Rennie Resmini takes on Rick Conte
You’ve culled sounds from familiar reference points and molded them into this entity YOUNG AND IN THE WAY an in a short span of time, each release has shown an evolution in sound. I find V. – Eternal Depression shedding some of the crust element in favor of a more depressive, dark metal sound, perhaps even encroaching on the AYR side project. Obviously you are concerned with musical growth as a band, where does the next recorded YAITW sonic journey lead?
The sound that we’ve created with YAITW is simply a veil, it’s our collective homage to the amazing bands that we worship, it’s not that we’re talented song writers, we’re just really good at mashing everything we love together in a sense, and making it seem like our own. In the end it’s an unanimous love for whatever we’ve produced because of the undertones that we 4 hear in it. Any band that can’t admit this is false, we put out our sound and that’s the end of it. Growth is only side product of our inability to stop writing new material, currently we’re putting songs together for a split 7″, and two separate LPs to be released mid 2012. To date, we’ve trashed more songs than we’ve released, our “evolution” is inevitable.
“The Gathering” sounds absolutely majestic, a perfect synthesis of delicate acoustics, sound manipulation, and composition. Some insight to recording it, was this approached with a natural recording rather than digitally doing it section by section, how much of the textural stuff is guitar, field recording/found sound?
The recording process for “The Gathering” was somewhat unusual. The entire process took several weeks of work. We started with live percussion and drum tracking. Each of us were in a different corner of our practice space with a different piece of percussion, Randy was on a full drum kit. We tracked all of the percussion live altogether all the way through. It was sort of like laying down the foundation to the song. Basically an 11 minute drum circle. After that it’s kind of a blur. We overdubbed guitars and bass. Our extremely talented friend Brent Bagwell (Great Architect) overdubbed tenor and baritone saxophone, writing his parts on the spot. Acoustic guitar and violin were overdubbed after that. During all of this time we were making field recordings with a handheld digital recorder. The field recorded sample heard throughout the song is our tech/merch guy Jadrian walking through a creek bed in a forest. In the last 60 seconds of the song you can hear a train going and some dogs barking and howling at it off in the distance. This was captured completely on accident. “The Gathering” was truly a successful experiment for us.
Performing live versus recording in the studio. Do you feel you’re able to capture the feel of a live performance in a studio setting?
The moment we make the decision to record a new album we instantly begin looking for unique outlets of sound that we have yet to explore. Uncharted ideas, even instruments. If we think we can play it, we try. This is evident in “V. Eternal Depression” and will continue to come through in our upcoming releases. We’ve never strived to write an album for anyone outside of the 4 of us. Live, we take the songs that we think can be played by 4 musicians and we arrange a set list as a single performance. We have nothing to say to a room full of people outside of the music we bring, so we don’t. . But obviously there are more elements for our live show that we cannot capture in the studio. Visual elements.
digital or analog recording?
Digital. I (Rick, guitar) run a studio called Birthwave. It was here where we recorded our albums V. Eternal Depression, I Am Not What I Am and Cloven Hoof.
What are you most looking forward to on the A389 anniversary show?
Finding where they buried Stringer Bell.
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