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Justin Smith (Ghostlimb)
SPB:It seems people are often surprised when they hear of musicians holding higher degrees. Why do you think that is?
Justin: I think the common view of music and “art” culture is that it is a crew of degenerates or hippies. I would argue that at the crux of these initially DIY scenes and whatever genres came out of them, there were ideas. This is a different form of communication and perhaps going on to study related ideas presents a deeper look into issues that everyone discusses on a base, human level. Also, screaming is not the best way to communicate and probably sounds barbaric but it is cathartic and necessary.
Chicco (LATTE+)
SPB: If you could put together a four or five-piece "all star group" of players from classic punk bands, who would be in it?
Chicco: Well, it's easy for me:
Ramones first line-up it's the greatest all-star punk rock band ever!
Arthur Smilios (World Be Free, Gorilla Biscuits)
SPB: What strikes you as the biggest change in recording an album between now and your first few recordings?
Arthur: One word: technology. Analog tapes have been replaced by computer programs. When we were recording the GB 7" and Start Today at Don Fury's, we were using what was then cutting-edge technology: video tapes. They were apparently better at gating the noise. You also had to do a pretty close to perfect take, whereas now, if you are a tenth of a second off the beat, the producer can move your track and sync it. That being said, we all still try to record as much as we can live, because it translates in the energy of the music.
Sam Siegler (World Be Free)
SPB: What strikes you as the biggest change in recording an album between now and your first few recordings?
Sam: The first time I ever went into a studio to record drums was at Don Fury’s studio on Spring St. in NYC, I was 14 years old. It was for Youth of Today, they wanted to re-release their EP Can’t Close My Eyes with a new drum and vocal intro before the song “I Have Faith.” Don had a tape machine, no click track, no pro tools, none of that--so I basically just played a beat (with way too many fills because I was excited), then I believe Don just hand spliced it into the original track and Ray Cappo did the vocals. It makes me cringe a little to this day: the tempo changes, it’s a little sloppy, etc. What I learned from that was that it helps to rehearse and know what you’re doing in the studio because you have to get it right and there’s not much room to manipulate things after the fact, especially on the budgets we had.
With Pro Tools and everything that’s around now you have so many options, maybe too many. The real answer to this question is nothing has changed or should change. If you can write a good song, be tight and capture a sick version with whatever you’re recording it with you’ll be winning. That was the approach with World Be Free: one or two takes for everybody, if you fuck up we’re keeping it.
