Ball Park Music are no strangers to cutting edge technology, having just released a music video for new single ‘Whipping Boy’ that was created entirely using the virtual reality-based Tilt Brush, but the band are clearly fans of the classic analogue methods as well.
Their upcoming album Every Night The Same Dream was recorded almost entirely to four-track tape at Sound Recordings in Castlemaine, Victoria by longtime collaborator Matt Redlich (Holy Holy, Emma Louise, Ainslie Wills) – a process that’s quite rare these days, in an age of near-limitless digital recording and manipulation.
To celebrate the album’s completion and release this week, frontman Sam Cromack has given us a bit more insight into some of the more modern and creative examples that inspired he and his band to record their heavily-anticipated new record using what he describes as the “dying art form” that is analogue tape.
Every Night The Same Dream will be released this Friday Aug 19 via Stop Start/Inertia, and Ball Park Music will be embarking on a massive national tour in Sept/Oct, dates below.
Celebrating Analogue Tape With Sam Cromack
I’ve had a real predicament writing this article because before the ’80s nearly everything was recorded to tape. A lot of my favourite albums fall in that period, but it makes no sense to categorise them by the only recording technology that was available to them.
That’s not to say this topic is arbitrary. I’ve tried to pick albums that will fit into one of the following categories. The albums must either:
a) Be recorded in an age where recording to tape is a dying art form
b) Be of note because of their creative or innovative use of tape technology
c) Celebrate the process of recording to tape by showcasing a notably ‘live’ or ‘raw’ performance.
I also feel compelled to mention that I’m not here to take a side in the analogue/digital argument. I love both mediums. Heaps of my favourite records are recorded digitally and I’ve made a few of my own using that technology. They’re both cool so everyone chill.
Neutral Milk Hotel – In The Aeroplane Over The Sea (1998)
I became obsessed with this album when I was at uni. I remember I’d listen to it nearly every day as walked to and from class. It was so fascinating. At this point I had never recorded anything analogue or worked with any tape. I’m a little Gen Y baby who liked playing with computers. I couldn’t for the life of me understand how such a hectic, fuzzy album could also sound so pleasing and natural.
Every time I tried to get similar sounds on my computer it was exhausting and, frankly, shit. I managed to track down the book from the 33 1/3 series (check those out if you haven’t!) about this album and it opened my mind to the fascinating world of tape machines. I know it sounds stupid, but at the time I didn’t understand a thing about them. I started to think that maybe this magical world of effortless fuzz, colour and energy existed outside of my PC. This album was like a gateway drug to new (and ironically very old) recording methods for me.
Neil Young – On The Beach (1974)
Yes, it’s an old LP, but it’s worth a mention. Neil Young is famous for his persistence in using analogue gear and tape for the duration of his amazing and continuing career. This album is not his best-known work but it’s a personal favourite of mine.
It represents so much of what I value in recording music. Without going full Dad, I want to so say this album is just real, man. It’s simultaneously disgusting and perfect. The sound is sloppy yet so warm and soothing. The playing is kinda disorganised, but the way in which it is captured makes it so magical. I reckon my friends and I put this album on at least once a week. It’s just amazing.
Whenever I’m writing, playing, recording or performing, I’m thinking about this album. I just don’t see how this album would have been captured today. There’s no agonising over the parts. The reels are in motion and the band is playing. It’s just beautiful.
Nirvana – In Utero (1993)
I feel like you can go online and read hundreds of scientific shoot-outs where engineers argue about the merits of analogue vs. digital. They’ll talk about frequency response and fidelity and blah blah blah. I think the conversation should be more focused on how analogue recording extracts a certain performance from an artist.
That’s why I thought I ought to talk about Nirvana’s third and final LP, In Utero. Famed analogue militant Steve Albini manages to perfectly reveal the true personality of the band IMO. I feel like Nirvana could finally showcase their large and diverse personality.
The band shift effortlessly between tender, melancholic beauty and completely abrasive, borderline-unlistenable freak-outs in what, for me, is their most natural and artistic record. I feel like this was achieved by having Albini prevent the band from getting too slick or focused, and that’s what I like about this method: you can achieve more by doing less.
Cloud Nothings – Attack On Memory (2012)
Almost twenty years on from In Utero, Cleveland’s Cloud Nothings recorded their fantastic LP ‘Attack on Memory’ with the aforementioned Steve Albini. By this time, digital recording is in full swing and recording to tape is somewhat of an anomaly.
I think this record saw Cloud Nothings do what I mentioned above: they achieved more by doing less. I think that’s a huge part of the appeal for me in working this way. Yes, working with tape is fiddly, inconvenient and can be expensive, but once you’re finally set up and ready to roll, it’s magic. The real humanity of the group shines through.
I saw someone recently write that tape is a bullshit filter; if you roll it and the result sounds like shit, it’s because it is shit. That’s why this record is a triumph. Albini stepped back (apparently he actually played online Scrabble throughout most of the sessions) and the band stepped up, delivering a beautiful record of rough, fast, honest and melodic punk rock. And it sounds fucking awesome, btw.
Elliott Smith – Either/Or (1997)
I love recording but I rarely bother to learn a whole lot about what’s happening or how it works. I’d love to be able to offer a scientific explanation of why tape has its charm, but I can’t. For me, it’s a bit of a mysterious and romantic thing. And there’s no one better for a discussion around mystery and romance than Elliott Smith.
I love the sound of all Smith’s records, but most of his earlier material is self-recorded using a home setup based around a four-track machine. Smith was such a master player, I’m sure he would have shone on any recording, but the precision and intimacy of his music is so perfectly captured in those measly four tracks. For many Smith songs you simply hear acoustic guitar and vocals, both parts being doubled and resulting in four components. And that’s it. Nothing else could be added, and nothing else was needed.
The historic four-track machine facilitated a minimal approach that was so perfect for artists like Smith. He demonstrates an important lesson: limitations can make for great creative fuel.
BALL PARK MUSIC – ‘EVERY NIGHT THE SAME DREAM’ AUSTRALIAN TOUR
Featuring supports The Creases + Sahara Beck, tickets on sale now.
Saturday 3 September – Snowtunes, Jindabyne, Nsw **
Thursday 22 September – Miami Marketta, Gold Coast, Qld
Friday 23 September – Solbar, Maroochydore, Qld
Saturday 24 September – The Triffid, Brisbane, Qld **Sold Out**
Sunday 25 September – The Triffid, Brisbane, Qld
Thursday 29 September – Anu Bar, Canberra, Act
Friday 30 September – The Enmore Theatre, Sydney, Nsw
Saturday 1 October – Yours & Owls Festival, Wollongong, Nsw **
Tuesday 4 October – The Corner Hotel, Melbourne, Vic **New Show**
Wednesday 5 October – Barwon Club, Geelong, Vic **New Show**
Thursday 6 October – Barwon Club, Geelong, Vic **Sold Out**
Friday 7 October – 170 Russell, Melbourne, Vic **Sold Out**
Saturday 8 October – The Uni Bar, Hobart, Tas
Thursday 13 October – The Gov, Adelaide, Sa **New Show**
Friday 14 October – The Gov, Adelaide, Sa **Sold Out**
Saturday 15 October – Capitol, Perth, Wa
Friday 21 October – Discovery, Darwin, Nt
Saturday 22 October – The Gapview Hotel, Alice Springs, Nt
Friday 28 October – The Venue, Townsville, Qld
Saturday 29 October – Tanks, Cairns, Qld
