Die Kvar – EP

As summer knocks on the door, winter’s many studio hours begin to see the light and hit the wax (or just the web as in this case).

This is the first of many recordings made at the Minus Two, the small and bastard son of our very own historic venue/rehearsal/recording studio Koro.
As you might guess by the name or hear by the tunes, the space is much smaller and less acoustic (just can’t beat the wood!) than the former, but still well suited for making loud records. Size and poor acoustics is not necessarily a bad thing. When your ultimate goal is to distort them damn cymbals, that crispy slap-back you get from drywalls at 3-4kHZ can be a bliss.

Back to us, power-violence and grindcore are my home base, and few things can excite me more than making a loud, fast, dirty and violent record. And this is exactly what Die Kvar delivers. Furious Haifa quintet with members from Barren Hope, Sweatshop Boys and other various noize projects that I can’t keep track of.

The main sonic goal of this EP was to get the feeling  you are getting run over by broken tractor, as another one hits you again just before you are able to stand up again.
To achieve something like that, the instruments were recorded rigorously live, as to catch the band’s vibe as a unit. Massive bleeds didn’t scare me here. The exceptions were an addition of a second guitar layer to space it up a little bit and a bass re-amp to catch some of its pedal tone. Room microphones are a fundamental in this EP, since they give a similar tone and colour to all of the instruments. They are blent in some exciters and overdrives to crisp the high-mids of the general sound. I even tried to re-amp the drums mixdown into a distorted bass amp to get that colour, before I realised I already had it all in the source.
That’s it.
Oh, if you’re a label please get this on a piece of plastic. It deserves it.

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Krokodil Popular – ST LP

I don’t usually mix stuff I didn’t record, but there are exceptions here and there. 8 songs, very eclectic genre-blending and song-writing, loads of recorded layers: this record was somewhat of a project. This production required a more Hi Fi approach than my usual, so up with full on mixing in the box. I believe I opened a SoundToys Decapitator on every second channel. The record was mastered by Daniel Husayn and released in Levontin 7 few months back.

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Sweatshop Boys – Demo

Not many engineers would go proud about such lo-fi recording. But I truly believe the dirt compliments those great poppy tunes.
I can’t really call this recording my own. What happened is that I left the microphones on during the band’s rehearsal and came back to pick up the gear few hours later. After a quick listen, I had no doubt it is worth giving it a mix, and taking in consideration the recording wuality , that it was going to be a dirty one. So the 13 recorded songs were kept as a demo as only 2 were released. Hopefully the Sweatshop  Boys are soon to hit the studio and give these songs a cleaner and finer touch. But for time being – Enjoy the basement vibes!

MooM – Second EP

Second recording for my very own  hardcore punk beast. This is one of the last recordings ever done at the Koro. Same drill as the first EP: multi-channel miking on a live recording, live mixed on a Mackie 32-8 desk right into a stereo input to the computer. So again, no post-recording mix, what you record is what you get. Only thing we added later were vocal. And dirt, lots of dirt.

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Almonim Metim – EP

Last recording ever in the Koro and first recording ever for killer hardcore punk act Almonim Metim. At first, this was meant to be a quick demo as I didn’t even set up a control room for this. What I did is I retroactively monitored the recording on my headphones while being in the same room with the playing band. The result turned out better than expected and soon to get a physical release.

PS This is one of my favourites israeli acts at the moment.

released October 22, 2015
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Parve – Stabilité Économique

As this Jerusalem-based duo defines itself, Parve is a jewcy blend of sludge, noise, stoner, drone, improv, shamanism and fear of technology inspired by the cat moog. This EP, soon on vinyl, was one of my last recordings at the Koro. This is also my very first attempt to mix the vocals live on tape with the rest of the tracks. So everything you hear is played live and mixed live with no overdubs.

released august 28 2015


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Dangers – Koro live session

Dangers are a hardcore band from Los Angeles, CA. In August they came to Israel for a short tour organised by some Koro members. On top of that, someone had the crazy Idea to shoot them a live session in the club itself on a very hot friday morning. As member of the Koro I took part of the sound part: multi-miking mixed on desk into a single stereophonic soundcard . So once again, no post recording mix baby. What you see is what you hear and vice-versa.

 

 

D.R.Y. – Amen

This is an unusual one. Experimental-industrial duo originating from Jerusalem. Before this mixing session I’ve known them for their very powerful live performances. The tracks were sent to me by a good friend managing the Jerusalem underground label Raash Hour, as the song was to be part of the label’s own compilation vinyl “Fifth Quarter – Current Raw Sounds of Jerusalem“. The mixing was quite didactic, as the recording was pretty raw and I had to recreate atmospheres of genres I wasn’t so familiar with before. Goal was achieved with few bass enhancers, stereophonic psychoacoustic tricks and new researches in the reverberation field.

Recorded at New Tone studios by Arik Finkelberg.
Mastered by Aviad Finklelbert.

The song has also a videoclip

PS – track 11 in the compilation, Dirt Ensemble – Disease Inna Zion was also mixed by me

The Turbans – Music For Weddings EP

Garage vibes from Jerusalem. What stroke me is that these guys’ definition of lo-fi was even lower than mine. Two guitars, no bass, occasional keys and a good seventies feeling to it. This was recorded in the Koro on the almighty Tascam 2track reel-to-reel  tape. So again, live mix and no mistakes. Vocals were the only overdub and the master was made digitally.

Released digitally on August 30 2015
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