meet DOS4GW

love me for what i am not

So, things.

Mathas had asked me to help him put out a cd. Who was I to argue? He’s arguably the best MC in Australia right now. Would I like to help? Jesus, let me help. Now.

The recording of ten pound hairless sasquatch took.. a year? or so. I’m not 100% sure, because it was quite haphazard, and I was drunk a lot of the time. Tom would call at 8pm, asking if he could come over in.. half an hour. Generally I’d say yes, and whenever I was otherwise occupied I felt bad turning him away. I knew that he didn’t have heaps of time to spend on recording and mixing, what with working so much at Aldas and managing The Moon Cafe, among other pursuits.

Recording Mathas was a challenge. I loved every single verse he put down on his album, but it was also an opportunity to think about how I could direct vocalists to give better performances. I’d struggled with this in the past; “just.. do it again” wasn’t really a winner when it came to direction for artists, especially one as single minded and talented as Mathas is.

I actually took a lot from Bleach in this period of time. A rock album that stood so heavily on song structure could be recorded like shit, and sound pretty much like shit, and still fly on the stereo – however hiphop is never going to be like that. 36 Chambers might sound like shit, but the beats and the lyrics make it flow together. I still think you could come out with that album today and it’d drop just like it did back in the day.

That might sound like a contradictory statement, but it’s the production that makes the sound of36 Chambers; whereas with Bleach it’s the songs.

My point is that it’s rarely production finesse that makes a hiphop album. It’s the beats, the rhymes and the cohesion between the songwriting and the formers that really make a hiphop album. For reference, see.. mm, Food, do you want more?!?!?, The Coming and Da Antidote.

This didn’t stop us from taking, four, five, or six different nights of re-runs at vocal takes on 10lb. This was more a product of recording the disc over such a long period though. I think it’s a better album for it – the later takes are all included on the master. Also, we got through a ridiculous amount of scotch during the recording. I was dieting, and scotch was the only acceptable alcohol. My god, so much scotch.

Anyway. We eventually got the album to a masterable state, and Mathas put on a fucking blinder of a launch upstairs at the Scotto. I didn’t do a record in 2009, but I kind of consider 10lb to be the 2009 record. I didn’t contribute heaps in terms of songwriting or production, but it was such a mammoth effort that I was totally drained when it came to working on my own material. This isn’t to throw stones at Mathas, of course. To be totally honest, by the end of it I was more honoured to have worked on that album than I was to be asked initially. I hope I get to work with the guy again.

Anyway, by the time the Mathas album came out to critical acclaim, I was pretty much gagging to start working on my next disc. It wasn’t to come immediately though; Tomas Ford had something to say about that.


Filed under: legends, life, shit I like

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January 2010
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