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On this date exactly 5 years ago we released the self-titled album on Roadrunner Records. The album went on to sell over 30,000 copies in the U.S alone and was supported by a big fancy video and several months on touring. Despite it being our only release for Roadrunner I’m sure we all have enough memories from this time in the bands history to last us a lifetime. From recording the album in Nashville with Malcolm Springer to doing a video that was probably a huge waste of money to the last tour date for the album in South Carolina it was all a blast (even though at the time we maybe didn’t appreciate it as much as we should of).
Just thought I’d post this to celebrate one of the many great times in the bands history. I’ll try to do more in the future.
Dan Deacon is a Baltimore, Maryland-based absurdist electronic music composer/performer. He attended Purchase College in Purchase, New York where he completed his graduate studies in electro-acoustic and computer music composition. He studied under composer/conductor Joel Thome. Currently, he lives at Wham City in Baltimore, Maryland.
Dan Deacon’s compositional style is best classified in the Future Shock genre along with Video Hippos, Santa Dads, Blood Baby, Ecstatic Sunshine, Ponytail, and other bands in the growing Baltimore music scene.
If you’re interested in hearing a quick preview of what we’ve been up to for the last several months Jamie will be performing acoustic versions of a couple new Sinch songs as well as discussing the state of the band on an online radio station this Tuesday May 1st at 12:00pm EST on the B. Fox Rocks radio program. You can hear it for yourself at: www.mc3.edu/sa/wrfm
Feel free to stop back here and let us know what you think afterwards.
Here is a short video clip of our time at Ardent Studios in Memphis Tenn. It was taken in December of 2000 while we were there recording a demo of our song “Pain.” While the version of “Pain” from this session was never used, we later rerecorded it and put the song on our self-titled album that was released by Roadrunner records in 2002. As you can image there’s lots of downtime in the studio. Hours if not an entire day can be spent setting up all the mics and other various technical things so the band if often left to wonder around and explore the studio. This video clip is a good example this. It shows Tony playing his Nord keyboard (r.i.p) and Jamie playing the studio piano.
If you’re interested in hearing the actual song we recorded during this studio session it can be found in the podcast section of the site.
Over the years we’ve gotten a ton of requests for guitar tabs of our songs, but seeing as I’ve never really written or read a tab in my life, sadly the requests went unanswered…until now.
This will be the first in a series of tabs I’m going to post here. Keep in mind that this is in no way EXACTLY representative of what I play. It’s really only meant to give you an idea of what’s going on so you can figure it out yourself.
Oh yeah, and I aint’ no YNGWIE MALMSTEEN, or any of these guys below in the video (the guy in red kicks all the other guys asses, btw). ENJOY!!!!
“folks on Staten Island are lining up and taking sides, either for or
against the building of the new track. Those against the track are
identified by the acronym SCAT (Staten Island Citizens Against the
Track) and those for it are called SINCH. (Staten Island NASCAR Hopefuls)”
I just watched a special on this on NJN this past week. A group of students get together & create sound in a live setting using networked laptops & custom audio software called, “Chuck” (free download!). While the, “music” wound up sounding more like ambient noise most of the time (which I enjoy, but others may not), the concept behind PLOrk is what stands out. Very cool.
“The Princeton Laptop Orchestra (PLOrk) is a newly established ensemble of computer-based musical meta-instruments. Each instrument consists of a laptop, a multi-channel hemispherical speaker, and a variety of control devices (keyboards, graphics tablets, sensors, etc…). The students who make up the ensemble act as performers, researchers, composers, and software developers. The challenges are many: what kinds of sounds can we create? how can we physically control these sounds? how do we compose with these sounds? There are also social questions with musical and technical ramifications: how do we organize a dozen players in this context? with a conductor? via a wireless network?”
Apparently Jim Morrison and Michael Hutchence talked to a psychic about their "controversial deaths" and the "many myths that surround them" and she put all of it into this book.
