written by Paul Cathro and band
Alex Vaatstra - Violin
Paul Mclennan-Kissel - Drums
Theodore Francis - Bass
Henry Francis - Guitar
Paul Cathro - Vocals, Guitar, Percussion
Louis Smith - Percussion, Pronoun Consultant
recorded by David Craig and Louis Smith at Van Shark Shed Studios on July 27th-28th 2014
overdubs recorded by Paul Cathro, Theodore Francis
and Chris Miller at Liberty Growers in Katikati
mixed by Andrew Straight
mastered by Jonathan Pearce
Produced by Louis Smith & Paul Cathro
with David Craig, Andrew Straight & The Band
Artwork by Sam Caldwell
Enormous gratitude is extended to Independent Records for devoting time and energy to no useful purpose, to Chantal for everything and more, to Bugs and Jess for the space and to the whole snarling pack of musicians and collaborators who, against their better judgement, have allowed this music to happen.
Long, long ago (in 2014) in a galaxy very near at hand (Ravensbourne, Dunedin, New Zealand) Paul Cathro, frontman of alternative psych-pop troubadours Alizarin Lizard, co-frontman of melodic shite-pop upstarts Fat Children and bassist for thoughtful indie-pop darlings Ha The Unclear was preparing to leave Dunedin for the brighter, more terrifying shores of Auckland. Actually 'preparing' might not be the right word.
Not long before the aforementioned northward move was decided upon The Cathro had assembled around him a gaggle of Dunedin's finest musicians
as a performance band, and, as one does, had junked most of his previous material in favour of new songs and arrangements these luminaries had cooked up between them.
Before leaving, these songs must be etched on the school-desk of posterity. Only just before leaving.
So it was that, in the 48 hours prior to his flying north never (frequently) to return, Paul Cathro (guitar, vocals), Theo Francis (bass), Henry Francis (guitar), PMK (drums), Alex Vaatstra (violin), Louis Smith (pronouns) and David Craig (recording engineer, sound wizard, common sense) assembled to carefully and lovingly commit these precious songs to the digital record (and in no way to unceremoniously bash them out at breakneck pace pausing only to congratulate themselves on it somehow all still sounding fine).
[was that where the full stop was meant to go? ah there but for the grace of giving a toss]
The location for these frantic sessions was provided by the fabulous Chantal Van Schaik, the gear by the fabulous David Craig and the ability by lord alone knows..
It was all so fast and so crammed together that not a great amount of actual memory survives from the.. oh let's treat ourselves and say 'ordeal', so alas
description of the recording itself is necessarily brief:
They started with drums and bass, as musicians are wont to do, and overlaid all manner of essential and discarded guitar and vocal tracks, alcohol was burnt as fuel, an incredible fry-up was made, lyrics were written out longhand five times before they figured out the original version had been fine except for just one single bloody word..
but perhaps the most sensible and carefully thought out part of the process was starting tracking the violin at five in the morning, eyes the widest that exhaustion-narrowed eyes can be, ears fuller than a teacup with a shark in it.. at the time it all sounded bloody incredible.
You know what, I still think it does.
So there it was, we had a record, perhaps one of the best any of us had worked on. Shouldn't take too long to .. and to.. and.. but..
overdubs, lost bits, cities moved, more overdubs, mixing, remixing, mastering, remastering.. you know how it is..or, if you don't, that's how it is
but here we are, two years later, with a great record, cool cover art by Sam Caldwell, no real idea how to release it to any of our advantage
but a burning desire to get it heard. Give it a spin, give it a like, give it a share, give it a dollar.. do whatever it is people do down the other end of the headphones.
- Louis Smith, June 2016
released November 22, 2016
all rights reserved