A sigh to a scream, “I’ll Take The Bullet For You”, the fourth single, is an anthemic, guitar-laden plea for love and understanding, no matter the cost. The b-side, “Zenith/Nadir,” is an atmospheric instrumental that will take you from the dark side of the moon through a black hole and back in three minutes and change.
And a reminder to those of you who might not know what Golden Veins Singles Club is:
The first recordings from Golden Veins won’t be released as a traditional album, but will instead take the form of a year-long digital project dubbed the Golden Veins Singles Club. Every month, a new “digital 45” will be released, featuring two brand-new songs as well as a remix of the a-side. In addition to purchasing singles individually, there are also four membership options available, which offer additional bonus materials and merchandise.
A Kafkaesque fever dream, “Frantic Prayer” races via sinewy guitars and spacey electronics toward an inevitably tragic ending. The b-side, “Kicking The Tires,” is a rude awakening set to a pulsing beat. It’s disillusionment you can dance to.
This single also comes with two killer remixes, one by Purify, and one by Matt Bad (both of which are streaming on the website), as well as fantastic artwork by Jon Pearson.
And here’s a little something by the band about the A and B sides:
“Frantic Prayer” began life as a bare-bones demo Scott recorded ages ago. He had a cache with a fair amount of riffs and guitar lines that he presented to us, and I think this was the first of that group we worked on. I think the demo just went up to the part right before the ominous middle section, necessitating the writing of the ominous middle section. When we first played this live, we only played the rockin’ parts, so it was only about two minutes.
The melody took a while to write, as it’s a bit of a tricky song. The lyrics are about guilt.
KICKING THE TIRES
This is an anarchistic protest song which demonizes those in power while at the same time questioning society as a whole. It’s about dishonesty and control – the struggle to see through the former and regain the latter.
This song was first conceived about 6 years ago when I was living in Davis, California. The original demo was just a guitar and vocal, inspired by the large quantities of Billy Bragg that I had been consuming. That mess of an ending was actually rather simple and pretty at one point.
Tonight from 10-11pm, Golden Veins vocalist and Noising Machine c0-founder, Greg Goode, will be on the online music program Iowa’s finest Music. Hosted by Tito McGee, every Tuesday evening, this program showcases the very best of Iowa’s musical talent.
Since today marks the very first release of Golden Veins’ year long Singles Club project, Tito asked Greg to come on and talk about what inspired this project, as well as his experiences in the Iowa scene and thoughts on music in general.
A lot has been happening lately, and we wanted to fill you all in. First off, the Golden Veins Singles Club (http://www.goldenveins.com/singlesclub.html) is about to begin. On September 14th, the first of 12 “digital 45s” will be released, with a new single coming out each subsequent month for a year. These digital singles contain an A-side and a B-side, as well as a remix. They will all be available for download individually as they’re released. However, joining the Singles Club offers even more material (plus it’s cheaper).
There are 4 levels of Singles Club membership, ranging from digital downloads of all 40 (at least) songs ($10), all the way up to a package which includes t-shirts, cassettes, LPs, personalized songs, and more (limited early bird price of $55). For more detailed info on the club, please visit http://www.goldenveins.com/singlesclub.html.
Even more exciting than finally releasing material is that we’re giving awaythe A and B-side from our first single, “Gravitational Collapse”. Our first A-side, “Gravitational Collapse” is the aural equivalent of being lost in space – simultaneously ethereal, melancholic and exuberant. And there’s a whistling solo. The B-side, “Carcinogenic Kiss,” is a robo punk-funk kiss-off, which begins with bile and ends in tears.
And while at the site, you can also hear the 4 remixes (by Adam Robert Haug, Mil, and Matt Bad) that are included with the “Gravitational Collapse” single, as well as aural teaser trailers for the first 12 songs, so you can get an idea of what’s to come.
That’s all the news for now, but there’s new work being done as I type this, so expect more emails in the near future!
Thanks for being rad dudes!
ps- artwork for “Gravitational Collapse” was created by UCIEL.
“Demos and Our Bright Reflections”
(following Beati Paoli’s songs from inception to adulthood)
here’s the demo:
this is the first track from the first full length – “A Sense Of Urgency” (buy it here or on itunes). this album was initially started way back in december of ’06, when we began slowly (very, very slowly) recording bits and pieces of songs that we had previously written or were currently working on. i don’t remember exactly when this song was introduced to the band, but i feel like it was within the first 1o or so songs we worked on.
the demo, like most of the early songs, was written and recorded by uciel on a digital 4-track. he then gave it to greg, who worked up some vocal arrangements. from there, it was laid out for ryan and myself to have our way with. as you can hear, the basic structure never changed, but many things were added, driving the song in a MUCH different direction than where it was originally headed.
the recording of this song started, like usual, with the drums. i can’t remember what mics we had at the time, so i won’t talk about mic placement or anything, however, i do remember that this is one of the tracks from a session where i refused to mic the toms. because of this, the drum mix obviously focused on overheads and room mics. the drums were played, multiple times, start to finish along to a predetermined click track. interestingly enough, after all the effort, there’s only one section of the song where we actually kept the real drums.
i’m assuming the next thing to be laid down would have the bass, as that’s how we did most of the album. we would get the bass and drums really tight and then layer everything on that foundation. guitars would have been next, and i don’t know the effects chains for any of these parts, as i didn’t play any of them (you’d have to ask ryan and cecil), but all said and done, we probably have 5 or 6 rhythm guitar tracks going on. greg then recorded the vocals on top of all this. we have two vocals going on the verse, paned to the left and right, with a handful of effects on each. again, most of this was done on the fly without a lot of planning, so i don’t have notes about what effects in what order. i will try and do better with my note taking in the future!
i know that the solo on the bridge was added later, as there was never originally a solo there. ryan came up with it one day while listening to an initial rough mix and we threw it in cuz it sounds rad. he also wrote and recorded a couple of cello parts for bridge. and speaking of the bridge… that’s the one place where we kept the original, live drum part. however, i ran it through the vocoder of a microkorg which i had programmed. i also manipulated it in real time to make it more interesting.
the rest of the drums were later programmed using multiple instances of fxpansion’s BFD. the beat is almost identical to the live version, just not actually live, and some of the verse drums were run through effects. i can’t remember the chain, but obviously there’s some delay and filters. i think i tried another vocoder as well.
at this point, we could have been done… but NO! ryan stole a giant old box fan from his parents and we sampled it, processed it, and layered it at the beginning and end of the tune, along with some other machinery and noise. we also used battery to put in some samples of marching and metal pipes during the chorus. you know… the usual.
Over the past few months, Beati Paoli has been working on new material. They’ve been planning a split 7″ with hip hop artist Aeon Grey that will also include two digital mini-albums (via download cards). the 7″, titled “Quid Pro Quo”, will feature one new song from each artist, and the download only material will be a combination of new and remixed/reworked tracks.
The release party is scheduled for june 19th (at The Vaudeville Mews in Des Moines, IA), but you don’t have to wait that long to get a taste of the new stuff. This friday, 5/29/09, Beati Paoli will be uploading a new song, called “Massive Charm Offensive”, onto their website (http://www.beatipaoli.net) and myspace. I’ll try and upload it here as well.
and just so this post isn’t completely BORING, here’s a sample of the 7″ artwork:
this is off of Scientific Cricket, which you can buy HERE!
grampall jookabox is the second “unknown” or “underground” artist on this mixtape. i guess it’s now a two piece, but it was just one guy on the scientific cricket album. we (beati paoli) played with him a couple of times, and i’ll tell ya THIS: he’s just as good live. check out the other songs, and make sure you go out to see ’em when they come tour through your town.
"Being Strangled" b/w "Us Mere Mortals" (02/08/11)
"Billy and the Black Spot Under an Ugly Moon" (01/11/11)
"Radio Prohibidas" b/w "Never Know" (01/11/11)
"Merry Christmas (Don't Forget To Write)" (12/25/10)
"I'll Take The Bullet For You" b/w "Zenith/Nadir" (12/14/10)
"Warholism (Is Polaroiding)" b/w "Among The Saints" (11/09/10)
"Frantic Prayer" b/w "Kicking The Tires" (10/12/10)
"Gravitational Collapse" b/w "Carcinogenic Kiss" (9/14/10)