Grandfather

Enter Grandfather – a three piece from New York whose belief in their own music led them to put up their own money to record their debut album with sound engineer Steve Albini at his Electrical Audio studio, then give the album away for free on their website. This kind of move could easily be derailed as some kind of PR stunt, but upon asking it becomes clear there are other motivations.

Finding the limitless possibilities of home recording daunting, Grandfather decided to go into Electrical Audio and pretty much record the songs live. Sometimes it seems that people enlist Albini for their recording based on his reputation, rather than his setup being the right fit for their band. Listening to Grandfather's debut Why I'd Try, it doesn't seem there could be any other choice. The recording is full-bodied and warm, and the songs themselves contain changing textures that develop and build like a pot of water being slowly brought to boil. Opener ‘You're Strange', like the rest of the album, has a dark and brooding exterior which is slowly chipped away the closer the listener gets to the crescendo, slowly revealing an unexpected hook at the centre.

The album seems a piece as a whole and the perfect document to introduce the world to Grandfather. So rather than risk people listening to inferior versions of the album and without the pressure of a record company curtailing such a decision, the band gave the album away on their website. As Why I'd Try trickles out into the world, the Quietus caught up with guitarist Michael Kirsch to talk about sidestepping the whole ‘industry' side of music and doing things on your own terms.

Read more at the link... - The Quietus

New York City’s Grandfather first came to my attention, along with many others, thanks to legendary engineer/producer Steve Albini. During an interview with GQ Magazine, Albini spoke about the pleasure it was to record Grandfather’s debut album Why I’d Try, praising the band for their technique and work ethic in the studio. The trio finished the entire record in only three days, using a majority of first takes, constructing gorgeously dark music that walks a fine line between simple and complex. The connection between Grandfather and Albini is a match made in heaven, as nobody understands dirty analog recording better than Mr. Albini, a life-long supporter of the “less is more” aesthetic. The trio was well aware of the sound they were going for, picked the right man for the job, and the results are absolutely magnificent. Why I’d Try does everything right, the record twitches between orchestral brilliance, gritty post-punk, and cerebral assaults of noise, all falling precisely into place within its sonic puzzle. Their music unfolds in an organic way, gradually awakening toward the eventual chaos with a calm yet shaky atmosphere. Locked tight in stranglehold rhythms delivered in strange time signatures, Grandfather’s debut is the type of record you listen to on repeat… for days on end.
(link for more) - Exploding In Sound

Editor’s Note: Michael Kirsch, guitarist for the New York-based band Grandfather, has provided DeadJournalist.com an exclusive, first-person view into the recording their debut album with the legendary Steve Albini. Through this series of artist Op-Ed’s we continue to bring you the undiluted voice of the artist the best way possible: directly from the source. - Dead Journalist

So it goes without saying that these two shows, at Maxwell's on 1/28 and Bell House on 1/29 (both of which sold out) were met with excitement from the most devoted of Burma's fans. The band has become known for hand picking their opening acts, and in the case of these shows, they did an excellent job with both. New York City's Grandfather (not to be confused with Grandchildren) opened the Maxwell's show on Friday, a threesome with clear inspiration from Mission of Burma's unique timing and song structure. Their songs were dark, but meticulously written, with a heavy emphasis on rhythm. Grandfather's drummer, a highly energetic and precise musician, took on lead vocal duties as their guitarist and bassist flung themselves around on stage throughout their set. In hindsight, it made perfect sense when their guitarist told me before the show that Bob Weston and Steve Albini were behind their debut record. Check this band out (their next show is at Party Expo in Brooklyn 2/7/11). - Brooklyn Vegan

Hometown: New York City

Why They Matter: They're Steve Albini's favorite new band — and it isn't hard to see why. The iconic studio whiz produced their new album Why I'd Try, a tinnitus-inducing blast of arty metal that Tool fans would totally dig.

You Should Know: The group slaved for weeks recording their debut album, only to ditch the sessions altogether and re-record the LP with Albini in just three days.

LISTEN: Grandfather, "Tremors" - SPIN MAGAZINE

Fuzzed-out lo-fi has seen explosive growth in recent times, New York City being a particular hotbed of production. Enjoyable as it may be, band after band of excessive noise and formulaic songwriting gets a little tiring and a bit redundant. It makes you wonder what ever happened to rock music. Not in the notorious lothario, arrogant prima donna, leather pants sense of the genre, but the pulsating, crisp, intensely rhythmic sense. The kind of music whose rhythms are ruthless in their punch and vocals trade glamorous overproduction for inescapable rawness sure to leave a bruise.

Enter Grandfather, and don’t be fooled by the name. This New York trio has nothing in common with the crotchety, lethargic man with the remote permanently glued to his hand bitterly reminiscing about the “old days.” With the haunting vocals and pounding drums of Josh Hoffman paired alongside Jonathan Silverman’s bass grooves and the genre-bending guitar playing of Michael Kirsch, Grandfather’s debut, Why I’d Try, fails to play like a typical three-piece, but rather a band at least twice the size. Precise instrumentation, interminable energy, atypical combinations of rhythms and melodies, and sincere, raw vocals add together seamlessly to perfect Grandfather’s refreshing brand of brutal psychedelic rock.



Concerning precision, fear not. Sharp instrumentation, in this case, hardly means being stuffy and overly technical. Grandfather’s songs fail to follow a formula, rendering them each a completely different listening experience in structure and content. The only constants? Passion and quality. As for this approach, the band cites Can’s “Tago Mago” as an influence, because the West Germany band’s “process of improvising and creating songs out of collective experiments and jams,” as Hoffman put it, provided definite inspiration. As for the role of Kirsch’s psychedelic guitar, which fails to stay within the lines on Why I’d Try, Hoffman references Portishead’s Third. “We were attracted to the way they used experimental arrangements in the context of more straightforward songs,” reveals the singer. Such influences openly stated but not explicitly duplicated result in Grandfather’s sound being solely their own.

The band backs up what you hear on the album, too. Their live shows are quickly garnering acclaim throughout the city. This consistency in sound centers around dedication to completely analog recording. Finding the digital system frustrating in its endless editing abilities, Grandfather felt their recordings “sounded sterile”, drummer/vocalist Josh Hoffman noted. “We wanted to capture the energy of the band performing together live. We wanted the record to sound as if you were actually in the room it was recorded in and decided that a no-frills, all analog approach was best to achieve that.” To achieve this, the band sought out legendary engineer Steve Albini, whose previous work includes Nirvana and the Pixies, and recorded an album in just a few days last July.

The result? Why I’d Try, a 40-minute, frenetic piece of work that not only allows the listener to feel the live intensity of the band, but demands it. Oh, and it’s up for free download on Grandfather’s website.

Future plans for the band, not surprisingly, include extensive touring. “Right now Grandfather is booking a month-long tour in March down to Texas for SXSW,” Hoffman explains. “We thrive in the live setting, and we’d love to tour as much as possible. Hopefully we can reach a large enough audience to play across the US and overseas in 2011.”

We hope so too.

“The Outcome” live in Williamsburg
- Consequence of Sound

Do you remember the immediate and palpable differences between Nirvana’s Nevermind and In Utero albums? Most critics – and fans, for that matter – will point to the production as the most prominent factor that distinguishes the lauded grunge band’s second and third albums. Nevermind boasted a glossy veneer and shimmer that, as it turned out, did a pretty fine job of camouflaging Kurt Cobain’s staunch lo-fi aesthetic. Butch Vig handled the boards on that record, and his super-slick mixdown was indisputably one of the paramount reasons that all things once regarded as underground soon became paradoxically labeled as mainstream alternative rock. When the band returned to the studio for the recording of In Utero, they brought along with them recording engineer and indie demigod Steve Albini – a man whose meticulous microphone placement and aversion to multi-track recording made it feel like Dave Grohl’s drums were punching you right in the gut.

Albini has worked with countless artists both famous and obscure over the decades, but his recent partnership with New York-based trio Grandfather recalls many of the musical predilections that were sweeping across America back in 1993, just as Nirvana’s swan song was hitting shelves. This is not to suggest that Grandfather is merely a post-grunge knockoff; the Josh Hoffman-led outfit may indulge in sludgy textures, lyrical themes of despondency, and grinding passages of feedback, but their instrumental execution is more prog-rock than it is Pearl Jam. Part of the reason grunge had its moment in the limelight was because it pinpointed that tricky location where punk rock attitude and heavy metal fury could peacefully coexist with a melodic pop sensibility.
By contrast, Grandfather isn’t much for hooks or earworm riffs; these guys are more content to pound out odd-meter grooves, unconventional song structures, and abrupt alterations in decibel levels (you can forget the soft verse/loud chorus formula that Albini had previous accented in his work with the Pixies and Nirvana). If you’ve been jonesing for a Tool/Alice in Chains collabo however, this is probably the closest you’ll get.

Grandfather – Hoffman on vocals and drums, Mike Kirsch on guitars, and Jonathan Silverman handling the bass – presents some fairly compelling reminders of why rock music’s maturation was such a thrill in the ‘90’s. The band’s debut record, Why I’d Try, is an industrious mixture of thunderous drumming, intensely melodic bass playing, and Hoffman’s droning vocals. Opening cut “You’re Strange” is shockingly reserved compared to the rest of the disc’s offerings, built around a chugging minor 2nd chord progression that oscillates between unadulterated and positively filthy. The catch is that, unlike the more gratuitous blueprint of classic grunge music, you never quite know when the shift is coming.

Beyond the tentative introduction, the group plays with a greater sense of verve. “Tremors” merges a trip-hop worthy bass ostinato with spiraling echoes of psychedelic guitar harmonies. “AWOL” is an album standout – clocking in just north of 2:00, the insistent 7/4 time signature and caterwauling outro exhibit a sort of brevity commonly lacking in music this cerebral. “Caught Off Guard” is fitting of its name, prone to unorthodox chord voices, bursts of guitar squall, and exceptionally pained singing from Hoffman. On “It’s Good Enough Now,” Silverman’s bass playing comes to the fore; his sustained passage of notes suggests Grandfather’s ability to evoke fleeting moments of peace and calm on a record that largely boasts of more violent and erratic atmospheres.
- Adequacy

Do you remember the immediate and palpable differences between Nirvana’s Nevermind and In Utero albums? Most critics – and fans, for that matter – will point to the production as the most prominent factor that distinguishes the lauded grunge band’s second and third albums. Nevermind boasted a glossy veneer and shimmer that, as it turned out, did a pretty fine job of camouflaging Kurt Cobain’s staunch lo-fi aesthetic. Butch Vig handled the boards on that record, and his super-slick mixdown was indisputably one of the paramount reasons that all things once regarded as underground soon became paradoxically labeled as mainstream alternative rock. When the band returned to the studio for the recording of In Utero, they brought along with them recording engineer and indie demigod Steve Albini – a man whose meticulous microphone placement and aversion to multi-track recording made it feel like Dave Grohl’s drums were punching you right in the gut.

Albini has worked with countless artists both famous and obscure over the decades, but his recent partnership with New York-based trio Grandfather recalls many of the musical predilections that were sweeping across America back in 1993, just as Nirvana’s swan song was hitting shelves. This is not to suggest that Grandfather is merely a post-grunge knockoff; the Josh Hoffman-led outfit may indulge in sludgy textures, lyrical themes of despondency, and grinding passages of feedback, but their instrumental execution is more prog-rock than it is Pearl Jam. Part of the reason grunge had its moment in the limelight was because it pinpointed that tricky location where punk rock attitude and heavy metal fury could peacefully coexist with a melodic pop sensibility.
By contrast, Grandfather isn’t much for hooks or earworm riffs; these guys are more content to pound out odd-meter grooves, unconventional song structures, and abrupt alterations in decibel levels (you can forget the soft verse/loud chorus formula that Albini had previous accented in his work with the Pixies and Nirvana). If you’ve been jonesing for a Tool/Alice in Chains collabo however, this is probably the closest you’ll get.

Grandfather – Hoffman on vocals and drums, Mike Kirsch on guitars, and Jonathan Silverman handling the bass – presents some fairly compelling reminders of why rock music’s maturation was such a thrill in the ‘90’s. The band’s debut record, Why I’d Try, is an industrious mixture of thunderous drumming, intensely melodic bass playing, and Hoffman’s droning vocals. Opening cut “You’re Strange” is shockingly reserved compared to the rest of the disc’s offerings, built around a chugging minor 2nd chord progression that oscillates between unadulterated and positively filthy. The catch is that, unlike the more gratuitous blueprint of classic grunge music, you never quite know when the shift is coming.

Beyond the tentative introduction, the group plays with a greater sense of verve. “Tremors” merges a trip-hop worthy bass ostinato with spiraling echoes of psychedelic guitar harmonies. “AWOL” is an album standout – clocking in just north of 2:00, the insistent 7/4 time signature and caterwauling outro exhibit a sort of brevity commonly lacking in music this cerebral. “Caught Off Guard” is fitting of its name, prone to unorthodox chord voices, bursts of guitar squall, and exceptionally pained singing from Hoffman. On “It’s Good Enough Now,” Silverman’s bass playing comes to the fore; his sustained passage of notes suggests Grandfather’s ability to evoke fleeting moments of peace and calm on a record that largely boasts of more violent and erratic atmospheres.
- Adequacy

<a href="http://www.examiner.com/underground-music-in-new-york/nyc-s-grandfather-shark-and-she-keeps-bees-featured-on-new-compilation" target="_blank">Examiner NY</a>
- Examiner NY

First Look: Grandfather

If you are looking for an edgy, down and dirty psychedelic rock band with bold rhythmic intensity, brutal melodies, and unencumbered lyricism to ring in the New Year with, look no further. Grandfather is exactly what you are looking for.
Grandfather, comprised of Josh Hoffman, drums, Jon Silverman, bass, and Michael Kirsh, guitar is a New York based three piece who pack a massively powerful sound of a band twice their size. Grandfather has pushed their way into the indie arena with powerful melodies and unadulterated arrangements. Suffice it to say, Grandfather is not your typical mash-up. With veteran record producer Steve Albini of Nirvana, Pixies, The Stooges, Mogai, and Cheap Trick fame, among countless others, who Grandfather can credit with some of the magic behind the EP, Why I'd Try, they are sure to be one of this year's hottest bands.

antiMusic caught up with bassist Jon Silverman for an in-depth look behind the music of Grandfather.

antiMusic: Can you give me a quick background on how you all met, what inspired you to play together, where you were before you formed Grandfather?

Jon: We first met through a mutual friend of ours in 2005. At that time, I was in another band and Josh and Mike were already making music together with him. They asked me to play bass on their EP, which at the time totally blew me away. Between Mike's sitar playing and Josh's intensity on drums, I was convinced. It encouraged me to think outside the box and grow as a bassist.

antiMusic: Where do you draw inspiration?
Jon: We naturally draw from our influences, live music, and the daily struggle, but most of all we get inspired by each other's ideas.

antiMusic: How do you handle creative blocks?

Jon: Sometimes all we need is space apart and time to be creative individually. We then come back together with a fresh perspective and tackle new ideas much more efficiently. When all else fails, we try to use musical devices and techniques learned from our favorite artists that don't necessarily depend on spur-of-the-moment creativity.

antiMusic: How many incarnations has the band undergone before you came to this lineup? Or are you fortunate enough to be the original?"

Jon: This is the second incarnation of Grandfather. For about a year we were working as a four piece and did not end up with a completed record. We ultimately slimmed down to Josh, Mike and I. Then the three of us got working on what became Why I'd Try.

antiMusic: Talk about working with Steve Albini? How did that relationship form?

Jon: We were all familiar with his work and thought he was the right man for the job. So we simply called up Electrical Audio and booked a session with him. Of course, we had to sell all of our own audio equipment and have a Kickstarter page to afford it – but we were confident in our decision. Watching him work was fascinating and he was happy to answer any questions we had in great detail. Throughout the session, he also pointed out different sounds and parts of the music that reminded him of bands he recorded in the past. It was a lot of fun hearing him tell stories about the people he's worked with. Despite whatever you hear, he's a really nice guy and it was an honor working with him.

antiMusic: You recorded in Chi town, what was that like and did the landscape influence you at all while you were there?

Jon: Chicago is an amazing city. Since we're all natives of NYC and had never been to Chicago, we were happy to see that Chicago holds its own. We arrived at 3am so we didn't see that much at first, but I remember saying, "This is a REAL city!" The next day we got to walk around town and checked out Millenium Park, which seems like an amazing venue to see a show. Everything was so clean, and the architecture was gorgeous. Unfortunately, the landscape didn't influence the music. We were under such strict timelines that we had to execute our game plan with no room for error. Although, we did finish a lyric of "The Outcome" at a park near the beach on Lake Michigan, before a cop told us to scram.

antiMusic: You sought to work with Albini to get some of the rawness he puts into his records--a la Nirvana, the Pixies. What did he do for your sound?

Jon: He made us sound as big as we hear ourselves in our heads, without sacrificing the natural sounds of our instruments and amps. It was absolutely no surprise to hear how we sounded once we recorded the material, because to us, that's just how we always sounded! In mixing, he took what we did live and accented and highlighted areas of songs. For instance, at the end of "You're Strange", you can hear a very powerful explosion of sound when we enter the outro. He mixed the whole song up until that point, printed it to ½" tape, and proceeded mixing the outro in a different fashion, printed that and cut the two together precisely. He just boosted the room mics and changed the levels to achieve a grander and more spacious sound for that part – a technique he called a "mix-let". When hearing the two together in the final product, we couldn't have been more excited. It's things like that, which make Albini a strong presence on a band's record.

antiMusic: Talk about recording on 2" analog tapes and how that has changed the quality of your sound?

Jon: When first conceiving the album, we recorded every song ourselves using our digital gear. Granted we didn't have a world-class digital recording facility, but we used what we had and made it sound pretty decent. When recording to 2" tape, we definitely noticed a big difference. Suddenly, there was more room for the instruments to breathe and there was a greater sense of punch and transparency. Hits felt harder, dynamics of each player were more noticeable, and the clarity was shocking.

antiMusic: Why analog? Will you use protools or digitized recording in the future?

Jon: We used analog simply because our engineer of choice used analog. Was that a major plus? Absolutely. However, we don't hold a vendetta against the digital recording world. Digital recording is very useful: It's convenient, user-friendly, and helps artists develop new ideas easily. We can't say for sure whether we'll use a digitized recording in the future, it depends on the engineer we choose.

antiMusic: What kinds of differences do you hear in your recording from using analog that you think may have gotten lost if you went the more recent traditional route?

Jon: The recording probably would've been less dynamic and not as warm and punchy. It's definitely not a make or break type of thing. It's a matter of aesthetic.

antiMusic: What was the hardest track to record and why?

Jon: It's different for each of us, but if we had to pick one it'd be "Tremors". The intricacy and spontaneity of Mike's guitar lines in that track proved to be difficult when recording live with the band (to the point of satisfaction). That's a very physically draining drum part as well so playing multiple takes in a row got very tiring for Josh.

antiMusic: Tell us a story behind one of the tracks?

Jon: When coming up with "You're Strange", Josh conceived the progression and melody on piano. When brought to the band, it was difficult to arrange for guitar, bass, and drums. After a couple of tedious weeks playing it, I wasn't happy with my bass part and it seemed like it was missing something. We then jammed out on E for a while, and that allowed for the creation of the bass line in the beginning and ending. That was a great moment because the song came full circle with that intro and outro, and that sparked other great ideas for the rest of the song.

antiMusic: Was there someone or something in particular that inspired a favorite track?

Jon: No, nothing comes to mind.

antiMusic: What is your favorite track and why?

Jon: "Caught Off Guard" is definitely one of my favorites. The vocal melody over those guitar lines gets me every time. I also love how the second part is in a different meter and each part of the song never comes back again, the ol' ABC form.

antiMusic: What is your pick for a single?

Jon: Tremors. It has a strong beat that catches your attention right away, and follows a traditional rock song form. It also has a monster guitar solo.

antiMusic: Talk about (one of my favorites) the song, "No One Knows No One."

Jon: It's definitely one of the tracks that came together easiest. Josh came up with the melody at the piano in one session, and Mike wrote the lyrics on a bus ride. When it was brought to the room, we jammed it out and that was that. The ending is a lot of fun to play!

antiMusic: What is the best part about your job as a musician?

Jon: Performing live. There's nothing like being on stage and expressing yourself in front of a lot of people – especially when they're receptive.

antiMusic: You strike me as a band that goes for purity of sound, talk a little bit about what influences you and motivates you to find the perfect sound?

Jon: We each have a very strong and precise idea of how we want our own instruments to sound, combining those sounds gets us to a point where our musical statement is clear and gets across well. Bands that we love all do this extremely well, and that's what influences and motivates us to do what we do.

antiMusic: Do you think melody, lyrics or arrangements are most important to your recordings?

Jon: Arrangements are most important to us.

antiMusic: Who does the majority of writing?

Jon: We each have a skill in the writing process that works well. Depending on who came up with the initial idea on what instrument dictates how we'll proceed with arranging it. Once in a while we'll come up with something together during practice and that always yields the best results.

antiMusic: What kind of collaboration do you employ with each other? Are you more of a democracy or a totalitarian rule?

Jon: We're definitely a democracy. It's a principle that we've abided by ever since forming a band. With an odd number of members, votes are a lot easier. However, come to think of it, we really don't need to vote that often. It's pretty cool that we're on the same page most of the time.

antiMusic: What have you learned about yourself as musician's through this process? About each other?

Jon: We've learned that making music your business requires determination, ambition, and most of all diligence. We are constantly learning, but so far staying true to ourselves and making music with authenticity is most important.

antiMusic: What would you do differently in the future? Do you see yourselves branching off into a similar or different creative direction?

Jon: Creatively, I think what will come from us will be a little different than "Why I'd Try" but with the same vibe and attitude. It's tough to say, but however we're feeling at the time will direct our path. I can't see us turning into Lady Gaga anytime soon.

antiMusic: Who were your influences growing up?

Jon: Is it still ok to say The Beatles? Nirvana and the Chili Peppers were definitely some big ones, but there's so many more.

antiMusic: What was the music scene like growing up and what did you hate about it?

Jon: For me it was kind of weird. I was in a hardcore band called Without Reason in high school and the scene was a bunch of older dudes looking to crowd bash innocent by-standers. The music was pretty intense and awesome, but shows would be completely shut down due to the idiots ruining it for everybody. The flip side to that was of course the hip-hop generation. I grew up in Queens so there was naturally a huge boom in rap in the 90's. For a minute, it seemed like everybody forgot who or what a band was anymore and only wanted to listen to hip-hop. I definitely love good hip-hop, but it was pretty strange how me being a "rock kid" put me in the minority at the time where I was from.

antiMusic: What do you think about music today and where it is headed?

Jon: There's so much music out there and so many music fans that it's very hard to say in general. Most of the time, it's like finding a needle in a haystack when we come across a good band. If you mean pop music, you're asking the wrong guys because we stopped following a long time ago.

antiMusic: What's next for you?

Jon: Performing live and getting our album into the ears of potential fans is what's next. It's important that people experience our live show to get the full effect of the music. Although Steve did a great job capturing our live performance on record, there's nothing like seeing it right in front of you.

antiMusic: Can we expect a studio album?

Jon: Definitely, we're in the process of writing a batch of new material. As soon as we solidify them and filter the ones that we want to record, we'll head into the studio and release our sophomore effort. We're extremely excited with what's to come. To keep up to date, follow us on facebook and twitter and we'll let you know what's happening. - AntiMusic

Location
New York, NY

Website
http://www.grandfathermusic.com

Bio
The perfect embodiment of “less is more”; New York based three piece Grandfather fashion dynamic, intense and violently rhythmic psychedelic rock. Far from a traditional power rock trio, the band creates a massive, caterwauling maelstrom from the simple concept of allowing each instrument to reach its sonic peak.

Conjuring the sounds of a band twice its size, their music is ripe with complex melodies and a lockstep rhythm section (Josh Hoffman, Jonathan Silverman), set against the tempestuous, experimental guitar playing of Michael Kirsch. Lead vocal duties are also fronted by Josh Hoffman, their energetic heavy-hitting drummer, and provide an aching, emotional fragility to their music. The result is an otherworldly sound – one eager to brashly burst at the seams with razor sharp stabs of feedback and an aggressive rhythmic attack; yet delicate and mature enough to pack a stunning emotional heft.

Well known across New York City for their onstage intensity, buzz-saw-like precision and confidently brutal live shows the band is eager to tour. The band recently recorded their debut record, “Why I’d Try” in July, 2010 with stalwart engineer Steve Albini (Nirvana, Pixies). Firm believers in the raw, unencumbered sound of the analog recording process, Grandfather and Albini have managed to capture the band’s frenetic, live-in-the-room intensity and created a singular, ruminative and altogether bracing introduction to their world.
- Decoy Music

Today’s New Band To Burn One To is New York’s own Grandfather.

Upon hearing their album I instantly thought of Tool. They’re not as melodramatic as Tool can be but the music can be just as memorizing. The music is deep and has a lot of substance. The band is giving the album away for free so you’ve got nothing to lose by giving it a listen. If you like it, you can purchase physical copies of the CD, LP or both straight from the band. - Heavy Planet

Today’s New Band To Burn One To is New York’s own Grandfather.

Upon hearing their album I instantly thought of Tool. They’re not as melodramatic as Tool can be but the music can be just as memorizing. The music is deep and has a lot of substance. The band is giving the album away for free so you’ve got nothing to lose by giving it a listen. If you like it, you can purchase physical copies of the CD, LP or both straight from the band. - The Soda Shop

Steve Albini has carved out an illustrious career out of producing countless amazing albums for amazing bands (from Slint and the Pixies to Nirvana, Jesus Lizard, The Mark of Cain, Melt Banana - too many to mention really!) as well as being in amazing bands in his own right (Big Black, Rapemen, and the ever impressive Shellac). He is also a controversial mouthpiece, never afraid to speak his mind, as evidenced in his The Problem With Music article a few years ago. In a recent interview with GQ magazine (WTF!), he spouted off about lots of things, mostly with vitriol, including stating that he hates the fashion industry and that he hopes GQ as a magazine fails. Hardass indeed... But the biggest surprise was in store for Sonic Youth, stating that their move to Geffen Records in 1990 was a bad influence on indie music and were distasteful, that it was their biggest mistake - even though he has produced albums for bands on major labels in the past.

Ouch.

One thing he did mention that was interesting in a positive manner was when he was asked if there was a "young artist with integrity who inspired him" -

Albini: There was a band that came into the studio a while back called Grandfather. They were an art-rock band that organized the funding of their record through Kickstarter. They were really well rehearsed and came into the studio and knocked the record out in a couple of days… That’s the kind of nimble, efficient behavior that was previously impossible when there was a corporate structure involved. It gives me confidence other bands will figure it out.
Very glowing.

Then Mike from Grandfather contacted us about his love od our Bloody Knives review, our blog, and this album, Why I'd Try. It is an accomplished effort, and seeing as the funds were brought in on the guys' own backs (alongisde the Kickstarter initiative they sold much of their own possessions to get the thing done), its all the more impressive. And you can see Albini's influences shining through the cracks, alongside his proclivity to mainline Jesus Lizard-style menacing grooves into what are essentially meandering indie rhythms, with some gnarled guitar flecks spattered throughout. Grandfather remain unsigned, but surely not for long.

Why I'd Try is available as a free download from their own site, but you can also buy it in limited edition vinyl or CD - we really need to support this kind of initiative, where bands attempt to pour their all into their music and resist the temptation to put it on Bandcamp and then spam all and sundry with their results (not that that is always a bad thing mind, it just shows that these guys are willing to go the whole hog). - Sonic Masala

I assume most people checked these guys out because they were mentioned in an interview with Steve Albini about their recording methodology and how they were doing things the right way. I respect them for that right out of the gate but still wanted to see what was going on with the actual music. Turns out, it's reminiscent of a lot of music with a darker, tension filled edge. I can think of plenty of Dischord comparisons that would be apt without being the least bit insulting. I tend to prefer the first half of the record where the energy of the songs is released immediately and relentless moving forward. The second half tends to build much more slowly before exploding. On the whole, worth checking out and keeping an eye on them.. they are, after all, doing things the right way. - Silent Uproar

4. Grandfather – Tremors (from the album Why I’d Try)

First catching my attention after being praised by renowned producer Steve Albini in GQ Magazine of all places, Grandfather’s music is dark and sparse, propelled by a nervous apocalyptic aura that I can’t seem to stop listening to. The band have been quoted to say they wanted “a massive sound with minimal arrangements” and one listen to their debut Why I’d Try and it becomes rather apparent they succeeded. Drawing comparisons to The Jesus Lizard, Shellac, and Shudder To Think, Grandfather have quickly risen among New York’s artistic post-punk elite. - Exploding in Sound

Download Grandfather’s new album “Why I’d Try” for free on their website. Jam out to track 2 – “Tremors” and track 6 – “By Myself”. The album was mixed by analog god Steve Albini at Electrical Audio. You may know the name… He’s responsible for The Pixies “Surfer Rosa” album – as well as Nirvana’s “In Utero.” Grandfather features Joshua Hoffman (Vocals/Drums), Michael Kirsch (Guitar), and Jonathan Silverman (Bass). They display an experimental psychedelic rock sound with the use of aggressive feedback, a heavy bass section and crowd droning vocals. - Too Much Lemonade

Our debut record album Why I’d Try was complete. The sound of the record surpassed my expectations, and dispelled all the feelings of uncertainty and doubt I had with the original home studio recordings.
Every instrument could be heard clearly. They no longer fought for frequencies with the vocal. The mix was dynamic. The low end was felt deeply and heard clearly. There were no special effects or “ear-candy,” yet there was still a tremendous amount of detail to listen to.
With the help of Steve Albini and Electrical Audio, we (Grandfather) had finally made a record that we could stand behind strongly. Now all we had to do was release it.

CLICK LINK TO READ MORE - Sonic Scoop

Did you know that November is National Peanut Butter Month? Neither did we. And we may not have any jelly, but we sure do have some jams (ba-dum-ching!). For your auditory pleasure, we’re serving up another heaping helping of new music, from a taste of the Daft Punk-composed Tron soundtrack to a delightful glimpse of the upcoming 30 Rock soundtrack. And, as always, right click and save as to download, or scroll to the bottom to collect ‘em all.


1. “Derezzed” by Daft Punk

It’s been a great year for movie soundtracks, what with Trent Reznor’s excellent work on The Social Network and Hans Zimmer’s bone-chilling innovations for Inception. But 2010's not over yet, and we’re anticipating one more juicy movie score: the Tron: Legacy soundtrack, written and performed by Daft Punk. From this sneak-peek track, it sounds like it’s going to be a fairly spectacular accompaniment to the promised lasers and zipping motorcycles in the film.

2. “Tremors” by Grandfather

File Grandfather on the list of things that Steve Albini doesn’t hate — at least for now. This Brooklyn trio got their start through Kickstarter and recently wrapped up work on their debut, Why I’d Try. “Tremors” kicks its way off the starting line with arena-worthy riffs, a snarling, crunching, pounding track. If there was any justice in the world, every Soundgarden song would be quietly replaced with this instead. Trust us. It’s better.

3. - please click link for more. - FlavorWire

Having grown tired of hearing everyone and anyone with access to a home digital "recording studio" pump out often lifeless collections of songs, this past July the three members of Grandfather sold off all of their home recording equipment and headed to Chicago to make their album "Why I'd Try" - with the help of wizard of analog recording himself, engineer Steve Albini. The band, that plays an intense brand of (non-instrumental) post-rock that often escalates to post-punk peaks, is offering a free digital download of the product of this collaboration here. Check them out live at Union Pool on 11.20. - Read an in depth review of their CD on Dave Cromwell's blog. - Deli Magazine

Hey, don't take our word for it. Here's Steve Albini singing the praises of New York indie-snarl trio Grandfather in GQ of all places: "There was a band that came into the studio a while back called Grandfather. They were an art-rock band that organized the funding of their record through Kickstarter. They were really well rehearsed and came into the studio and knocked the record out in a couple of days... That's the kind of nimble, efficient behavior that was previously impossible when there was a corporate structure involved. It gives me confidence other bands will figure it out." Grandfather guitarist Michael Kirsch has been dutifully blogging this process to Sonic Scoop--their weeks of rehearsals, recording and mixing in three days, refusing to cut multiple versions of a song, mixing in between vocal takes. But it's the record itself that's the true testament to their indie ethos. Their nine-track debut Why I'd Try (currently available as a free 320kbps zip file on their website) is a lumbering, melodic beast that's got the visceral art-crunch of Shellac mixed with the flighty and fever-dreamy melodies of Shudder To Think. Says Kirsch, "One of the goals of our band is to explore new sonic territories within the traditional structure of a three piece rock band--drums, bass, guitar. We want a massive sound with minimal arrangements." Lead single "Tremors" is accordingly huge, pulling its loping Jesus Lizard groove through a shining, 120 Minutes-ready hook and a gorgeously minimalist, treble-fucked two note guitar solo.

Download: Grandfather, "Tremors

Q&A: Grandfather guitarist Michael Kirsch
What is "Tremors" about?

I sometimes get really bad anxiety attacks that are mentally debilitating. I become introverted, withdrawn and unable to communicate with others. My internal monologue drowns everything out, and I become socially inept. These anxiety attacks can last for hours at a time. "Tremors" is about these attacks. "Tremors" began with the title; the music literally sounded like it was trembling, with the tense, dissonant bass-riff and choppy, repetitive guitar lines. It reminded me of the panic attacks I had been having, and the song became an opportunity to sublimate those experiences. Writing is a powerful and therapeutic process, allowing me to release negative energy in a positive and productive way. Most of my inspiration comes during moments of existential dread.

Was seeing Albini's quote about you guys in GQ like winning an award?

We ran into Steve at the Shellac show at the Bell House in September and he told us that he mentioned Grandfather in an interview he had just done with GQ. We obviously thought he was messing with us. A few weeks later I typed "Albini" and "GQ" into Google and lo and behold, there it was. We were ecstatic. Reading the interview reaffirmed many of our ideas about how to best release music in 2010. Steve has an incredible insight into the music industry as has seen it evolve over decades. He's incredibly smart and thoughtful. The fact that he championed our methods of recording and releasing music in the current landscape, invigorated us to continue to come up with new ways to survive and function as a band.

What was it like to record a record in three days?

The session was physically and mentally exhausting. We were extremely well prepared, having planned our strategy and rehearsed its execution for three months prior to the recording session. Nevertheless, remaining focused for 12 hours a day was challenging. We were expected to perform on cue and had to remain poised, inspired, and attentive the entire time. The most difficult part of the process was that we had to make decisions instinctually and on the fly. There was no time to second-guess ourselves.

What's the most memorable show you've played in New York?

New Years Eve at Lit Lounge was an amazing night. The grime and sweat of the dive bar provided the perfect atmosphere for our music. A friend of ours put on a light show, which made the tiny, claustrophobic room pulsate. The energy on stage was almost too intense. We ended the set with an extended outro of noise and feedback and the eruption of sound from the stage completely enveloped us. It felt as if the music was playing us and not the other way around.

What's your favorite place to eat in NYC?

NYC makes the best pizza and Strombolis on St. Marks makes the best slice.

Grandfather plays Union Pool on November 20. - The Village Voice

Hey, don't take our word for it. Here's Steve Albini singing the praises of New York indie-snarl trio Grandfather in GQ of all places: "There was a band that came into the studio a while back called Grandfather. They were an art-rock band that organized the funding of their record through Kickstarter. They were really well rehearsed and came into the studio and knocked the record out in a couple of days... That's the kind of nimble, efficient behavior that was previously impossible when there was a corporate structure involved. It gives me confidence other bands will figure it out." Grandfather guitarist Michael Kirsch has been dutifully blogging this process to Sonic Scoop--their weeks of rehearsals, recording and mixing in three days, refusing to cut multiple versions of a song, mixing in between vocal takes. But it's the record itself that's the true testament to their indie ethos. Their nine-track debut Why I'd Try (currently available as a free 320kbps zip file on their website) is a lumbering, melodic beast that's got the visceral art-crunch of Shellac mixed with the flighty and fever-dreamy melodies of Shudder To Think. Says Kirsch, "One of the goals of our band is to explore new sonic territories within the traditional structure of a three piece rock band--drums, bass, guitar. We want a massive sound with minimal arrangements." Lead single "Tremors" is accordingly huge, pulling its loping Jesus Lizard groove through a shining, 120 Minutes-ready hook and a gorgeously minimalist, treble-fucked two note guitar solo. - Exploding In Sound

It is a bold move for the band Grandfather. Having grown tired of hearing everyone and anyone with access to a home digital "recording studio" pump out one plastic, tech-manipulated and all too often lifeless collection of songs after another (much to the gushing delight of Pitchfork devotees far and wide), the band chose to go in the opposite direction.

And so it was this past July, when the three members of Grandfather - guitarist Michael Kirsch, drummer/vocalist Josh Hoffman and bassist Jonathan Silverman - sold off all of their home recording equipment and headed to Chicago to make their album "Why I'd Try."

However, it wasn't just any random destination in the windy city they were headed to - but in fact had arranged to record their album at Electrical Audio with the wizard of analog recording himself, engineer Steve Albini.

Steve's legendary accomplishments have been chronicled for the three decades he has now been involved in making recordings (both his own and for other people). Anyone who doesn't know who he is and what he's accomplished already, I suggest you google his name and spend some time finding out. The fact that Grandfather chose to record thier album with him speaks volumes about their own integrity and intelligence.

The opening track, “You’re Strange” merges heavy, near prog-rock-like sound structures against earnest, impassioned vocals. “If it’s all for nothing – none of us win,” is how the lyric goes. Despite this desolate outlook, the response of “I’m all in” indicates a desire to somehow make it all work. With an emphasis more on vocals, lyrics and the storytelling, the track peaks with an explosive instrumental conclusion, leaving the listener wanting more of this part of the song. Perhaps in the live environment?

Yes. This is exactly where these sonic explorations are expanded.

please click the link to read further.... - Dave Cromwell Writes

Almost a month ago, I posted an excerpt from a typically illuminating interview with Shellac member and recording engineer Steve Albini, in which he bemoaned bands who feel the need to participate in “mainstream culture” (among other topics). One band that he cited as being particularly inspiring for working outside the system was the Brooklyn trio Grandfather. As he noted in the interview, the band funded the recording and mastering of their album (with Albini and his band mate Bob Weston at Electrical Audio) through Kickstarter, took it home, and put it online for all to have. They also used the leftover funds to press up some physical copies. It’s not a terribly unusual method of getting a band’s name and music out there into the world, but it provides a perfect example of how even independent labels can sometimes work against the creative process of making music.

After posting the excerpt, one of the members of Grandfather, Michael Kirsch, got in touch with me offering up an interview with him. I jumped at the chance because it seemed well in line with the band’s DIY methodology. Also, I wanted to hear first hand from someone who is going through these channels and to find out how well it is working for them. That said, there is no discussion below about the band’s sound or style. This was purposeful as you can find out for yourself by downloading the Grandfather’s fantastic debut album here. Michael was kind enough to answer these questions via e-mail while the band was on the road.

Like so many bands are doing these days, Grandfather is handling the business end through unusual channels – raising funds through Kickstarter, releasing the music for free on your website, etc. Why did you choose to do that rather than try for the more traditional method of getting a label to sign you and working within the system?

These unusual channels were the most viable for us to record and release our music. Waiting for label interest would have been torturous. In our opinion, a record album should document the creative output of a singular time period. For us to move forward as a band, we had to make a record and devised a strategy to accomplish that on our own terms, quickly and efficiently.

Releasing the digital version of our record for free was a no-brainer. Music is free to download whether you charge people for it or not. A band in our position has one major goal; to build an audience. We wanted to create a situation where the listener would not be asked to make any commitments in order to download the album; not even an email address. We put our trust in the listener, and hoped that if they liked the record, they would show their support by purchasing a vinyl or CD, coming to a show or simply sharing our music with their peers.

The response thus far has been amazing. In two months our record has been downloaded over 5,000 times, and our social networks have been growing steadily. Facebook and other online communities have allowed us to directly engage with listeners, and form relationships that are real. We just completed a short tour and met many of these people in person. Some of them booked us shows, some put us up for the night, and others just came out to see us.

Do you think the way that you have raised money to record is going to be the norm for bands nowadays?

I think that raising money to make a record is a strategy bands should consider. The distribution of music is largely in the hands of the audience these days. Everyone is a curator in some way, whether they run their own blog, or simply share media on their social networks. A fundraising service like Kickstarter takes this trend one step further, bringing the audience into the manufacturing process of music as well.

Fundraising allows for a band to evolve and grow along with their audience. For our first record, we went to family, friends and all the people we had met gigging around NYC and Brooklyn over the past year. We were able to raise enough money to press a limited run of 300 vinyl records. Bands who have been around much longer than us and have a larger fanbase have been able to fund much larger projects, without the need for corporate sponsorship or record label advances. Fundraising can provide a realistic framework for a band to budget their project based on the stage they are at in their career.

Why did you choose to work with Steve Albini and Bob Weston on your album? Did you know what to expect from him going in? What was the experience like working with Albini?

We were big fans of Albini’s work as an engineer. He was behind the board on some of the best sounding records ever made in our opinion. His commitment to analog tape intrigued us as well.

We attempted to record our album in a makeshift home-studio, but were left dissatisfied with the results we were achieving. Recognizing the benefit of an outside perspective and professional studio environment, we decided to record with Albini at his studio Electrical Audio. They offered us a solution we could afford. The studio is geared to make albums in short periods of time on small budgets. It only took us three days to record and mix the entire record.

We chose to master the album with Bob Weston because of his relationship to Albini as a band member of Shellac, and his experience working on recordings made at Electrical Audio. We were able to book a mastering session for the day after our recording session. In under one week, we were able to record, mix, master and release our record.

Both Steve and Bob were amazing to work with. I think the entire band would agree that it was one of the most satisfying musical collaborations of our lives. They are wholeheartedly committed to their craft, and have an amazing work ethic. Steve worked with us 12 hours a day for three days straight, without even breaking for a meal.

How hard is it for a band like Grandfather to get people’s attention outside of your hometown? How has response been for the band both at home and outside?

We’re currently on a short seven day tour, and have been meeting some amazing people. Last night we played in Akron, OH with a band called Fillmore Jive. They put on a mind-blowing live show and their audience was excited and grateful to have us come from NYC to play their city. We all became friends fast, and plan on returning to Akron again soon.

The interesting part is the way in which the gig came into fruition. I got a message from a band called The Hobs on Facebook. Their drummer Ian had downloaded our record and reached out to us. After speaking for a while about music, he decided to curate the show for us in Akron, introducing us to his network of friends and Fillmore Jive. In exchange, we got The Hobs on the bill at our show at The Grog Shop in Cleveland.

Our entire weeklong tour was booked by networking with other bands and listeners over the Internet. All of them were incredibly generous with their hospitality, making our trip very comfortable. It was amazing to meet everyone in person, and we hope to continue to have these experiences on a national tour in 2011.

Is it hard to get attention in the music-heavy world of NYC?

NYC has endless potential. Almost everyone I have met participates actively in the music scene, whether it’s blogging, booking, promoting, photography, videography, etc. In one way or another they have all helped us put on better shows and reach a larger audience. For instance, there is a website called Big Ass Lens that features video from popular shows around NYC and Brooklyn. We met them and their crew and they asked to film our performances. Their site has given us exposure that would have been impossible in smaller cities.

On the other hand, the sheer number of bands in NYC fosters a highly competitive environment that can be daunting. Yet it is this atmosphere that motivates us to work relentlessly, put on better shows, and push ourselves musically.



How excited were you to have Steve Albini namechecking you as he did in his interview with GQ?

Steve Albini’s namecheck in GQ was incredibly exciting. It reaffirmed many of our ideas about how to best release music in 2010. Steve is incredibly thoughtful about the music industry and has seen it evolve over decades. The fact that he championed our methods, has invigorated us to continue coming up with new ways to survive as a band.

What was the response from people who read the article? Did you see a huge uptick in downloads for your album?

The article brought us a lot of traffic, downloads and sales, but more importantly, a lot of people are now reaching out to us, engaging us in the conversation about being an independent band. We constantly hear perspectives on releasing music independently from major artists like Radiohead and Nine Inch Nails, who have given up the major label model of music distribution. The problem is that their strategies often don’t work for emerging artists, who don’t already have a large fanbase. We hope to continue to push this conversation further, and work with others to find new ways to function as a young band in the current music landscape.

Do you think you will go through the same methods to record another album or are you actively looking for a label to help push you guys further ahead?


We are actively looking for help and support. Whether that comes in the form of a record label or something else remains to be seen, though we are open minded. The level of work on our shoulders is immense, and it can distract us from making new music. We are often overwhelmed with responsibility and would be very happy to have some sort of functioning infrastructure in place so that we could spend more time writing and touring.

A close friend of ours has dedicated a lot of his free time to helping us manage the band. I think with the help of a few more passionate, like-minded and entrepreneurial individuals, we could accomplish a lot without the traditional structure of a label. We like the direct access we have to our audience and the ability to release music and content on our own schedule.

On that note, if you are reading this and want to get involved, email me at info@grandfathermusic.com This also goes for like-minded bands and artists. One of the benefits of a record label is the camaraderie with the other bands on the label. However, an organization does not need to be limited to bands. A whole new world has opened up for innovative, multimedia releases of music. We would love to collaborate with visual artists, filmmakers, web developers, programmers, writers, performance artists and any creative individuals.

What advice would you give a young band just starting out today about they can best get things like making an album or getting the word out about the band?

My best advice (from one young band to another young band) is to communicate with your audience directly and as often as possible. It doesn’t matter if you have some demos or a professionally recorded full-lgenth record; people are listening to your music. Personally reach out to them on your social networks (don’t use bots or buy 10,000 Facebook friends for $200). Post on message boards or other online communities. Respond to every comment, wall post, or message thoughtfully, and take the time to learn about the people who are taking an interest in your music. Music is in the hands of the audience today more so than ever before, so connect with them directly. - The Voice Of Energy

Funded entirely by a Kickstarter campaign, Grandfather’s debut album is a raw, powerful piece of rock and roll. It was recorded by Steve Albini on all analog equipment, giving the album a thick, physical sound that harkens back to Seattle-era grunge and early indie rock. Hints of Nirvana and Soundgarden are there, but so is a slight Radiohead influence, and the resulting stew just sounds good to this nostalgic listener. If you’re not sold, you can download the entire thing at their website. The LP is limited to 300 copies and costs $10. Grab one at their Bandcamp Page. - OMG VINYL

VIDEO - Silent Uproar

With one song left to record, Jon Silverman (bass) and I were almost done with our performance duties; Josh Hoffman, our drummer/singer still had all of his vocals left to perform.

We entered the studio and knocked out the final song of the session, “Tremors.” While we had played these songs hundreds of times in rehearsal, the performances at Electrical Audio would be cemented forever as the definitive versions of our songs. This was both exciting and nerve-wracking, however, everyone agreed it was time to move on to the vocals, and not look back.

VOCALS

During our live shows Josh sings while drumming. Nevertheless, we decided to overdub the vocals in the studio. This was primarily for technical reasons: we wanted to have more control of the vocal in the mix, separate from the drums.
Albini’s approach to recording vocals was organic. Using two microphones and an actual metal plate reverb, he set up a vocal chain that would respond to Josh’s voice dynamically and in real-time.

Ordinarily in a lively, reverberating acoustic chamber, the depth and quality of reverb would be directly related to the volume of the voice. A quiet vocal would have minimal reflections whereas a loud, belting vocal would resonate more. In order to capture this on tape, a Crown PCC microphone was setup on the floor of Center Field.

Josh stood in Kentucky, facing Center Field with the door open. The Crown mic was keyed to an expander set to only turn on when he sang loudly. This technique can be heard clearly on our song “You’re Strange.” (Download here — at approximately 3:53, and 4:07 you can hear the Crown mic turn on.)

A Neumann U48 was used as a close mic, capturing all the delicate detail and nuance of Josh’s voice. The vocal was chain was also bussed out to an original Echoplate reverb, built in 1969.

The Echoplate is a large mechanical unit that uses a large sheet of steel, a transducer and contact microphones to create and record reverberation. The voice is sent through a transducer, which vibrates the steel sheet. The resonance is then recorded by the contact mics. The Echoplate provided a rich yet realistic sonic space for the vocal in the mix.

MIXING

We mixed all nine songs over the next two days, in between vocal breaks. The process was relatively simple. Mixing primarily consisted of setting fader levels to balance the relative volume of the tracks. A minimal amount of compression and EQ was used prior to us recording, minimizing the need for any extra use in the mix.
The frequency balance, overall tone and ambience would be set using the volume faders on each track. If the bass required more brightness to fit in the mix, the brighter mic would be brought up in level. If the guitar needed more ambience, the room mic would be brought up.


The goal of a mix is a cohesive recording, where the parts can he heard clearly and the dynamics of the song are preserved. Rather than drastically altering the recordings to make them sound and fit “better,” the inherent qualities of the instruments and voice were balanced carefully.

We took a hands-off approach during the mixing stage. We understood that Albini knew his monitors and equipment much better than we did. We also felt he had an objective lens as to what the band actually sounded like; whereas we had preconceived notions, and an attachment to how we heard things in our heads.
He had been listening to us for three days straight, and seemed to understand what we were trying to accomplish. There were a couple of moments where we made suggestions, and he obliged without question, but overall, we felt the performances provided enough information to dictate what kind of sonic space our music should occupy.

MASTERING

After three incredibly long days at Electrical Audio, we had mixed down all nine songs. With reels of tape in hand, we left the studio. It felt surreal. We could not believe how quickly the sessions went by.

We had a mastering session scheduled for the following day with Bob Weston at Chicago Mastering Service. We figured he would have the best ears for mastering our record, considering that he plays in the band Shellac along with Albini, and has been mastering records made at Electrical Audio for years.


Chicago Mastering is a small facility with a big sound. The mastering room is acoustically treated to create an extremely accurate and high-resolution listening environment.

Utilizing a custom-built mastering console filled with vintage EQs and compressors, Weston brought out all of the subtleties of our recording, but without over-compressing the dynamics. Modern records tend to be mastered for the loudest possible signal, which often destroys the dynamics of the performance. Weston was careful not to sacrifice anything just for the sake of volume.

The attended mastering session lasted about four hours. We left Chicago the following day with a digital copy of our album. Chicago Mastering would also be cutting our lacquers for the 12” vinyl record that week, and send them out to be plated and pressed into a limited run of 300 vinyl records.

Next week I will discuss our approach to the physical and digital release of our record, Why I’d Try.

- Michael Kirsch, Guitarist, Grandfather

Download Why I’d Try for FREE on Grandfather’s website:
http://grandfathermusic.com.
Email any questions to info at grandfathermusic dot com. - Sonic Scoop

Remember the Steve Albini slamming Sonic Youth for being major label sellouts or whatever it was that got him in a tizzy when he spoke to GQ? Well he wasn't completely negative in it and did take time to cite Grandfather, a band that he'd worked with recently as one that he admired for their approach to their music and the control they exerted over it's release. Well the band have showed an awful lot of gumption and followed up on as much reporting of the Albini story as possible to point out that they're very much a DIY outfit and the album that they recorded with Albini is available for stream and download for free on their website.

In fact it's right here, and you know what, it's rather good. Lots of heavy grunge era sounds, some really sick sounding Jesus Lizard style guitar tones, well worth hearing, I'd check it out were I you. - 411mania

Grandfathers are known for being kind, caring people. They are the sort of people who spoil their grandchildren with diabetes-inducing candy and feigned interest. But this Grandfather is a bit different. Rather than do that cutesy nonsense, he drinks heavily and tells you about how he got into bar fights when he was young, punching multiple people in the face. His closest contemporary would be the grandfather in “Little Miss Sunshine”, shooting up heroin in the bathroom and being extraordinarily cynical.

“Why I’d Try” was produced by Steve Albini at his famed “Electrical Audio” studio over the course of three days. It sounds just as crotchety and warm as they had probably wanted, so their efforts of raising the money to do it were not for naught.

This has a nice range of dynamics. Not only do they focus on the bombastic like “You’re Strange”, but they also work well on the spacious “Caught off Guard”. I’m a bit surprised that Grandfather is from Brooklyn, as they don’t really share the sound that’s popular there right now. It has a good, rough, early 90s sound to it. You know that sound that got ignored as people obsessed about mediocre grunge music.

My favorite songs would probably be the aforementioned “Caught off Guard” and “By Myself”. The lumbering bass throughout these songs is a pretty nice treat as someone who does have a sort of soft spot for it. Hopefully these guys will get a bit more attention, since I’m sort of digging the sound and the fact that there isn’t a weak spot. Also, that my hopes for a 90s revival is coming closer.

As an added bonus Grandfather offers there entire album for download free on bandcamp. Plus, the album artwork is weird as hell.
- Beach Sloth

Recording engineer Steve Albini is among the most famous in rock and roll: he's worked with Nirvana, The Pixies and scores of Indie icons, so for a young band to snatch him up for a production credit is a rare feat. But for the New York based trio Grandfather, who will stop by Delilah's on Cayuga (formerly The WildFire Lounge) Tuesday, Oct. 19, Albini isn't only a collaborator, but a fan.

Earlier this month, when asked about inspiring young bands by GQ Magazine, Albini singled out Grandfather: "I have an unusual perspective in that I make records every day for a living. I see a lot of bands on a weekly basis. I see little bits and pieces of behavior that are encouraging. There was a band that came into the studio a while back called Grandfather. They were an art rock band that organized the funding of their record through Kickstarter. They were really well rehearsed and came into the studio and knocked the record out in a couple of days. Because they didn't have a record label or any promotion schedule to adhere to, they were able to get their record manufactured and distributed within a couple of months. That's the kind of nimble, efficient behavior that was previously impossible when there was a corporate structure involved. It gives me confidence other bands will figure it out."

As for the music itself, Grandfather performs post hardcore or math rock reminiscent of Rodan or Slint. Intense and rhythmic, the group's self-released debut record "Why I'd Try" is full of careening chords and chunky riffs. Josh Hoffman plays double duties as singer and drummer, but keeps his own alongside guitarist Michael Kirsch and bassist Jonathan Silverman.

Dynamic duo Blow! will open the show. - Ithaca Times

We are really proud to bring you an update on a band really close to our hearts – Grandfather. Mike Kirsch, the band’s guitarist, used to work in here for us at ProAudioStar and is now hitting the road touring behind their Grandfather’s debut album – recorded with Steve Albini (Pixies, Nirvana).

You may have also read his classic, still-relevant early 90’s article The Problem with Music an extra popular piece about the state of the music industry, it’s a read if you haven’t checked it out.)

Grandfather has been getting a lot of buzz lately. Both for their their amazing music (download their album at the Grandfather Website) and for the innovative way they are going about releasing their album. Steve Albini just mentioned them in his recent interview with GQ magazine when they asked him “Is there a young artist with integrity who inspires you today?”

I have an unusual perspective in that I make records every day for a living. I see a lot of bands on a weekly basis. I see little
bits and pieces of behavior that are encouraging. There was a band that came into the studio a while back called Grandfather. They were an art rock band that organized the funding of their record through Kickstarter. They were really well rehearsed and came into the studio and knocked the record out in a couple of days. Because they didn’t have a record label or any promotion schedule to adhere to, they were able to get their record manufactured and distributed within a couple of months. That’s the kind of nimble, efficient behavior that was previously impossible when there was a corporate structure involved. It gives me confidence other bands will figure it out. The last time Shellac put out a record, we finished it in June 2006. It wasn’t actually in the stores until June of the following year. It took an
entire calendar year for that record to inch its way through the production, manufacturing and distribution steps and get into the store. I’m impressed when I see bands taking advantage of these efficiencies that we’re allowed now. That’s something that gives me great confidence about the way bands are going to function in the future.

Read More http://www.gq.com/blogs/the-q/2010/09/steve-albini.html#ixzz12Ry5rqwm

Their album “Why I’d Try” is currently available in high quality audio formats for free online downloads. They are also selling a limited edition run of 12? vinyl of Why I’d Try with awesome artwork from Brooklyn artist Kendra Elliot.

A while back we post about their Kickstarter page which they used to raise the funds to press their vinyl. This was a great way to have their fans pre-order the album so the costs of the pressing didn’t come out of their own pockets. We definitely recommend checking out Kickstarter.com if you haven’t yet – it’s an exceptionally simple yet far reaching platform.

To promote their album Mike took to popular gear forums to document and outline their entire recording process with Steve Albini. Their forum thread has become one of the most popular of the year on the popular site

Gearslutz. (Check out the Grandfather thread on Gearslutz here.). The band goes into details of mic placement, and how they approached the recording. This type of documentation is extremely fascinating for all the gear heads out there. It’s amazing to get a peek on such a micro level of Steve

Albini’s recording process. To top it off Albini himself even left some posts in their thread. This helped to them to find a bunch of fans who were excited to buy their vinyl to hear it for themselves.

Additionally, the back story behind their decision to record with a professional engineer also adds intrigue to their album. For about a year they were attempting to record and mix their album on their own. However, because Grandfather’s sound is so stripped down – guitar, bass, drums, and vocals and with minmal electronic effects – getting a great raw recording was paramount. They played around in Logic for a while, never quite being satisfied with the results. They even tried outsourcing the mix to some freelancers, but again the results were not what their music needed.

The members of Grandfather decided to basically sell all their worldly possessions and go for broke by dropping every last nickel they had on the chance to record with Albini in his studio in Chicago. Once they got the funds together Mike gave us his two weeks notice, and we said goodbye to him as he set off to finally get his band’s debut record completed.

I must say we were all impressed with the balls it took to do this. If the album didn’t come out well it would be like throwing everything away. But, I think they made the right choice because their record really does sound great.

With only 3 days to record with Albini Grandfather opted to record each track ‘live’, meaning one take to get it right. Also, because they were recording to tape there wasn’t room to do tons of takes. The pressure was on. Luckily they devoted months to intense rehearsal and their preparation paid off. Five of the nine tracks on the album were recording in just one take – amazing, really.

If you interested in learning more about their recording process, Mike has a featured 4 part blog series over at Sonic Scoop:

Part
I

Grandfather’s Facebook Page. Whether

you like their music or not following their progress as a band will certainly be very educational.

Some Grandfather treats below…..
- ProAudioStar

There has (probably) never been a time when Steve Albini gave an interview and some curious nuggets of truth didn't come from it. This GQ Interview is no different - Albini remains as open and honest as he's ever been. A lot of people find this to be offputting and abrasive but there's a refreshing angle to his clarity that you have to respect. He has some seemingly harsh words for Sonic Youth and their involvement in the major label world of music that many music fans seem quite bothered by but I just read it as one mans opinion, not a hard-line fact.

Despite all that, he does mention a band that he worked with lately, Grandfather, that impressed him with their speed and efficiency of working outside the label system to record and release an album. During Albini's heyday it was not possible to be quite so nimble.
- Yewknee

If you haven’t heard of Grandfather yet, you will. Their debut, Why I’d Try, was produced by legendary Steve Albini and the man can’t stop raving about them.

While you anxiously await a TPM review of the album, you can get your hands on it FREE by clicking the picture below. Enjoy! - The Painted Man

You're Strange by Grandfather
The Internet is abuzz about a recent interview Steve Albini did with GQ Magazine. In this interview he mentioned an interesting DIY recording he did with the group Grandfather. The group has chronicled what they have been doing to make their record happen over on this site. A great read for anyone looking to plan their next record better. - Musformation

You're Strange by Grandfather
The Internet is abuzz about a recent interview Steve Albini did with GQ Magazine. In this interview he mentioned an interesting DIY recording he did with the group Grandfather. The group has chronicled what they have been doing to make their record happen over on this site. A great read for anyone looking to plan their next record better. - Musformation

Grandfather is a New York trio that more recently recorded its debut album “Why I’d Try”. The record was engineered by Steve Albini (Big Black, Rapeman, Shellac) and mastered by Bob Weston (Mission Of Burma, Shellac, Volcano Suns).

The record is now available for download in its entirety the band’s official website. Go grab it now.

Further Info: Bandcamp | Kickstarter | MySpace | A Media Mindset | Milk Milk Lemonade | Rockpit Report | Tight Mix

Also check out – “How Grandfather Made A Record With Steve Albini In Three Days” (from Sonic Scoop) - I Heart Noise

After three months of non-stop work, rehearsing and raising money for our recording session, we left NYC for Chicago. During the 16-hour-long haul, we all felt an unbelievable sense of anticipation and excitement.

It had been a year since we began work on our debut record and in three days we would have a finished album. We were eager to get started.

DAY ONE: “Welcome to Electrical”

On Friday, July 16th 2010 at 10am sharp, we arrived at Electrical Audio. Greeted by a team of five interns, we began our tour of Studio A. As we walked through the tracking and control rooms, we could hear the echoes of our favorite records reflecting off the adobe brick walls. There was a vast musical history cemented into these walls, and soon enough we would become a part of it.

We immediately unpacked our gear, impatient to hear how the drums, bass and guitar would sound cranked up in the carefully constructed rooms.

The electric Fender bass was set up in a “dead” room called Alcatraz. The low end was transparently clear, and could be equally felt and heard. The electric guitar sounded ethereal in Center Field, as the live room’s high ceilings reflected feedback and fuzz, intensifying the natural dynamics of the amplifier. The drums, placed in the center of the smaller live room known as Kentucky, assaulted our senses with huge but focused reverberations.
It was a psychosomatic experience to play in the studio and hear the studio play back with us.

At noon, Steve Albini arrived in uniform. His custom Electrical Audio jumpsuit distinguished his role as the technician. The practical outfit reminded us of the engineers at Abbey Road Studios during the 1960s, who were required to wear suits during the sessions.

After a brief introduction and discussion of our strategy, we immediately got to work. Steve studied our equipment, and made a list of all the microphones and preamp combinations he would use to record our band (see detailed list below). Over the next hour, Steve meticulously set up microphones. In most studios, this menial task of setting up a session is often left to an assistant or intern, though Steve insisted that he do it all himself. His well-honed approach to capturing great sounds at the source became evident right off the bat.

Albini’s microphone technique was highly mix-conscious. His goal was to isolate the varying elements of the sound by using separate microphones.

For example, the guitar amp was captured using two different close proximity microphones, one that favored the lower frequency spectrum and the other more suited to capturing the high frequencies.

There was a third microphone placed on the floor in the middle of the room, about 20 feet from the amplifier to capture the ambient sounds and natural reverb of the room.
During the mix, rather than using an outboard processor for reverb, he could just turn up the fader on the ambient mic. If we wanted a stereo spread of the guitars, he could pan the two close mics left and right. Rather than using extra equalization to make the guitar darker or brighter, he could just alter the balance of the two microphones.

By 2pm, everything was set up properly, and the tape reels were calibrated. It was time to record.

“Gentlemen, You’re Rolling!”

Before each take, we would hear Steve in our headphones say, “Gentlemen, you’re rolling.” This would become a mantra for us, centering us for a few moments before we would unleash everything we had on our instruments.

Over the next 10 hours we would record guitar, bass and drums, live with no overdubs to all nine of our songs. The process itself was relatively simple, yet the scope of our work that day was immense.

We agreed that we would play each song in its entirety, only moving on once we were all satisfied with a single performance. We could not afford to waste tape by recording multiple versions of a song, or cutting up multiple performances into one take. This is where the months of strict rehearsal really paid off; we ended up using the first takes of five of the nine songs we recorded that day.

We were able to do this because we were less concerned with textbook mannered perfection and felt that a recording was only as good as the energy and emotion put into the performance. If we all felt good after completing a take, we knew it was a keeper, even before listening back.

This philosophy allowed us to complete the task at hand, and not fall prey to stifling over-analysis. This would never have been possible with the paralyzing influence our old home studio had on us. There was always more time, always a way to delete and start over — and at no cost.

Even though certain songs were completed in one take, others were not so easy. The physical duress of performing all day wore us down and at points we could barely play our instruments. We were forced to take a dinner break during the recording of our song “AWOL.”

My right hand became completely unresponsive and after four failed attempts at playing the frantic instrumental outro, we gave up and took a much-needed break.

Over dinner, we spoke about how despite our all our efforts to trust our instincts and carry out our plan, we really had no idea whether or not the session was going well or not. While we were making progress, we had relatively no time to listen thoroughly to the tracks. We were afraid to think too much, knowing that we didn’t have any time to second guess ourselves, or try something over. We just had to trust in Steve.

Whereas our energy and emotions would fluctuate throughout the day, Steve remained stoic the entire time, ready to man the board whenever we were ready to perform. He didn’t leave the studio once that day, not even to take a meal.

By midnight, we had successfully recorded full takes of eight of the nine songs. We were spent. We had poured everything we had — physically and emotionally — into the music that day. We decided to save the final song for the morning. With two more 12-hour workdays ahead of us, we hit the sack and passed out immediately.

— Michael Kirsch, Guitarist, Grandfather

You can download Why I’d Try for FREE on our website: http://grandfathermusic.com. Email any questions to info at grandfathermusic dot com

GRANDFATHER SESSION NOTES:
All mics through Neotek desk preamp except as noted
Drums (Kentucky)
Bass Drum Front: Beyer M380 -> 1176 Limiter Slow Release, 20:1
Bass Drum Batter: Shure SM98
Snare: Sony C37e -> NTI EQ
Rack Tom: Josephson E22s Top and Bottom
Floor Tom: Josephson E22s Top and Bottom
Overheads: Royer 122 (L&R) -> 1178 Limiter -> GML EQ + 678k + 3726k
M-S Stereo: AKG C24 M.S (0 + 8) -> Electrical M-S Matrix
Room Ambience: Neumann CMV563 + N55k Capsules (L&R) -> 20ms Stereo Delay
Rimshot: Shure SM98 -> GML Limiter

Bass Guitar (Alcatraz)
Low: Beyer M380 -> Urei LA12 Limiter “Auto” – 3dB
High: Josephson E22s -> John Hardy M2 Preamp -> HPF 280Hz

Electric Guitar (Center Field)
Low: RCA74 (“Junior Velocity”) -> GML Preamp
High: Audio Technica Pro37 -> GML Preamp
Room Ambience: Crown PCC

Vocal (Kentucky facing Center Field)
Main: Neumann U48 -> John Hardy M2 Preamp -> 1176 Fast Release 20:1
Vocal Ambience: Crown PCC -> Expander Keyed to Vocal Mic

For more information on Electrical Audio’s Rooms and Equipment, visit www.electrical.com.

Click for more Grandfather Session Photos and Grandfather’s equipment list.

- Sonic Scoop

Is there a young artist with integrity who inspires you today?

I have an unusual perspective in that I make records every day for a living. I see a lot of bands on a weekly basis. I see little bits and pieces of behavior that are encouraging. There was a band that came into the studio a while back called Grandfather. They were an art rock band that organized the funding of their record through Kickstarter. They were really well rehearsed and came into the studio and knocked the record out in a couple of days. Because they didn't have a record label or any promotion schedule to adhere to, they were able to get their record manufactured and distributed within a couple of months. That's the kind of nimble, efficient behavior that was previously impossible when there was a corporate structure involved. It gives me confidence other bands will figure it out. The last time Shellac put out a record, we finished it in June 2006. It wasn't actually in the stores until June of the following year. It took an entire calendar year for that record to inch its way through the production, manufacturing and distribution steps and get into the store. I'm impressed when I see bands taking advantage of these efficiencies that we're allowed now. That's something that gives me great confidence about the way bands are going to function in the future.

Read More http://www.gq.com/blogs/the-q/2010/09/steve-albini.html#ixzz11MFoVtpL - GQ Magazine

Grandfather - It's Good Enough now, featured on September Monthly Mix - Built on a Weak Spot

In July 2010, my band Grandfather drove to Chicago, IL to record our debut LP with engineer Steve Albini at his studio, Electrical Audio.

After spending close to a year recording ourselves in our home studio, we became frustrated with the process and the results of our work. Our goal was to accurately document the sound of our band, but we started to question the very concept of the home studio and digital audio workstation as a tool to achieve that.

So we did what we’ve always dreamed of doing: we called Steve Albini and booked three days at his studio. Famed for his devotion to analog recording methods, Albini’s rigorous, discerning and maniac fixation on unencumbered sound was precisely what we sought out.

Over the course of this four-part blog, I will discuss the making of our debut record Why I’d Try.

THE PROBLEM WITH HOME-RECORDED MUSIC

No Engineer
Myself and my band-mates, all of whom have practiced home recording for years, had grown tired of playing the roles of performer, producer and engineer simultaneously. Being involved in every step of the process made it impossible to find objectivity in our decision-making. We constantly reworked, edited and re-mixed our recordings for months on end, utilizing the limitless palette of plug-ins and editing tools available to us.
Leonardo Divinci said, “Art is never finished, only abandoned.” Fearing that we would spend eternity trying to finish the record if left to our own devices, we began to discuss the benefit of having an outside perspective. We wanted someone who didn’t have any preconceived notions of how our music should sound, and who would accurately document our band without trying to manipulate it; something we inevitably could not do ourselves.

No Time or Tape
For a home studio, we had some really nice gear. Over the years, the three of us had acquired high quality pre amps, converters, microphones, sound-reinforcement material, and a wealth of instruments and amplifiers. We had access to a house with multiple rooms with great acoustics and a computer running the latest version of Logic. Nevertheless, we constantly found ourselves dissatisfied with the sound of our recordings and mixes.

Our problem seemed multifaceted. Without properly treated rooms, it was difficult to make informed judgments during both the tracking and mixing stage. None of us were very familiar with the environment. We discussed how a professional studio could provide us with great sounding rooms along with an engineer who knew how to record in them.

In addition, the thousands of plug-ins at our disposal sounded synthetic, not just because they digitally approximated real sounds, but because we did not record vocals in a “Chapel” or drums in a “Large Concert Hall.” No matter how good some of the plug-ins sounded, they did not sound like us. We wanted a studio with equipment that reinforced the sonic quality of the performances inside of the studio, creating a realistic space for the listener.

Finally, our home studio offered no limitations on time or tape. Hard-drive space was vast, tracks were abundant and we took advantage of these resources, experimenting endlessly, often to the degradation of the music.

Were all these factors standing in the way of an honest and organic representation of our band? We thought so. We no longer wanted these obstacles creating space between the performance and the recording.

THE SOLUTION IS ELECTRICAL

"Why I'd Try," produced in three days at Electrical Audio.
We found our solution at Electrical Audio in Chicago, IL. We had known about the studio for years, and were avid listeners of many recordings that were made there, most with engineer Steve Albini behind the board.

While there were other studios in NYC and Brooklyn that we looked into, Electrical Audio met all of our requirements at a rate that we could afford.
Albini had a reputation for successfully making records on a small budget in two or three days, whereas other studios and engineers we spoke to recommended more time. They advised us that two or three days would barely be enough time to mix a record, let alone complete it start to finish.

Electrical Audio specializes in capturing live performances with minimal sonic manipulation. Steve Albini, would use microphones to capture the sound of the studio’s rooms, rather than using plug-ins. He would not use a computer at all during the recording process. Additional reverb would come from a metal plate in the basement.

Using minimal compression and EQ, Albini would track and mix us onto 2” tape, with its inimitable warmth and limited 16-track format.

WHY I’D TRY … AGAIN

We had already recorded our album Why I’d Try in its entirety on our own. And we’d weighed our options — we could finish the mixes ourselves, outsource the mixes to another engineer, or throw out the entire record and start from scratch at Electrical Audio.
We asked for a few “test mixes” from outside engineers, though none of them brought us any closer to the sound we were looking for. Our decision was unanimous. We would record Why I’d Try again, from scratch, at Electrical Audio. [Stream/Compare Grandfather's home mix, outsourced mix and Albini mix below.]

We called up Electrical Audio and booked three days of studio time, three months in advance. They didn’t ask to hear a demo, and their only requirement was that we arrive on time, and pay them their rate. With no record label backing or money, we decided to liquidate our entire home studio, and sell any other useless items we could find around the house on Craigslist.

With the help of a fundraiser on Kickstarter.com, we raised enough money for three days at Electrical Audio with Steve Albini, a day of mastering with Bob Weston at Chicago Mastering Service, and all the costs associated with pressing a limited run of 300 12” Vinyl records.

RECORD RECIPE
Prep Time: 3 Months | Cook Time: 3 Days | Ready In: One Week

With three months to go, we rehearsed diligently. At Electrical, our only responsibility would be to perform our songs to the best of our ability; they would take care of the rest. Nevertheless, we understood that in order to record and mix a record in three days, we would need to develop a strategy and stick to it. While Albini was hired to engineer the record, it was our responsibility to produce it. He would not tell us how to record our music or utilize our time at the studio.

We developed a set of rules for the session. We would not record any instrumental overdubs, in order to save time and preserve the energy of the performances. We wanted to make a record that could be recreated live without the need for extra musicians or pre-recorded samples. We would record full takes of each song and only keep the best one.
Saving multiple versions, or editing performances from multiple takes would waste 2” tape, and we had no room in our budget to waste anything. This would also force us to make decisions instinctually without second-guessing ourselves. We would overdub vocals on the second day. This was a technical decision as our singer is also our drummer, and recording both simultaneously would pose various problems. We would mix on the third day, master the record on the fourth and release it online as a free digital download by the end of the week. This was our plan.

Next week I will post detailed notes and photographs from our session at Electrical Audio, and share our experience recording with Steve. — Michael Kirsch, Guitarist, Grandfather

You can download Why I’d Try for FREE on our website: http://grandfathermusic.com

Email any questions to Info at grandfathermusic dot com

SonicScoop Exclusive:
I have included a player with three versions of our song “Tremors.” Version #1 is the definitive mastered version, recorded at Electrical Audio. Version #2 is the recording and mix from our home studio. Version #3 is a “test mix” from when we attempted to outsource our recordings to mix engineers. - Sonic Scoop

Grandfather is a postpunk trio consisting of drummer and singer Joshua Hoffman, guitarist Michael Kirsch, and bassist Jonathan Silverman. Their self-released Kickstarter-funded album, Why I’d Try is available in 320kbps mp3 format from the band’s website for the cost of $0 (with other formats available at Bandcamp). The album was recorded and mixed by Steve Albini (using 2? tape and analog audio equipment), with mastering by Bob Weston. Turn up the volume and listen.

Downloadable: AWOL (mp3)

Perhaps you caught this track at Milk Milk Lemonade? If so, you are awesome.

Purchase Why I’d Try on limited edition 12? vinyl (300 made) or CD (100 made) @ Bandcamp. Please note the CD will come with one of 10 randomly chosen covers by Kendra Elliott (see all the covers… here). And hey, why not stream the whole album right now via the Bandcamp widget below?

Streamable: Why I’d Try (bandcamp) - Gimme Tinnitus

Can’t front on the freeness! One of our favorite up and coming bands, Grandfather, are making it easy on our wallets this weekend. On Saturday evening they’ll release their Steve Albini engineered debut, Why I’d Try, with a free album release show at Cameo Gallery at the Lovin Cup Cafe on North 6th street.

Their debut LP has been getting major drop on the BAL record player. These New Yorkers create dynamic, intense and violent psychedelic rock. Their album is available for free on their website, grandfathermusic.com, and handmade CDs and vinyl will be for sale at the show.

Should make for a proper, free evening – doors at 10:30, band at 11 sharp.

Big Ass Lens captured the band at the Knitting Factory a few months back, video after the jump. - Free Williamsburg

"Grandfather show as a listing for What to do in NYC Saturday" - Brooklyn Vegan

With another prolonged absence now in the books, both our email and PO boxes are brimming with new sounds and we have at least some of it sorted already. Starting by send date was probably the best idea for catching up... an idea that finds us front and center for the exact combination of guitar-meat, driving rhythms and fluctuating-yet-classic song structures we just so happened to be in need of today. Grandfather is a New York City trio consisting of musicians Joshua Hoffman (vocals, percussion), Michael Kirsch (guitar) and Jonathan Silverman (bass) who have completed a collection of nine songs which were just made available in August 2010. The new release, titled Why I'd Try, was recorded in Chicago at Electrical Audio with Steve Albini, mastered by Bob Weston of Chicago Mastering Service and is a lovely ride that balances waves of dissonance with a frequent descent into some warm smoke-filled basement lined with orange floral curtains and black light posters. Yes, it really is this good. Why I'd Try is currently available as a free digital download by visiting the Grandfather website but, after listening, you might also want to consider picking up one of 300 limited edition 12" vinyl records or the CD to hold firmly in hand. The next live performance will take place this Saturday, September 18, at Brooklyn venue Cameo Art Gallery. Have a listen... - Milk Milk Lemonade

These guys reached out to me last week and hooked me in instantly because they have such an interesting story surrounding their music, and revealed so many cool and interesting details about their recording process.

Grandfather’s “Why I’d Try” album was recorded in Chicago, IL with Steve Albini (Pixies, Nirvana, PJ Harvey) and Bob Weston (Sebadoh, Chavez, The Coctails, Nirvana), two iconic audio engineers who have worked on some of the most incredible rock albums ever made. The album was created sans-Pro Tools, relying on 2? tape and analog audio equipment to capture the madness of this album.

Here are some photos that were taken during the recording session:

As you may have guessed, the entire album has hauntingly similar vibes to Nirvana, PJ Harvey, Pixies, and is very dark sounding in general. Joshua Hoffman’s vocals are droning and really solidify the ominous qualities of each track, in a good and interesting way.

They funded the entire album via Kickstarter, and are offerring the entire album for free digital download directly from their website. They also use ten different album covers amongst 1000 CD’s, and pressed 300 limited edition vinyl LPs.

Simply head over to grandfathermusic.com and download your free digital copy today! If you want something a bit more unique and personal, then grab a CD or LP. The cover art is very cool. - Tight Mix Blog

New York's Grandfather, comprised of Joshua Hoffman, Michael Kirsch and Jonathan Silverman, have recently launched their debut record, "Why I'd Try" and it's quite a listen.

Recorded entirely in analog with the help of Steve Albini known for his work with Pixies, Nirvana & PJ Harvey, the sound is a mix of both subtle & intense and is easily capable of convincing you you're sitting directly in front of the band as they play live. It's big and loud, yet intimate and soft ("You're Strange"), never letting any one sound or instrument overpower another. The distinct emotional rawness of the record feels familiar, too, taking me back to the days of grunge rock when bands like Nirvana and Radiohead called the shots. In fact, Josh Hoffman sounds remarkably like Thom Yorke here & there on "Why I'd Try", pulling out some fantastically awesome wails. Check out "It's Good Enough Now" and "The Outcome", then tell me you don't hear it.

In these modern days of studio manipulation and ProTools it's a special thing to stumble upon music so unfiltered and honest as "Why I'd Try". Stream and enjoy it for yourself below, then download the record completely FREE via Bandcamp or directly from the band's site HERE.

Be sure to also take a look at the TEN different choices of cover art for the record, too, all produced by Kendra Elliott. - A Media Mindset

New York based three piece Grandfather fashion dynamic, intense and violently rhythmic psychedelic rock. Far from a traditional power rock trio, the band creates a massive, caterwauling maelstrom from the simple concept of allowing each instrument to reach its sonic peak. Conjuring the sounds of a band twice its size, their music is ripe with complex melodies and a lockstep rhythm section, set against the tempestuous guitar riffs. The band recently recorded their debut record, "Why I'd Try" in July, 2010 with stalwart engineer Steve Albini (Nirvana, Pixies). Firm believers in the raw, unencumbered sound of the analog recording process, Grandfather and Albini have managed to capture the band's frenetic, live-in-the-room intensity and created a singular, ruminative and altogether bracing introduction to their world. "Why I'd Try" is available for FREE download here. Grandfather will play Cameo Gallery on 09.18 at 10.30 - free admission. - (as posted in The Deli's Open Blog - post your band's entries, videos, and Mp3s here). - Deli Magazine

A really cool band from Brooklyn called Grandfather just finished recording their debut full-length, titled “Why I’d Try”, at Electrical Audio with none other than the man himself, Steve Albini.

Actually, I had him at #4 on my list of The Top Ten Record Makers of Today, but once you get into the top four, everyone is so close in skill and brainpower they can all contend with each other. One thing is for sure–Albini remains unmatched in his ability to transfer the sound of a band in a room to tape with hardly any disturbance whatsoever.

Knowing this about Albini, and that Grandfather’s lead vocalist is also their drummer, I’m really excited about possibly getting to see them perform one day. They have that progressive style that Albini champions and boast huge, dissonant guitars and a pummeling rhythm section. But, Grandfather also seem to know the meaning of a pop hook.

The band has self-released “Why I’d Try” on CD and limited edition vinyl. Fortunately, they are offering the entire album as a free download as well (with artwork and everything–classy!). All of this can be found right here at their website. Any fan of Albini, or just good rock music, should check it out immediately.
- Record Geek Heaven

Earlier this afternoon, I had a chance to check out the new album “Why I’d Try” from NY based psychedelic grunge rockers “Grandfather”. From the opening notes, I was excited to say the very least. Having known lead singer and percussionist Josh Hoffman (and his talent) from a very young age, it was only a matter of time before I knew he would find a sound that appropriately embodies his musical proclivities, and allows him to serve as a playmaker for the bands’ other members. Along with Guitarist Mike Kirsch and bassist Jonathan Silverman, the trio strives to create a heavy, morbidly intense, violently melodic, and deeply emotional revamping of grunge rock from decades past. “Why I’d Try” makes a strong statement encouraging a return to the roots of grunge rock that were first established by bands like Nirvana, the Nine Inch Nails, and Radiohead in the 1990’s. At the same time, Grandfather manages to maintain a cutting edge technical relationship with their equipment and playing style that very much says “Grunge, meet the year 2010. You boys play nice now.” The trio produced the album themselves with the help of master engineer Steve Albini (Nirvana’s “In Utero”) who ensured that the band’s uninhibited sound was captured without sacrificing any of its raw qualities. All tracks were meticulously recorded directly to tape using analog technologies over a three day period at Steve Albini’s Electrical Studios in Chicago. Some of Grandfather’s obscure time scales and bass lines (i.e. Tremors) make me think Portishead meets Tool with a male vocalist. In “It’s Good Enough Now” and my personal favorite “By Myself”, Josh’s prominent and wailing vocals over Mike’s experimental guitar work remind me of Thom Yorke and Radiohead’s work on “The Bends”, “OK Computer” and especially “Scatterbrain” on “Hail To The Thief”. The simplicity of the arrangement on “In the Shadow of a Doubt” instantly reminds me why everyone loved Nirvana’s music so much. On the Grandfather Facebook page, the “info” section very accurately proclaims that “Why I’d Try” is the “Perfect embodiment of less is more”. These guys really slam dunked that one. For the first time in a long time, someone has figured out how to make a solid grungy hard rock album that leaves a lasting impression without drastic overproduction and overcomplicated compositions. Grandfather is about to hit the road on a North American tour this fall, so check out their website at www.grandfathermusic.com, and find out when they’re coming to a city near you. - Rock Pit Report

Grandfather are a 3 piece rock group from Brooklyn. The band isn’t your typical blyn rock band, and definitely stays away from the beginning-to-get-trite indie rock sounds. Instead, Grandfather rock your face off with a blend of Bends-era Radiohead, some Soundgarden, and some more 90s revivalism. The album was produced by punk legend/big-ass producer Steve Albini in Chicago. Stream the song You’re Strange below! - Tripping Franklins