Music Reviews

Scott Craggs, mentioned above, has been a friend of Tape Op for many years, and interviewed Andy Hong 10 years ago (issue #20), which led to Andy's becoming our resident Gear Geek. Thanks Scott. He also runs his Old Colony Studios in Boston. So here's the back story on this album. Ben

Forming a band in Hawaii and shooting for national recognition must be a difficult undertaking. Even to tour around your home state requires flights or travel by sea, and living in a tourist-based economy means that the majority of "entertainment" opportunities are certainly not looking

Some of you may know that the first time I met my partner in Tape Op (publisher, layout, business brains, co-conspirator) it was in 1988 or so and he met up with my band (Vomit Launch) to talk about signing to his label and recording in his home studio. Several albums later the band broke up, but

In issue #71 I chatted with Pall Jenkins (bass/vox) about his SDRL studio in San Diego. Here his "original" band returns after 13 years and their projects, like Black Heart Procession and Pinback. The album was tracked and mixed in Cubase at SDRL and Zach Smith's home studio (that

Dan Stuart (Green on Red) and JD Foster (issue #34) got together and recorded this interesting, kinda low-key collection of songs. I've worked with JD in the studio, and I can hear the touches that he brings to a session here as well. Cool stuff! Recorded at SounDog Studios in Richmond, VA,

In issue #12 we chatted with guitarist Stephen about the Blasting Room Studios and his time recording in The Descendents and All. Here he delivers an album chock full of guest vocalists (members of Alkaline Trio, MXPX, Lagwagon, Rise Against and more) and all recorded, produced and mastered by

With guitarist/co-producer Buddy Miller (issue #34) and two surprising covers of songs by Low (issue #31) it's a Tape Op love fest here. Fans of Plant's collaboration with Alison Krauss will love this, with Patty Griffin providing a fine foil and the backing band in excellent form. A

I interviewed drummer/recordist/producer Alan Evans in issue #76, and found his positive, creative attitude infectious. Here the band delivers instrumental versions of Beatles songs (not all from Rubber Soul, and not live in front of an audience, as I assumed at first) tracked in four days at

In issue #70 we got the scoop on Sufjan's unorthodox recording techniques. This new album is more "electronic-y" with some "real" instruments mucked around with in some crazy ways. I think I like it a lot. Try "Impossible Soul" out (it's only 25 minutes long)

In issue #76 I cornered Mac McCaughan in a donut shop and picked his brain about different recording scenarios. Mac hinted that producer/engineer Scott Solter (issue #67) would be an interesting person for Superchunk to work with, and guess what, they did. The record sounds big, clear, full and

For album number five, The Thermals hook up with producer Chris Walla (issue #19) at Jackpot! Recording in Portland, OR (I know, that's my studio, but screw you if you think I'm doing this to serve my own interests - I dig The Thermals). Chris later mixed this all-analog album at his