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MUSIC PREVUE // ATMOSPHERIC POP

Ghost Cousin

Who you gonna call?

T

he etherial patchwork of tion started rolling. Sorry in adsounds that make up Ghost vance for any mix-ups, guys.) Cousin's debut, Scotland, feels So they set about looking for both familiar and otherworldly. The a room with the right feel, and set up is an ostensibly standard for four days last November, the band—Goodguitar-bass-keysing, Corey Pole voice-drums, but Wed, Aug 21 (8:30 pm) and broththere's an unusual With Jung People, My Side of ers David and air about how the Mountain Mathew Leterthose instruments Wunderbar, $8 sky—set about are being presentrecording in Mced, captured in atmosphere akin to an echo, but not Dougall United Church. The band in the obvious reverb-effect way. would arrange the gear, log a nineScotland's nine songs carry the hour day, then tear down again so fuzzy-periphery-feeling of a fleet- the choir could practise. They made ing memory as much about texture use of the church's Bösendorfer as about melody. grand piano, "one of the really large "There's something really wel- ones with the two black keys in coming about a sound that doesn't the low end." Mathew says. "It just come across as heavily manipulat- sounded phenomenal." ed—something that's got a little "We realized partway through the bit more of a room in it," Matt recording process that you record Gooding explains. "It seems more drums in a studio and you get a natural to listen to music that studio sound," Polo adds. "And that wasn't produced in a perfect envi- can be great, but a lot of the stuff ronment than it does to hear some- we were listening to had this atmothing close mic'd up in a studio." sphere to it. And it took us a while (At least I think it was Gooding; to figure out that that's what we the band's four members were all needed: just a big open room. The gathered around a speakerphone, church is so beautiful sounding. We which made it a little tricky to sort kinda lucked out with that." out who said what once conversa"The result, I think, is something

that's a little bit more spacious and a little bit more atmospheric maybe, then what you're used to," Matthew continues, noting a love of the likewise textured approaches of bands like Grizzly Bear, Midlake and Steely Dan. Still, four days wasn't quite enough time to finish recording the album there, so they had to prioritize what sounds got the church treatment: drums were all tracked in the first day or so, to ensure they received the effect. The rest was recorded in the basement of the place the band was renting, as well as some further experimentation with sounds. Mathew mixed the album too; he was in school at the time, which made it a bit of a long-time-coming from those church sessions to its now impending release. "There was a lot of trial and error and a lot of experimentation," Mathew explains. "We're not professionals by any means, I'm not a professional by any means. And we really had lofty goals for this one, and we didn't want to rush it." PAUL BLINOV

PAUL@VUEWEEKLY.COM

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VUEWEEKLY AUG 15 – AUG 21, 2013

MUSIC 35

930: Fringe to Fringe  
930: Fringe to Fringe  

Touring festival artists find camaraderie on the road