After Tape Op's online editor Geoff Stanfield interviewed both Noah Lennox and longtime collaborator Pete Kember [#46] for the Tape Op Podcast about their work together, and their recent album Reset, he wanted to dig a little deeper into Noah's musical beginnings and process. Geoff dropped editor Larry Crane a line, who decided wanted to then interview Pete Kember, and catch up with all that's happened in his interesting career over the last couple of decades.
We last chatted with Pete Kember, aka Sonic Boom, way back in Tape Op #46, about his years in Spacemen 3, his Spectrum and E.A.R. projects, and more. Since then, he's kept busy, including producing MGMT's Congratulations and Beach House's 7 albums, mixing Moon Duo, and producing and collaborating with Panda Bear on a number of projects, notably the recent Reset album.
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I asked, "Is this record going to be a slightly different Moon Duo?" Ripley [Johnson] said, "I was thinking stoner disco." I was like, "I'm in!" He and Sanae [Yamada] were staying here, and it's a fairly psychedelic environment. Of course, we're trying to make this stoner disco. They then went and stayed at their manager's, Paul Carlin, flat. He Airbnb's a lot, so it was super neutral. They said when they listened to the music in that environment, it was shocking. Here it seems normal, but in there they were like, "What have we done?" It worked out for them. I thought that was a great record, and it was awesome to work on it, both sonically and musically.
I was working with Noah on the records Tomboy and then [Panda Bear Meets the] Grim Reaper. I was coming here to rehearse with him. We recorded Panda Bear Meets the Grim Reaper in Lisbon at Namouche Studios. It's a nice studio, with old-school gear. Neves and Neumanns. I liked the vibe here a lot. I'm not sure if every Portuguese person would necessarily agree, but many of them recognize that it's quite old-fashioned here, for different reasons. Both Portugal and Spain had fascist dictators. Both of them decided to keep their countries out of the modern world. I'm sure none of it was by design, but the spin-off was that they became a little bit of a backwater to the rest of Europe. The commercialization happened much later and at a slower rate. Whilst elsewhere one can drive down the highway and find big, modern, multi-story strip mall-type places, on the whole, it isn't like that here. The center of Lisbon doesn't have all of that. It might be starting to happen a little bit, but it's a beautiful old city.
Yeah. I left before the Brexit vote happened, and I was so happy to be away from that. I always felt more European than English. I always liked continental Europe a lot, and the short distances you travel. The culture, the language, and even the money used to change. I like the diversity and the different views.
Let's get back to something equally beautiful, like music. I'm amazed by your career. I knew Spacemen 3. In the '80s I'd listen to those records and loved those textures and the sound that your band had back then.
In fact, it's not anyhow connected to Sonic and such song is indeed not part of any Sonic the Hedgehog soundtrack, so the similarity seems to be pretty coincidental. It might be because it comes from the same era, so very similar synthesizers and musical style could be used (and there might actually be more songs around the world which are similar in style).
I tried to find a "Sonic the Hedgehog" music track which feels to sound closest to the song in question. You can tell how you feel it, as this is very much SUBJECTIVE. I can just say that while I listen to this song, I can imagine how I play Sonic with that music as a background music.
I guess the similarity is due to the fact that Sega Genesis / Mega Drive used Yamaha sound chip on it's sound engine, which gave that console the musical sound which was very similar to the pop songs from the 80's and 90's. Basically I guess this artist used some Yamaha keyboard on her music which sounds quite neat. This is Czech music, right?
I just need to say how I love and miss the period of 80s and early 90s, when many songs used those neatly sounding keyboards and synthesizers. It gave the music something new and interesting. Nowadays, the pop music sound rather plain and dull to me, as it seems like those lovely 80s and 90s synths grew out of fashion.
And I have to mention that the similarity with those songs I told you is intentional. The guy who was producing Sonic 3 music back then was also producing the Jetzons and wanted to use song for Sonic. You can read the whole story somewhere online lol.
I'd advise you to check out this thread as well. There I made an OPL remix of a song from the same singer. I had no idea there even existed english (and also german) version of the same song, until now.
There are some other songs that I've heard that reminded me of video game music. Recently - I've been listening to a lot of Tony Levin works (solo stuff, Stick Men, Levin Minnemann Rudess, etc.), and I'm surprised how similar some of these songs are to some video game music. There's one song that reminds me of Jazz Jackrabbit, one that kinda sounds like the DK Rap from Donkey Kong 64, and my personal favorite one:
I got an interesting idea: what about creating a Sega Genesis remix of the song from my first post? Unfortunately I was not able to find any existing MIDI version (like I did for my OPL remix for the other song), so maybe someone could re-compose it and arrange for Sega Genesis sound system. It could sound quite neat, maybe even used as a new custom music for Sonic?
Silk Sonic does not even attempt to take a stab at irony in their music. They are themselves and they mean what they say in the lyrics. While lyrics can often be insightful and thought provoking, Silk Sonic is not trying to do that with their songs. They are portraying a certain feeling with their music that can be encapsulated in every song on the album.
Keeping a clean mix really sets your set apart from others. Mixing a new song is more than flipping the bass frequency. To get more creative mixes, I really like to work with both the mid and treble frequency knobs. The way I learned about mixing came from the world of audio engineering. Each element needs its own space to breathe or live.
What elements you need to tweak on a mix is dependent on what is happening in the song sonically. If you have two songs that both feature lots of high-frequency percussion or a higher frequency synth, then you would want to make room in that part of the mix. As I mixed in the new song, I would slowly introduce high and mid-frequencies of the new song, as I removed them out of the current song that is playing.
I tend to use my EQ set as a full-kill EQ. What is a full-kill EQ? When turning a knob off to an off position, that frequency range will be removed from that channel. This lets me get surgical with ensuring I have room for any song I am mixing in. It also lets you fully remove an element from the song. In some cases the entire bass synth or instrument can be removed, allowing room for a new one to be introduced.
This is where your creativity can really soar. Once you are comfortable with creating room in your mixes on the fly, it opens the door for live remixing, song mashups, or dropping an a cappella onto an existing song.
An Evening with Silk Sonic is the debut studio album by American musical superduo Silk Sonic, composed of Bruno Mars and Anderson .Paak. It was released on November 12, 2021, by Aftermath Entertainment and Atlantic Records. Silk Sonic reunited with Christopher Brody Brown and James Fauntleroy to write the album. They recruited American musician Bootsy Collins, who came up with the name for Mars and Paak's duo, for narration and American record producer D'Mile to compose the album. Recording sessions for An Evening with Silk Sonic took place from early 2020 to mid-2021 at Shampoo Press & Curl Studios.
Several critics said An Evening with Silk Sonic was crafted from elements of R&B, soul, funk, hip hop and pop music. The lyrics of An Evening with Silk Sonic explore themes featured in previous Mars's albums, such as "seduction, romance", reconciliation, and materialism. Anderson .Paak is said to not have written about materialism previously.[1]
An Evening with Silk Sonic debuted at number two on the Billboard 200 chart with first-week sales of 104,000 equivalent album units and became Mars's second and .Paak's first number-one album on the US Top R&B/Hip-Hop Albums. It also peaked in the top-five in Australia, Canada, Ireland and New Zealand, and produced five singles: "Leave the Door Open" and "Smokin out the Window", which were commercially successful, while "Skate" charted moderately in various countries. Two other singles "Love's Train", a cover of Con Funk Shun's song, and "After Last Night" were made available for consumption in 2022, with each one of them having minor commercial success. "Leave the Door Open" reached number one on the Billboard Hot 100 and New Zealand, becoming Mars's eighth and .Paak's first number-one song in the United States. The album was certified gold by Music Canada (MC) and platinum by the Recording Industry Association of America (RIAA). 152ee80cbc
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