final stems tweak at Doctor Wu’s.  It was a serious undertaking, but listening through the record with the band last week was so incredibly rewarding – it was seriously everything we wanted it to be…. and the (multitude of) outtakes are badass too!!   The record’s being mastered by Joe LaPorta at Sterling Sound as I write this, and will be released this summer by What’s Your Rupture/Rough Trade.

PC - SBA sheet music

But you won’t need to wait that long to hear what we’ve been working on!  As Spin just announced, the band is dropping the first song from the LP on Record Store Day, aka April 19th.  The single consists of “Sunbathing Animal” (the LP’s titular track), and non-album b-side “Pilgrims to Nowhere”, both of which have worked their way into the band’s live sets over the past year.  Check out the sheet music/cover art above, or download it here if you wanna give it a whirl.

Jonny digging

I also spent a couple weeks working with the lovely London lads Mazes recently, producing/recording/mixing their new LP for Fat Cat Records.  We went upstate to Adam Pierce (aka Mice Parade’s) studio Tree Time for the tracking (which is where I also recorded Screens by Forest Fire for Fat Cat).  It was a real bonding experience, between a theft, getting snowed in multiple times (see above), and the awesome record we made together.  Jack from the band came back to Brooklyn with me, we ate chilaquiles and pizza, and mixed the record at Doctor Wu’s.  It’s a really cool record, and I’m excited for people to hear it later this year.

I have many projects that I am very excited about coming up soon, so please check back if you’re interested.  Please contact me if you’d like to talk about sound (jonathan.schenke[at]gmail.com), and thanks for reading!