Spacecase
RUBBER BLANKET - Our Album LP
$39.95
Highly recommended.
Their names are BRAD EBERHARD (WOUNDED LION), LARS FINBERG (INTELLIGENCE), and JUN OHNUKI (WOUNDED LION). They recorded it themselves over the past year on Lars’ 8-track tape machine in Brad’s painting studio, with everyone mostly using old keyboards and a new drum machine. Jun played some driving, actual drums here and there. Lars played some angular bass guitar parts and even a few lost-satellite guitar parts. Brad wrote and sings most of the songs. Some friends popped by and sang back up, played percussion, and took a few giant steps on the saxophone.
The main guys had/have a lot of fun playing in an art-y garage band called Wounded Lion. A few years ago, Brad entered a guitar songwriting desert/famine/Bermuda triangle. He wanted to escape this dead zone via more life-affirming rock music, but didn’t know how. Gradually, the time reserved for practicing and playing shows became more occupied by partying and listening to records. No one complained. When you don’t know what to do, don’t do anything.
Eventually, the compass stopped spinning and locked into a resting point, but it wasn’t north—it was the song 'Matar Dolores' by the Screamers. And 'Penny Lane' by the Better Beatles. And the extended 12-inch of 'Mug’s Game' by Soft Cell. Maybe they too could make some songs that didn’t have overdriven guitars taking up almost all of the sonic space. Maybe they could make synth-punk without anyone yelling or robot signaling. Maybe they could make synthpop without being haircuts or popular in any way whatsoever.
Have you ever had that dream where you find an extra, secret room in your home? And there’s, you know, something special—maybe even something you’ve lost in that room? I know I have. IRL Brad found an instrument in his garage in a somewhat similar fashion: a 1985 Yamaha Omnichord. The internet says it’s an electric autoharp, but I say it’s a sleek, beige, songwriting machine! Major, minor, and seventh chords at the touch of a button. Built in drum machine with two useable beats. You could throw it against the wall, and it would come up with something pretty good. Anyway, it really helped the new group build from a significantly different foundation than before.
It’s not about gear, though. It’s about being alive and making music. Digging up and digging new sounds. Layering those sounds into a psych psyandwych. Putting them to beats that are electronic, but as simple as proto-punk or Paid in Full. Writing lyrics that are almost half-true and make as little sense as life itself. Singing with a voice as lumpy, beautiful, broken as your own soul. It’s new. It’s us. It’s Our Album."—Sincerely, Robert Blanket
Their names are BRAD EBERHARD (WOUNDED LION), LARS FINBERG (INTELLIGENCE), and JUN OHNUKI (WOUNDED LION). They recorded it themselves over the past year on Lars’ 8-track tape machine in Brad’s painting studio, with everyone mostly using old keyboards and a new drum machine. Jun played some driving, actual drums here and there. Lars played some angular bass guitar parts and even a few lost-satellite guitar parts. Brad wrote and sings most of the songs. Some friends popped by and sang back up, played percussion, and took a few giant steps on the saxophone.
The main guys had/have a lot of fun playing in an art-y garage band called Wounded Lion. A few years ago, Brad entered a guitar songwriting desert/famine/Bermuda triangle. He wanted to escape this dead zone via more life-affirming rock music, but didn’t know how. Gradually, the time reserved for practicing and playing shows became more occupied by partying and listening to records. No one complained. When you don’t know what to do, don’t do anything.
Eventually, the compass stopped spinning and locked into a resting point, but it wasn’t north—it was the song 'Matar Dolores' by the Screamers. And 'Penny Lane' by the Better Beatles. And the extended 12-inch of 'Mug’s Game' by Soft Cell. Maybe they too could make some songs that didn’t have overdriven guitars taking up almost all of the sonic space. Maybe they could make synth-punk without anyone yelling or robot signaling. Maybe they could make synthpop without being haircuts or popular in any way whatsoever.
Have you ever had that dream where you find an extra, secret room in your home? And there’s, you know, something special—maybe even something you’ve lost in that room? I know I have. IRL Brad found an instrument in his garage in a somewhat similar fashion: a 1985 Yamaha Omnichord. The internet says it’s an electric autoharp, but I say it’s a sleek, beige, songwriting machine! Major, minor, and seventh chords at the touch of a button. Built in drum machine with two useable beats. You could throw it against the wall, and it would come up with something pretty good. Anyway, it really helped the new group build from a significantly different foundation than before.
It’s not about gear, though. It’s about being alive and making music. Digging up and digging new sounds. Layering those sounds into a psych psyandwych. Putting them to beats that are electronic, but as simple as proto-punk or Paid in Full. Writing lyrics that are almost half-true and make as little sense as life itself. Singing with a voice as lumpy, beautiful, broken as your own soul. It’s new. It’s us. It’s Our Album."—Sincerely, Robert Blanket
