Dot Dot Dot returned to the studio, this time with producer/mixer Tadpole (Plain White T’s, 3 Doors Down, Finger Eleven, Disturbed). Working out of Parka Studios in Berwyn, they say they’ve continued the direction of III, which itself was a marked departure from their early poppier sounds.

“Everyone has an opinion on what you should sound like” says lead singer Adam Blair, “They’re all trying to help, but at some point though we realized we wanted to just make music regardless of trends and or what sells – just trying to make music that represents what we sound like live. To me, it’s all about writing a great song.” The last recordings have found the band on a national commercial campaigns (Party City/Factory Card Outlet) as well as cable-TV standards like “Keeping Up With The Kardashians” while continuing a grueling tour of 150-plus shows per year. Drummer Marty Kane says, “Having worked with Tadpole on our last EP, it seemed when we got back into the studio for these latest sessions, we had a general understanding of how each of us worked, how we communicated, and what was expected in the performances. Tadpole knows what he wants and he’s not afraid to re-take until he captures precisely what he’s going for.”

The Damn Bats, consisting of locals/ former Rabid Bats, Reaganomics, and Bill Ura Dik members plus veteran British drummer Rat Scabies (The Damned), tracked two songs of which one was finished by Scabies at ALASKA STUDIOS in London, England. The demo for “Doomed” was then returned to Chicago so guitars, bass, vocals, and final mixing could be finished.

A year in the making, Richie Rich (a.k.a. Rich Ryan) and the Chi-Town Blues Band recorded From The Streets at Studio Chicago in Chicago with Wes Blaha engineering. Editing was done at Image Pictures in Tomah, Wisconsin with Ryan and owner Peter Malinger at the controls. Mixing and mastering was done at CRC Chicago by Grammy-nominated producer/engineer Chris Steinmetz and his assistant, Yuki Tasaka. To adequately capture modern blues witha traditional edge, Ryan brought some heavy hitters to the sessions: Grammy-winning guitarist Billy Flynn, Kenny “Beedy Eyes” Smith, plus Grammy-nominated pianist Barrelhouse Chuck, Mark DeVos on bass, and a horn section from the Tommy Dorsey Orchestra. Ryan wrote and co-arranged all 12 songs on the CD, sharing three writing credits with Steinmetz.

At BobDog Studios in Oak Park, producer Dave Owsald brought singer/songwriter Arden Baldinger and guitarist extraordinaire Andon Davis in to remix one of Arden’s songs (from the recent Pony CD) for release as a single . . . Oak Park teen singer/songwriter Lena Fjortoft recorded a four-song demo . . . Arie Sorin recorded fiddle tracks to help finish the upcoming posthumous release of Dennis Dermer’s Psychic Change with Bill Kavanagh providing bass . . . Dave Ero brought in drummer Mike Panico, singer Sandy Lee, and keyboardist Dave Mathis to continue work on his upcoming release . . . South-African/American singer/songwriter Rozanne Gewaar recorded additional songs for her newest album . . . Scott Lehman treated home-recorded new songs with added, studio-quality plug-ins . . . Scott Fortman’s The New Normal continued tracking for their debut CD, with owner Kavanagh on bass.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on who you’re recording or who’s recording you to ed[at]illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit submissions for space. Deadline for March 2012 is February 15th. We need your news, you need us to print it!

It’s been six years since the release of her debut album . . . this side of yesterday, but January marks the return of indie-folk singer/songwriter Martha Berner. Her long-awaited full-length follow-up, Fool’s Fanatsy, also bears the stamp of her new band, The Significant Others. The entire album was recorded at Chicago’s Stranded On A Planet studio with producer and Signifi-cant Others’ guitarist Scott Fritz, and was mastered by four-time Grammy winner Gavin Lurssen (Robert Plant & Alison Krauss, Cat Power, Tom Waits, Leonard Cohen). While this new material still incorporates the Chicago-based (via Williams Bay, WI) musician’s trademark whiskey-and-honey vocals and thought-provoking subjects that stretch across folk, pop and Americana, Fool’s Fantasy marks Berner’s first true band effort – incorporating elements of Stax soul, insurgent country, and the unbridled passion of late ’60s rock ‘n’ roll. Read the full story in next month’s IE.

At BOBDOG STUDIOS in Oak Park, The Puffins just completed their CD Shades Of Blue . . . Power popmeisters Treeshakers mixed their forthcoming album . . . Dav Ero began tracking his latest project . . . Cedes De La Paz Buck prepped the release of her first EP . . . Scott Fortman’s The New Normal recorded some of its debut record; owner/producer/engineer Bill Kavanagh provided bass tracks on both The New Normal and Cedes Buck’s projects.

South Side swamp-rock band, Convoy, worked on recording their latest project, Blue Collar America, at ROCK LOUNGE in Westmont with producer/engineer Johnny Million. The CD is scheduled for a 2012 spring release.

West suburban-based Champions tracked their fully original new record – due January 20th – at the Gallery of Carpet in Villa Park. Owner Brian Zieske served as engineer/producer, and the studio also handled the mastering.

Strobe Recording in Chicago tracked California Wives, Vagrant Records, Frank Catalano, Cains and Abels, Whistler Records, and Wally Dogger projects in the studio.

UPTOWN RECORDING in Chicago has upgraded to ProTools 10HD. For most studios, all software updates may come with a learning curve. Fortunately, chief engineer Rob Ruccia has had the pleasure of being a beta tester for both Pro Tools 9 and 10, in fact his name resides in the credits. Six months before Avid (Pro Tools’ parent company) had released the software, Ruccia was helping shape it into the finished product. “Working at Uptown on these new versions with people who know how to use them, gives us the edge over those studios stuck in the older versions,” say the folks at Uptown, “while [needing to] learn the newer ones.” Uptown currently runs the latest Pro Tools HD10 and HD9 software featuring HEAT, which gives bands the ability to add a sonic “big mixing board sound” without the big price.

Gravity Studios in Chicago has added a new member to its engineering and production team. Jameel “The Real Deal” Harris is a veteran of the Chicago recording community with a sterling reputation for top quality mixes as well as being a voice of experience and reason in the midst of a crazy industry. Owner Doug McBride says Harris’ specialty is programmming, producing, and mixing hip-hop.

The Damn Bats, consisting of locals/former Rabid Bats, Reaganomics, and Bill Ura Dik members plus veteran British drummer Rat Scabies (The Damned), tracked two songs of which one was finished by Scabies at ALASKA STUDIOS in London, England. The demo for “Doomed” was then returned to Chicago so guitars, bass, vocals, and final mixing could be finished.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit submissions for space. Deadline for February 2012 issue is January 15th. We need your news, you need us to print it.

STROBE RECORDING in Chicago is hosting Strobe Sessions #43 a live, in-studio performance on December 15th with appearances by Brokeback and Electric Hawk, an instrumental power trio from Chicago, featuring guitarist Michael Burns, bassist Graham Mclachlan, and drummer Noah Leger.

Brokeback originally began as a one-person affair by Douglas McCombs to create music in a more open and less structured environment than his other bands, Tortoise, Pullman, and Eleventh Dream Day. Brokeback’s most recent incarnation includes Chris Hansen (Head Of Skulls), Pete Croke (Tight Phantomz), and Jim Elkington (The Zincs, The Horse’s Ha). Over the course of five records, Brokeback has been almost entirely McCombs’ vision. He handpicked for each record a number of guest musicians and collaborators such as Rob Mazurek, Tim Folijahn, Alan Licht, John McEntire, and Yo La Tengo’s James McNew. While Field Recordings was full of simple melodies accented by a unique combination of twang and low tones, Morse Code was more of collaborative process including various members of Calexico, Two Dollar Guitar, Stereolab, Chicago Underground Duo, and Tortoise.

RSVP to strobesessions@gmail.com to guarantee your seat. Strobe Recording is located at 2631 W. Division in Chicago. Doors open at 7:30; a $10 donation is welcomed. Both sets will be recorded live in front of a studio audience. Please arrive on time.

It’s been busy this fall at Alpha Sound Services recording studio in Geneva. Former Trouble frontman Eric Wagner’s new band, Blackfinger, just finished their debut album with Doug Agee engineering . . . Aurora’s Bury Your Demons and Bloomington-Normal’s Last Rites have started their new album projects . . . Hip-hop engineer Victor White has been busy with Pierre Henderson, Matt Matics, Justin Burns, and David Seidl . . . Also in progress was movie soundtrack work for Will Zellner’s project.

At MILLION YEN in Chicago, owner Andy Gerber continued work on a new CD with Scott Lucas & The Married Men . . . Engineer/producer Jeff Dean recorded a commercial for T-shirt giant Threadless with Bob Nanna (Braid, etc) . . . Dean also tracked an EP with Cincinnati-based Knife The Symphony . . . Engineer/producers Pete Carparelli and Matt Loncar worked on a full length for The Orions, and also recorded Marshfield’s new EP, Coping With The Present, as well as an EP with The Money Back Guarantees . . . Sciphonic Productions recorded a CD for Minneapolitans Brüder.

At EVOLUTION RECORDING in Elgin, Grammy Award-winning producer/engineer Ricco Lumpkins tracked with Sami Grisafe and Shannon Nicole (Universal Republic). Session sidemen included Brother John Kattke for some keyboard tracks and Todd Donnelly (Mr. Meyers) on steel drum . . . Joe Moss and his band sat for sessions along with Kenny Anderson, Hank Ford, and Bill McFarland of the Chicago Horns.

At BobDog Studios in Oak Park, Jane Pebbles Baldinger and daughters Anna, Eva, and Arden finished their CD, Pony . . . Ivette Franco added tracks to her upcoming jazz EP . . . The Coda Kings mixed tracks they had recorded at Chicago Recording Company for their upcoming CD enlisting Bobdog’s master sound engineer, Bill Kavanagh.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit submissions for space. Deadline for January 2012 issue is December 15th. We need your news, you need us to print it.

It’s been crazy!” says J.C. Pasquale, owner of Evolution Recording in Elgin. “The past six months have been real busy at the studio.” With 30 years-plus in the industry as a touring musician, songwriter, and recording artist, Pasquale’s dream of owning his own commercial studio came to fruition a little over two years ago when he opened the doors at Evolution in the northwest suburbs.

“I chose our location because it was really centralized for artists in the northern part of Illinois. We are just a two-minute ride from I-90 on the west side of Elgin, and it seemed perfect for anyone from the northwest suburbs all the way out to Rockford.”

One of the recent projects at Evolution was a full length CD for Nick Moss & The Flip Tops titled Here I Am (due November 22nd on Blue Bella Records). “This project meant a lot to me” says Pasquale. “Being a blues guy myself, having Nick and his band here allowed me to stay heavily involved with this project. Nick has been nominated 15 times for the Blues Music Awards and I told him, ‘Let’s get one with this album . . . whatever it takes!’ Nick came in with a real good sense of direction for this record and we put in a tremendous amount of hours getting it done right.” Moss in trun has said, “Evolution Recording was a great place to record my new CD. They offered the convenience of being easy to get to, and having some really nice gear to use . . . I’m really happy with the way the CD turned out!”

Along with Pasquale, producer/engineer Ricco Lumpkins is an instructor at Evolution Recording Academy, a 10-week course that teaches recording arts and Pro Tools 101 provided by Avid. “The academy has been absolutely awesome,” says Pasquale. “Realizing a real need, we structured a curriculum that not only brings the recording enthusiast up to speed, but develops the essential fundamentals for someone wanting to pursue audio engineering as a profession. We doubled our square footage in June to accommodate two classrooms and a recording/mixing lab all outfitted with the latest Pro Tools gear, and are developing our relationship with Avid, who provides all the student/instructor courseware for the Pro Tools section of our course. Being taught by Grammy Award-winning industry professionals and providing a world class environment for our students is a winning combination. Our first class just graduated last week, and I can honestly say I was amazed at watching these students grow and become proficient on our techniques and systems. I’m proud of every one of them.” Visit Evolutionrecording.com for info . . . Studio VMR in Brookfield welcomes new studio manager Ricky Turner and engineering assistant Clint Parchem. Turner is a long time fixture on the Chicago music scene and Parchem is a recent graduate of WIU . . . Johnny Rogers tracked his new CD at VMR with Don Griffin engineering . . . Ten And Counting finished a new project . . . Studebaker John completed the first CD on his new deal with Delmark Records; Studebaker mixed Old School Rockin’ with Griffin, who completed it in VMR’s mastering suite . . . Producer Nate Johnson flew in from Spain to track drums, bass, and guitar for a new project.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit submissions for space. Deadline for December 2011 issue is November 15th.

With a voice that channels the spirit of Little Richard and James Brown, JD McPherson recorded his debut album, Signs & Signifiers, for Hi-Style Records, in the local label’s hometown studio. McPherson traveled from his home in Broken Arrow, Oklahoma, to the home to a vanishing and now unique recording technique: 100-percent analog. The album’s dozen songs were recorded through a collection of vintage microphones into an ’60s Berlant half-inch tape machine, all under the watchful eye of bassist, producer, and Hi-Style owner Jimmy Sutton.

McPherson says, “I have recorded this style of music in the digital realm, and it just doesn’t quite ’sing’ as much. Slamming that 1/4-inch tape really hard produced the most beautiful distortion I’ve ever heard.” The album features several guest musicians, including Scott Ligon on piano (NRBQ’s Terry Adams Rock & Roll Quartet), while Jonathan Doyle (Nick Curran & The Lowlifes, White Ghost Shivers) and Chicago’s Josh Bell (The Del Moroccos) blow tenor and baritone saxophones. Susan Voelz (Alejandro Escovedo, Poi Dog Pondering) plays violin and Allison Chesley (Helen Money) adds cello, with both contributing a beautiful arrangement to the soulful “A Gentle Awakening.” Rounding out the album’s guests, Joel Paterson (The Modern Sounds) lends choice guitar work to the Joey Simone classic, “Your Love (All That I’m Missing).”

Rapper Na Palm has recorded his full-length, Late At Night. It’s available for download at www.napalmlive.com. After logging thousands of miles, touring in the college and club scene in 2011, Na Palm says, “The album should appeal to those love hip-hop, dub step, and electro. I keep my shit positive and stay in my lane. I’m just doing what I do: rappping about girls, partying, and the struggle to come up over the music that inspires me.”

With a voice that’s nearly a dead ringer for Waylon Jennings, Bill McAlister and his band I-57 South have recorded their Illinois Opry EP at Patrick Doody’s Drumhead Recording in Westmont. The band consists of McAlister on guitar and vocals, Doody on drums, and John Falstrom on bass.

At Million Yen in Chicago, Viceroyand Shift worked on new CDs with Andy Gerber . . . Engineer Jeff Dean recorded two songs with Bob Nanna (Braid/Hey Mercedes) and an EP for About The Mess . . . Engineer Pete Carparelli recorded an EP for Marshfield and an EP for The Money Back Guarantees . . . Sciphonic Productions recorded two songs with The Infected, and are working on a full length with Stoop Good Noise.

At Engine Studios in Chicago, Rwake recorded the follow-up to Voices Of Omens with engineer Sanford Parker. Rest will see its North American release on September 27th on CD, digital, as well as olive green and 180-gram black vinyl. Rwake sees the premiere of”It Was Beautiful, But Now It’s Sour”, as a near-12 minute reawakening of the band.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit submissions for space. Deadline for October 2011 issue is September 15th. We need your news, you need us to print it.

Million Yen Studios owner Andy Gerber was a bit suprised to get a call from Scott Lucas about demoing material for a new Local H record. “Scott had kind of officially declared the ‘era of demos’ as over,” remarks Gerber. “A lot of what you hear on PJ Soles and 12 Angry Months are drum tracks recorded shortly after Brian St. Clair [drums] learned the songs, and some tunes on both CDs started out as ‘concepts’ that we then forged into real songs in the studio.” But after about a decade of having the first recordings of a song be the only versions, Lucas felt he wanted the luxury of letting the tunes grow a bit before declaring them finished. “I know they had been playing ‘Cold Manor’ and maybe one or two other songs live for awhile, but Scott went through a really productive writing period and wanted to toy around with stuff like arrangements, key changes, and drum parts, and then be able to sit back and get some perspective on the tunes before total commitment.” The sessions turned out well, and everyone had fun with the process. “It was nice for Brian and Scott, and certainly me to be a little more relaxed and experiment with things without the pressure of ‘Holy shit, this is the new Local H record, it better be amazing!’ I think it will pay off in the long run; I saw them play a new song called ‘Another February’ at Metro at the end of the last tour and the kids in the audience were losing their minds!”

Million Yen has also had some extensive changes to studio hardware. “I finally upgraded to the latest and greatest Pro Tools HD hardware and software. Version 9 has fixed a lot of the issues I’ve always had with Pro Tools, and the old HD hardware was pushing 10-years old,” says Gerber. “The new stuff works great and sounds terrrific. I also got a brand new ’super Mac.’ My joke is that for the next month or two, I’ve got the most powerful computer money can buy!” While he was at it, the studio got a bit of a facelift acoustically and cosmetically. “I’ve been at this location for 12 years without changing much, so the time was right to fix a few problem areas and splash some fresh paint around. I have to say, I’m probably more excited about the way the control room looks than the new gear! Now if I can just update the Web site” . . . It’s already been an exciting year at the studio. In addition the the Local H demo sessions, former Virgin recording artists AM Taxi returned to track two new songs for a Verizon promotion; Smoking Popes frontman Josh Caterer tracked a solo Christmas EP; and producer J Robbins was in town recording a Braid reunion CD.

In other studio news, Gold Motel have wrapped up their recent U.K. tour to play Lollapaolooza and an August 3rd Metro date. Then they begin tracking for their next full-length LP, with an eye to a 2012 release.

Carbondale’s punk pioneers The Copyrights enlisted legendary producer and fellow Illinoisan Matt Allison of Alkaline Trio, The Menzingers, and Smoking Popes fame to produce North Sentinel Island (due August 9th) in his Atlas Studios Compound in Chicago. The band says “you should listen to the record, because it’s packed with awesome songs about hating your fucked up iconoclastic lot in life and all the shit that makes good urgent punk music good and urgent.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on whom you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit or omit submissions for space. Deadline for September 2011 issue is August 15th.

Mathien recorded their new, full-legnth album at PRESSURE POINT studios in Chicago. Studio co-owner/manager Chris Schneider sent Studiophile some impressive samples. The band continue their funk-influenced hip-hop and pop/soul on the new record. “Steve Kovacs mixed and engineered the record and Brian Cabby also did some of the engineering with me [Schneider] producing. The band were going for a more cohesive album, if you will; the last record – though great – was more of a collection of singles that came from demos that [namesake frontman] Mathien recorded by himself and then re-recorded here with the band. They have been touring over the last year and a half, and this is the result, a bit darker but more cohesive with some teeth and again more band-oriented, that’s my take. They’ll performing a few tracks live on July 8th with a full-blown show at House Of Blues. I have very good feelings about where this is going for the. Of course I am biased.”

The debut 11-song CD, Bird Herd, by suburban Itasca artist Audubon Savant, is set to release in early July. Joe Moran wrote, arranged, recorded, produced, played all instruments, and sang all vocals. Dave Schreier of Dave’s Music Studio in Wood Dale provided drum tracks, and engineered and mastered the pro-ject. The music is available online via iTunes and by request, in most outlets.

Chicago-based recording artist Mike Gallagher, Don Griffin owner of Brookfield-based Studio VMR, and DJ Corchin of Apple Inc. helped Gallagher cut new tracks last month.

Fierce Atmospheres, along with famed producer Neil Kernon, recently entered Chicago’s Rax Trax studio to record a cover of Iron Maiden’s “Children Of The Damned” for a release through Nashville label Versailles Records. The compilation is slated to be called Run To The Hills – A Millenium Tribute To Iron Maiden, and should be on sale everywhere later this year.

Brooklyn-based indie rockers The Avation Orange are relatively new but they have already caught the attention of well-respected, national indie tastemakers such as Under The Radar and Filter Magazine. They are poised to take it a step further in 2011 with East Of Here, the new self-released EP out August 9th. Recorded at former Smashing Pumpkins guitarist James Iha’s Manhattan studio Strat-osphere Sound, bandmates Michael Nesci and Alex Beninato took helm of engineering and producing duties, bringing the band a renewed sense of focus and a matured sound. The band have been selected for Under The Radar’s May 2011 free music sampler.

This just in From the EARS newsletter (the Engineering And Recording Society Of Chicago): Fran Allen’s LJet Productions and Danny Leake’s Urban Guerrilla Engineers joined forces yet again on the production of Chicago jazz/pop vocalist Joan Collaso’s latest recording endeavor. Tracked at Blaise Barton’s JoyRide Studio in Chicago, the OOO Whee (My Favorite Things) CD was released in May on the JRAS label. Produced by Collaso and Larry Hanks, mixing and mastering was done by Leake. Urban Guerrilla Engineers also mixed a 5.1 Surround mix and 2.1 mix of Usher Live At The 02 In London at the Chicago Record-ing Company. The project was done for Hank Neuberger’s Third Wave Productions.

When Chicago’s newly formed Dashing Assassins went to the record at MOTHERSHIP STUDIOS in Chicago on May 21st, they weren’t sure if they’d come out alive after laying down tracks during the not-to-be Rapture. While tracking a six-song LP due this summer, guitarist/vocalist Erik LaVergne tells IE that, despite the pending armageddon, “The band luckily came out on the other end.

“We have been releasing songs piecemeal on iTunes and Amazon.com, however, CDs will be available at our Double Door on July 16th.” Alas, the guys from Dashing Assassins were not the chosen ones by a higher power, but the band (Roberto Gonzales, vocals/guitar; Jason Wilhelm, drummer; Erik LaVergne, guitarist/vocalist; and Dick LaVergne, bassist/vocalist) hope they’ll be one of your chosen bands this summer.

Jim Hanke from Kid, You’ll Move Mountains dropped us a note to let us know that the band are currently working on their second album. They recorded drums at CirClegetsquare studio in Chicago with Josh Miller (Troubled Hubble, Picture Books) as engineer. The band have been adding tracks of “instruments” at their home base in Elburn in the meantime. They’re hoping for a late summer/early fall release. The kids recently opened for Dismemberment Plan’s sold-out reunion show at Metro, where they debuted much of the new material from the forthcoming album.

Long-time Chicago reggae hotstepper Stann Champion and his band Roots Rock Society have released a new single, “Cost Of Living,” on RRS International Records. The single MP3 will also feature two bonus tracks. (We’d say that makes it an EP.) The music was recorded at Studio 85.1 in Chicago, and tweaked at Circle house Studios in Miami, Florida, with James Wisner and assistant Brian Diehl. Finishing touches were added and mixed at Airstream Audio in Chicago by David Axelbaum and a final mix was completed by “Buggs” Parkinson, who found assistant production from Al Gibbs/Dub Dis Music. The EP was mastered by Danny Leake. To keep all his houses in order, we’re sure Champion has several thousand other people he’d like to thank. Downloads are available at www.rootsrocksociety.com

At RAX TRAX Studio in Chicago, Audio Tree’s debut signing, Kellen & Me, recorded a marathon, morning-to-midnight session where he – yup, Kellen & Me is a he – completed four new demos. While a debut CD/LP is presently being manufactured for a June 7th digital release, Kellen is burning the candle at both ends by deman-ding that the next batch of Rax Trax rec-ordings resume after an early June tour that starts in Mil-waukee, and criss-crosses the Midwest in-cluding one of our favorite towns north of the border: Neenah, Wisconsin.

At UPTOWN RECORDING in Chicago, locals Madina Lake (see their mention in “File”) were back in yet again to complete drum tracking on 11 new songs. This will be for their third full-length album, to be released via Razor & Tie. The folks at Uptown commented, “These are some great songs and the drum tones on them just as great.” The band come to town with Warped Tour on July 9th at First Midwest.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit submissions for space. Deadline for July 2011 issue is June 15th. We need your news, you need us to print it.

Heart-Set Self Distruct recorded the follow-up their 2007 debut, Victims Like Me, with producer Dan Malsch (Framing Hanley, Tantric) at the Sound-mine Recording Studio in East Stroudsburg, Pennsylvania. During the summer and fall of 2010, the band recorded 15 songs for a follow-up full-length. Heart-Set have released an EP, entitled Monster, which is available now digitally and at their live shows. The CD version will be available May 24th via producer Malsch’s label, Soundmine Music Works. The titular single hits radio this month, as well. “This haunting song gives a glimpse into the mind of a tortured soul who craves and feeds on other people’s pain,” according to the band. Heart-Set Self Destruct appear at Reggie’s in Chicago with Nonpoint on May 18th.

In the wake of last year’s Captain’s Log, Chicago-based Honest Engines fine-tuned their sound with multiple performances expanding their “intricate attention to detail into a fully fledged sonic landscape,” according to a press release. In other other words, they got better by playing out alot.

That musical workout schedule has paid off in the form of The French Song EP. Although not intentionally banded together, the three songs housed on the EP fell into place naturally after a handful of summer sessions at Carterco Recordings in Chicago. “Moving towards a more complete sound captured by live tracking drums, bass, and guitar, the new EP is a departure from hard-nosed met-iculousness and a stride towards an organic aesthetic that embraces the creative imperfections of playing live.”

Veteran Chicago musician Tim Menard and his band, the Flying Nowakowski Brothers, tracked and mixed at Chicago’s Strobe Recording. First Flight (Lost In America) represents the “culmination of a deep and varied music career for Menard, one that has cast him in the role of songwriter, bandleader, interpreter, and sideman over the course of more than 30 years,” wrote his label.
“First Flight encapsulates the complete range of Menard’s musical experience, from the anthemic rock of ‘Smoke’ and ‘In Between’ to songs like ‘Walkin’ The Blues,’ ‘Tied To The Stone,’ and ‘Autumn Skyline,’ which draw on elements of folk, country-rock, and blues.”

The Divotones are “more than half way finished recording their fourth all-original CD full of outrageous hard rockin’ humor, according to a band e-mail. Their new project is being recorded at Dr. Knobs Audio Lab in Streamwood.

Punk-rock trio High Ball have completed their new EP, currently untitled, at UP ON THE ROOF RECORDING in Lombard . . . Also on The Roof, producer Marc Taylor of Groove Quest Productions finished up tracks for local rapper JG. Owner/engineer Mark Blas engineered.
At PLANET10 STUDIOS in PALATINE, Marco Minnemann, Guthrie Govan, and Bryan Beller signed on to record a full length CD of progressive/ fusion-inspired music . . . Renowned, local spoken-word poet Malik Yusef (who’s worked with Kanye West and Common) booked time in to mix and fine-tune new and old material . . . Blues artist Liz Mandeville, featuring Grammy winner Willie “Big Eyes” Smith on drums and harp and Darryl Wright on bass, recorded some tracks with Jim Godsey producing . . . The Scott Wesley Band was in to complete a video for their song “Everything” that Planet10 recorded last year.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just email info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit or omit submissions for space. Deadline for June 2011 issue is May 16th.

Pinetop Perkins‘ final recording sessions for his Grammy-winning album, Joined At The Hip, took place in Chicago at JoyRide Studio by Blaise Barton and mixed at Tone Zone Recording by Michael Freeman. Last fall, Freeman commented on those recording sessions in an interview with Grammy365.com. “I worked on a new record for Pinetop Perkins and Willie “Big Eyes” Smith, both Muddy Waters Band alumni. Pinetop will be 97 this July and Willie is well into his 70s and, together with their touring band, I just marveled at how vital they all were on session. Great recordings to me are all performance oriented. You just cannot contrive a truly great, human feel or a groove with anything electronic. It’s all about the players and their ability to lock into a pocket that just screams, ‘Listen to me or dance with me or whatever you’d like to do, but you can’t put me down”

Perkins moved to Chicago in 1958, and after an extended sabbatical from the music business, he joined Muddy Waters’ band in 1968 on piano. He began his solo career in the late ’70s until his death last month.

Joined At The Hip, just released last year on Telarc, won the Grammy for Best Blues Live Performance in February.

Studebaker John was at Studio VMR in Brookfield working on his new CD with Don Griffin engineering . . . Senay Jones was in cutting some vocals and Rev. Smith was at VMR for some mastering.

Tim Larson & The Owner/Operators are releasing their new record, A New Deal. A former member of the acclaimed Irish band The Drovers, Larson draws from influences as diverse as John Lee Hooker, Waylon Jennings, Nick Cave, and Siouxsie & The Banshees, combining the layered sonics of shoegaze with warm acoustic instruments to frame songs about the down and out, accompanied by the Owner/Operators.

The band settled in last year at the Belmont Distillery in Chicago to record basic tracks before moving to BobDog Studios in Oak Park for rhythm tracks, mixing, and mastering. Larson produced, layering a plethora of tracks incorporating guitars, mandolins, slide guitar, and lap steel to create a sound that is two-dimensional: at low volume the sound is Americana in spirit
– crank it up, and the wall of sound kicks into gear and transforms it into a shoegaze affair. Larson explains, “We tried to make the record bigger sounding without using a lot of effects.”

The record-release parties are April 8th at Maria’s Pack-aged Goods in Bridgeport, and the 15th at Beat Kitchen.

Local metal act Kastasyde has posted a brand new track, entitled “Release,” for streaming. It was recorded and mixed in December 2010 with noted producer/engineer Sanford Parker (Nachtmystium, Minsk). The track will appear on the group’s third album, which is scheduled for a late 2011 release.

Drummer Terry Keating (Satya Graha, Occasional Stray, Simian Hit Patrol) has been finishing the mixing of his solo debut at Carterco Recording in Chicago. Keating self-produced while Jaime Carter engineered.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just email info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit or omit submissions for space. Deadline for May 2011 Issue is April 15th.

Smoking Popes vocalist Josh Caterer recorded a solo track for a yet to be named benefit compilation, and is currently working on another non-Popes project at MILLION YEN in Chicago . . . Also at Million Yen, acclaimed indie producer J. Robbins was in town tracking noted indie band Braid for Polyvinyl Records . . . Jeff Dean recorded The Black Sheep Project, featuring members of Naked Raygun, Stiff Little Fingers, and Screeching Weasel . . . Bad Boys tracked one song for a compilation album . . . All Eyes West (The Bomb, Noise By Numbers) tracked a CD for Academy Fight Song Records

At STUDIO VMR in Brookfield, Hans from Congo Africa is working on a new album with engineer Don Griffin . . . Nate Johnson flew in from Spain to do some mixing with Griffin and track new vocals with Senay Jones . . . Owner/engineer Griffin also did a bit of celebrating last month at Studio VMR, because 2011 marks 10 years in business in Brookfield. Congrats, Don.

Bobby Midnight And The Big Ordeals recorded their latest set at Fineline studio in Lombard with engineer Mickey Urbanowicz. Live previews of the new material are online at YouTube.com; search Bobby Midnight, Shark City.

Ed and Eric Gosselin from Radiance Recording Studio in Homewood dropped a note to let us know the Chicago based blues-rock and country band Brass Budah had recently recorded a five-song demo that will serve as a reference disc for the band to expand their live endeavors . . . Ed and Eric’s band Fierce Atmospheres recently wrapped up a three-song disc that was mixed and mastered by the legendary Neil Kernon. It features Chicago’s own Steve Reimer (Slauter Xtroyes) on vocals. Main tracks were recorded at Nashville’s Omni Sound Studios and all additional guitars and vocals were done at Radiance.

Chicago-based doom metal legends Trouble were busy recording at WARBURN STUDIOS in Chicago, their own tracking suite. According to guitarist Rick Wartell, “One of the luxuries of recording in your studio is that you’re not under any time constraints. We can work on our own schedule, which allows us to focus on the creative process.” The project will also feature new vocalist Kory Clarke (of Warrior Soul) on vocals. “Kory is an incredibly talented and dynamic singer. He’s a great addition to the band as he brings a high level of professionalism, which has positively affected our creative process.” Working with Trouble was their long-time engineer Larry Burns, whom they entrusted with their signature sound not only behind the studio console, but at their live shows as well. Trusted Trouble cohort Bill Metoyer also handles production when the band record. The band began utilizing Internet technology in their recordings by conducting most of their songwriting collaborations via FTP site, since vocalist Clarke currently resides in Berlin. “Bruce and I record our guitars separately and then would send those tracks to Kory, who would, in return, send us his vocals. As we share a collective vision for the album, this hasn’t hampered our progress in any way,” says Wartell. Also adding their talents to the band’s vision for the album are new bassist Shane Pasqualla and drummer Mark Lira, who are both recording their first studio album with Trouble. According to the band, the expected record release date is summer 2011.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just email info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit or omit submissions for space. Deadline for April 2011 Issue is March 15th.

Rich Reminger and the Windy City Rev Ups have finished mastering four releases at Cave Audio Productions in Lombard.

Disc one was recorded live at now closed Hanson Brothers Tavern in Northbrook. The night featured most of the band’s popular tunes including the title track from their CD Red White And Blue and their soulful cover of Blind Faith’s “Can’t Find My Way Home” played on acoustic instruments with the following musicians: Rich Rev (guitar, vocal, harp), George Lemperis (lead guitar), Zoey Szmulewitz (guesting from the Old Town School Of Folk Musicon guitar), Gordan Patriarca (guesting from the School Of Rock on bass).

The second record, titled The Lakehouse Studio Session, will produce volumes three, a bootleg, and a separate retail CD. According to Reminger, the recordings are “very rock, very high energy, includes some real cover jems like ‘Freeway Jam’ and ‘Soul Sacrifice,’ plus new orginals, lost tracks, recorded on vintage Marshall and Fender amps, honkin harp, growlin’ – it will close out the series.”

The most recent project is still in progress, recording at Elmhurst College’s Gretsch Studio, where Reminger described the sessions as “very R&B, minimal tracks, with sax and flute: trippy. I’m doing more vocal tracks in February. ” If that’s not enough, the band will release a “best of all three” available on iTunes and CD. Called Windy City Rev Ups Essentials, it features songs from the two studio sessions, with a few bonus tracks of the the Hanson and Lakehouse setups. Reminger says, “They are all very, very different, which I think makes it a full-circle representation of the band’s versatility, an alternative approach to R&B, gutsy with our raw energy on display.”

At MILLION YEN in Chicago. The Magnificent from Leeds, England, tracked with producer/engineer Jeff Dean . . . The Jagz worked on an EP . . . Post-wavers I Lost Control also finished an EP . . . Pop combo Open To Suggestion recorded a demo.

Singer/songwriter Jenny Franck has returned to the studio to record a new acoustic project. The six-track EP will feature new music by the Malta-based indie acoustic rocker along with her unique cover of Nirvana’s “Heart-Shaped Box.” The project is being recorded at BackThird Audio in Aurora with Kyle Schmidt as the audio engineer. Final mixing/mastering will be done by Jaben Pennell of Rockford’s Vibehouse Studios. Project producer Louis Vasseur says, “The project is intended to show off Jenny’s growth as a singer/ songwriter while paying homage to her grunge roots.” To help prepare for this project, Franck played several acoustic shows at the Elbo Room’s upstairs lounge. “The shows at the Elbo Room really helped me focus on this music and the audience reaction to it,” she says. “I’m truly grateful for all the support the Elbo Room staff gave me as I was working through these songs. The EP will be so much better because of those shows.” Jenny Franck Unplugged is scheduled to be released in early spring on the Dancing Pony Productions imprint. Franck is scheduled to tour the Midwest later this year.

Blane Fonda dropped us a note to let IE know that the local indie poppers are back in the studio with tracks engineered and produced by Matt Opal, while they record at Soma Studios and Gravity Studios in Chicago.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just email info on who you’re recording or who’s recording you to ed [at] illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit or omit submissions for space. Deadline for March 2011 Studio Issue is February 11th.

When AVM co-founder and vocalist Robert Mackey decided he wanted to add a remade version of “Hush” to the band’s new CD, A Matter Of Time, he decided on whim to contact the original songwriter of the Deep Purple ’60s classic, Joe South, to ask permission. After a late-night recording session at Songwerks, Mackey’s Addison studio, he left a message on South’s voicemail not expecting a call back. It’s not everyday you leave an unsolicited message to a legendary Muscle Shoals-era session man who was also a songwriter for Elvis Presley, Wilson Pickett, and Bob Dylan. South also had his own crossover country hit, “Games People Play,” in 1969 to cement his legacy in Nashville and Los Angeles. To Mackey’s surprise, South returned his call with a preliminary O.K. for a cover of the 1968 top-10 hit. “I came into to work the next day, and my answering machine had a message from a boisterous guy with a warm, Southern accent, that said, ‘Robert, this Joe South. Give me a call,’” Mackey explains. From there, AVM made arrangements with South’s manager Mengo to meet the veteran at a recording studio in Atlanta. “As a music producer, I didn’t want to make a version of ‘Hush’ that sounded exactly like Deep Purple,” Mackey continues. Basically the song hasn’t been re-made in 42 years. Technology has changed, the way bands record has changed. So [AVM] jammed for hours and hours trying to come up with foundation with the bass and the drums. We laid the bass down, the guitar rhythms down, the drums, and we had a good groove. We decided in the end, we wanted to add the the legendary Hammond B3 organ in honor of Deep Purple, provided by our keyboardist, Scott.”

After making the final tweaks to the recording in Addison, Mackey flew down to Atlanta to Stonehenge Studio to play the final version for South. “Here we are at this incredible studio, where Fergie and the Black Eyed Peas make their records. They’ve got these giant subwoofers there, and the engineers really cranked it up.” South was impressed. “‘That made the hair on the back of my neck stand up! I love it!’” Mackey was stunned. “I got goosebumps. I can’t say enough about what a gentleman Joe South is, but just being in the presence of these guys who have been in the music business this long and how it affects your perspective on making music and remaking a song from 40 years ago – it’s just incredible.”

Mackey also reveals that South has added a “lost intro” to AVM’s “Hush” that will add an extra dimension to the song not heard on the Deep Purple version. “It’s just four little riffs, but it really adds so much to the final version.” The final cut, as well as a reworked version of A Matter Of Time, will be available on CD and iTunes in January. Mackey and South also filmed a mini documentary interview of sorts while AVM visited Georgia. Details can be found at the bands Web site at avmband.com

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just email info on who you’re recording or who’s recording you to ed@illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit or omit submissions for space. Deadline for the February 2011 issue is January 15th.

You can’t help but hearing it nearly every few hours on WXRT. Rock And Roll Hall Of Famer and soul and gospel legend Mavis Staples recorded her recent album, You Are Not Alone (Anti) at the WILCO LOFT in Chicago. Produced by fellow Chicagoan Jeff Tweedy at Wilco’s studio, the intimate and textured production showcases Staples at her most powerful and fervent. You Are Not Alone mixes traditional gospel numbers with two new songs written for her by Tweedy, plus her unique interpretations of songs by Pops Staples, Randy Newman, Allen Toussaint, John Fogerty, Rev. Gary Davis, and Little Milton. The album features Staples’ touring band of the last three years: Rick Holmstrom, guitar, vocals; Jeff Turmes, bass, vocals; Stephen Hodges, drums; Donny Gerrard, background vocals; plus Tweedy on guitars, bass, and vocals; Wilco’s Patrick Sansone, keys, vibes; Mark Greenberg, vibes, keys; with additional background vocals by frequent Neko Case collaborators Kelly Hogan and Nora O’Connor, and Richard Parenti.

Chicago’s self proclaimed “indie-Americana darlings” Dastardly are gearing up to release their debut, May You Never . . ., at Schubas on Thursday, December 9th. The album was engineered at GALLERY OF CARPET in Villa Park by Brian Zieske (Bailiff, Pet Lions, Secret Colours) and mixed by Paul Klimson (The Roots, John Legend).

At RAX TRAX in Chicago, they just finished the final mixes of Eddy “The Chief” Clearwater’s “Grammy-bound” record, which will soon be released on Alligator Records. Local bands The Hue, Waterstreet, and 56 Hope Road also finished recording their new albums at Rax Trax.

ENGINE STUDIOS in Chicago had a busy fall. Brian Deck recorded and engineered the Sam Roberts Band while Neil Strauch worked with Derek Nelson & The Musicians, and started the new Pet Lions LP.

At GRAVITY STUDIOS in Chicago, Lee DeWyze’s label, Wuli Rec-ords, returned to remix and remaster DeWyze’s first album, So I’m Told, with Doug McBride. Look for the re-release of the “American Idol” winner’s (featured in this month’s IE) album on Universal Records . . . Engineer Joe Peven was busy manning the controls for Shawn Kellner’s production of The Run Around’s Side Affects May Vary. Look for the release on December 10 on Window Licker Records . . . Peven continued work with local mind benders Dropped Once, whose new single will be available soon on iTunes . . . Gravity’s youngest engineer, Ian Spudes, has been working with Polish pop artist Jolanta Skawiniak as well as Chicago rap artists Michael Cage and Brandon Love; but “the hazing is still an issue,” according to their press people.

At PLANET10 STUDIOS in Palatine, the amazing and ever talented Amanda Palmer of The Dresden Dolls recorded a cover song for Steel Train’s newest release. The song she re-arranged and tracked was “Behavior,” and it is available from iTunes only. Along with Palmer, guest vocalist Erica Iozzo and Mat Devine of Kill Hannah performed background vocals.

AT EARLY RECORDING in Evanston, owner Dave Budrys recorded new tracks for Timothy Windwalker’s new acoustic reggae-influenced EP with backing vocals supplied by Windwalker’s daughters, Zoe and Cleo.

R. Kelly’s new album, Love Letters (Jive), was recorded and mixed by Abel Gari-baldi and Ian Mereness at The Chocolate Fac-tory in Chicago. Additional bass guitar & guitars were recorded by Donnie Lyle and additional keys by Rodney East

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just email info on who you’re recording or who’s recording you to ed@illinoisentertainer.com, subject Studiophile, or fax (773) 751-5051. We reserve the right to edit or omit submissions for space. Deadline for January 2011 issue is December 15th.

Forgive us while we skip the hypothesizing over what Wilco would sound like without him, is he their George Harrison, and, woe is he, doesn’t the world care enough about John Stirratt? Without much hullabaloo, Stirratt and Pat Sansone – a relatively recent Wilco hire – released their fourth album as The Autumn Defense this fall. Once Around (Yep Roc) relaxes on pillowy, AM-radio sounds not unfamiliar to fans of The Chamber Strings, whose frontman Kevin Junior is a friend of Stirratt’s. The bulk of the tracks were self-recorded with Mike Napolitano at THE LOFT, BLACK SHEEP, ROOM THREE FOUR, and SOUNDS GOOD, all in Chicago, though the album’s genesis came together in New Zealand between bouts of Lord Of The Rings reenactments and helping Crowded House’s Neil Finn assemble 7 Worlds Collide. The band play Lincoln Hall on November 20th.

MILLION YEN STUDIOS in Chicago hosted AM Taxi on their return home. The Virgin Records property tracked some B-sides with headman Andy Gerber . . . The Matics have experience recording in South Side oil refineries, so it’ll be interesting to hear what impact (if any) Gerber’s facilities will have on the two sides they cut for a 7-inch single . . . Engineer Jeff Dean spent separate sessions recording Naked Raygun offshoot The Bomb and mixing an EP for Horace Pinker.

If the centerfold photo in the liners of the new Filligar album are of the inside of ELECTRICAL AUDIO in Chicago, it goes a long way toward explaining how Steve Albini’s studio gets its legendary sound. Of course, having no ceiling or walls and all those people in it must wreak havoc on its vintage equipment. The band produced The Nerve on their own there, though welcomed Greg Norman into the engineer chair by brushing the dust off and invitingly slapping its seat. Doug McBride knew exactly whose buttprint it was when the chair and master recordings arrived at GRAVITY STUDIOS for finishing touches.

Cap D from the All Natural crew threw a producer’s party when assembling his latest solo album, PolyMath. Unfortunately, things got so out of hand no one among Illmind, K-Kruz, No I.D., and Battletek bothered to write down where they were when they did it. Someone stayed lucid enough to remember Collin Jordan mastered the tracks at BOILER ROOM in Lakeview.

UPTOWN RECORDING in Chicago has completed upgrading its shop with the newest Pro Tools 8.1 software featuring HEAT, which replicates the big mixing board sound with out the big price. Video clients should know Uptown has transitioned to the newest Final Cut Studio bundle with two 20-inch LCD monitors and a 42-inch plasma HDTV. Audio mixing moves to a Genelec 5.1 system featured in Studio West . . . Rob Ruccia and Dan Stout engineered the score for Amreeka, a film by Cherien Dabis that’s set in smalltown Illinois and won awards at Sundance and Cannes. The score was created by composer Kareem Roustom. 

Back at GRAVITY, the studio has launched its own streaming radio station at gravitystudios.com, featuring bands it has recorded over the past two decades. McBride explains, “We went through all the DATs and CDs from almost 18 years of recording bands. We chose at least one song from every band that we could find, hundreds of bands represented here: some spent three months making an album for a major label; some spent a day knocking out a three-song demo. I can hear the ADAT/Mackie era, the AMEK/Studer era, the Neve/Pro Tools.” Some of the bands and artists include Plain White T’s, Nash Kato, Umphrey’s McGee, Veruca Salt, and Fall Out Boy.

Not only did Disturbed hire a local producer to monitor proceedings for this summer’s Asylum (Reprise), but they tracked it at a local studio. O.K., so guitarist Dan Donegan isn’t exactly an outside hire (even frontman David Draiman and drummer Mike Wengren get themselves some co-producer credits), but Johnny K.’s GROOVEMASTER STUDIO in Chicago certainly qualifies as the latter. When the band were done, the tapes went off to PARAMOUNT RECORDING in Los Angeles for mixing and then increased their carbon footprint by flying all the way back across the country to New York’s STERLING SOUND for mastering . . . Pop Evil and brotherly duo Aranda also traipsed around Groovemaster this summer.

Fate – as is its wont – did the twist years ago when the men who made up regional rock vets The Willing somewhat unwillingly became The Boyzz. Heartland rock at its core (not hip-hop, as those two Zs indicate), years passed and The Willing (at least those willing among them) have reconvened for a new album, Unfinished Business. Rich Wingstone, John Krahenbul, Chris Gough, Dan Smith, David Angel, and Kent Cooper recorded the album at RAVE SONG in the western suburbs, with Angel serving as producer and engineer. The tracks were then mastered by Danny Leake of URBAN GUERILLA ENGINEERS in Chicago.

The self-titled debut from In Tall Buildings is only the second full-length release on Whistler Records, the label affiliate of Logan Square free hangout The Whistler (where former Wilco instrumentalist Leroy Bach frequently performs). The album itself was self-recorded at frontman Erik Hall’s digs, but he had it mixed at JIRA PRODUCTIONS in Chicago by Rick Fritz and then mastered by Shellac bassist Bob Weston at CHICAGO MASTERING SERVICE. The band appear on the 8th at Mayne Stage in Rogers Park.

At STUDIO VMR in Brookfield, Nate Johnson and Don Griffin finished some spots for Harpo Studios . . . Mike Gallagher completed a second song for his ongoing project. A few overdubs are yet to be tracked before Johnson and Griffin mix and then Griffin masters . . . Senay Jones worked on several new tracks with Johnson.

Bassist Collin Jordan goes by “His Airness” for The Interiors, who follow his tongue-wagging recording skills in the studio as well. The Teeth EP was recorded by Chad Meese in Kansas City’s THE COOLER as well as by Jordan at ENGINE STUDIOS in Chicago. Jordan then mixed and mastered at his own BOILER ROOM. In the past, he has worked under Chicago metal guru Sanford Parker and done jobs for My Life With The Thrill Kill Kult and Chicago-based Graveface Records.

Symbolic of their efforts to rise out of the swamp and join the modern world, Humboldt Lagoon opted not to engage the mermen for an underwater mastering job of their self-titled album, but went instead to slap a wet, webbed hand on Doug McBride’s shoulder, who put some tarps down before letting them into GRAVITY STUDIOS in Chicago.

Jealous hockey fans in other cities as well as crotchety Chicago Blackhawks fans could be heard harping about bandwagon jumpers as the NHL season draws to its opening. As much as we’d like to believe a certain local singer/songwriter moved from Philadelphia to Chicago once he saw what a winning team looks like (the Flyers have lost five consecutive Stanley Cup Final appearances), he actually came because the Brotherly music scene stinks, too. John Condron & The Benefit visited 1 BIT STUDIOS in Joliet, where producer Dave Lill could record and mix their Eleventh Hour. Catch them on the 30th at Chicago St. Pub in the City Of Champions.

RECORDING BITS: At PLANET10 STUDIOS in Barrington, Without Return started work on their new EP with producer/engineer Jimmy Johnson . . . Ex-pat Kyle Andrews writes to us from Nashville where he had to record his Kangaroo EP debut at home by himself, we think because there’s no place in Tennessee that compares to the facilities available in Chicago. Chalk that up to another one of Mayor Daley’s fine contributions to the city before he leaves office . . . Alysheba know better, and felt so indebted to RATTLESNAKE STUDIOS in Chicago that they named the four-song EP Rattlesnake Studio Sessions. Engineer Caleb Willitz handled recording and mixing duties.

HEY STUDIOPHILERS! Send news on whom you’re recording/who’s recording you to ed@illinoisentertainer.com.

– Steve Forstneger

At OAKDALE 3B STUDIO in Chicago, Lauren Frost, current indie/acoustic rocker and former Disney star, recorded what might be regarded as her signature song, “The August,” with songwriting partner Ashton Likes. One of the more requested songs from her live show, Frost gave us the backstory on the song and how it came to be. “The August” was written by Frost and Likes for their friend and bass player, Tom Gallagher, as a wedding gift. “The first time we played it live was for Gallagher and his new bride at their wedding reception. The two were married at Illinois Beach State Park in Zion. Tom is a photographer and his wife is a painter, so those themes are incorporated into the verses of the song. Additionally, the photo used for the single release was taken by the groom.” The popularity of the song grew during Frost’s month-long Double Door residency, where audiences clapped and sang along to the song as it was being developed live. “It was because of the great response that we decided to take the wedding song into the studio.” Frost and Likes began recording with their good friend and Frost writing partner Matt Scutt at his home studio, Oakdale 3B in Chicago’s Lakeview neighborhood. “Our goal in recording the song was to keep it as raw and organic as possible to keep from overproducing the track.” Without the possibility of using a drum kit in the small apartment, and wanting to stay away from pre-programmed midi beats, all of the percussion sounds came from what they had to use at the time: Beating the back of an acoustic guitar for the kick drum, using shakers and mouth noises for hi-hats, and snaps, claps, and tambourine for the backbeat. “The August” can be downloaded from Frost’s Web site at www.laurenfrost.com

AT GRAVITY STUDIOS in Wicker Park, it’s been a busy summer, Bon Jovi and Ritchie Sambora came in to cut vocal tracks for an upcoming release with Ian Spudes. It was quite a surprise when the band walked through the door, you don’t figure Bon Jovi as a Wicker Park band (Gold Coast maybe?). But just as quickly as they appeared, they were off to their next gig – two sold-out shows at Solider Field . . . Studio honcho Doug McBride recently finished an album with Rollo Time and began the final touches on a new record with Anna Fermin (of Trigger Gospel fame) and an EP with Slow Match . . . Joseph Peven recently completed a three-song EP with Athel and a two-song single with At Rifts End. A lot has changed at the studio this summer, according to Peven. “We totally rebuilt the A control room, featuring a Tonelux summing mixer, as well as adjustments to the acoustics that translate amazingly well to other environments.” Peven says not only is this system sleeker and more compact than the bulky consoles of yesteryear, “but it provides a more efficient work flow and instant recalls on demand.” The Gravity crew is so proud of their new set-up and invites prospective artists to visit it online (www.gravitystudios.com) or stop by for a tour. Just call ahead – they’re busy! Also of note, Gravity’s mastering services have increased in a flat economy. McBride has mastered albums for Aiden (Victory Records), The Million Dollar Quartet, and American Idol winner/Mt. Prospect native Lee DeWyze.

At MILLION YEN studios in Chicago, über producer/former Jawbox and Burning Airlines frontman J Robbins recorded Small Town Bike for No Idea Records . . . Scott Lucas finished a covers EP to be released by Local H and another mini album for his side-project with The Married Men; studio owner Andy Gerber assisted.

At Linder Avenue Recording in Roselle, producer/engineer Travis Brown blocked out dates with his project Saline to record material for their debut . . . Drummer Hannah Ford laid new tracks for the Bellevue Suite (above) single “Just Love” to be re-released later this summer; Dom Palmisano engineered.

At MILLION YEN in Chicago, seminal Chi-town hardcore outfit Vic Bondi and Articles Of Faith recorded an EP for Jello Biafra’s Alternative Tentacles label with engineer Jeff Dean . . . Juno Award-nominated, Toronto-based producer/engineer Jon Drew recorded Noise By Numbers (Screeching Weasel, Methadones, River-dales, The Bomb) for Asian Man Records . . . Local punks Anxiety High worked on their second CD with owner Andy Gerber.

UPTOWN RECORDING in Chicago now offers space for youth birthdays. Children will be given a hands-on, kid-friendly overview of a fully operational commercial recording studio. After the brief tour, the birthday boy or girl will be transformed into the lead singer of their own band with friends participating as back-up vocalists, musicians, or even helping in the control room. Each guest will receive a personalized souvenir recording of the song featuring a group photo printed directly on the disc. Kids and adults are invited to come dressed as their favorite rock star. Call (773) 271-5119.

2BU Studios in Lincolnshire, a recording and video-production studio for kids, celebrated one of its own rock stars. Rob Kleiner, who manages 2BU’s recording wing, recently had one of his songs selected by music superstar Cee-Lo Green. to be featured on the Twilight Saga: Eclipse movie soundtrack.

“If you listen closely you can hear my whistling in the background of the song,” Kleiner pointed out to a recent group of campers, who were recording their own song at the studio.

BACKTHIRD AUDIO in Aurora forked four days over to The Hyrax. After 32 hours and a large order of sesame chicken, the band about finished their first full-length album . . . Randy and Audra Miles have been in and out recently to record vocals for a Christmas-classics CD due this December.

The secret society of Chicago-based studio nuts, EARS (Engineering And Recording Society Of Chicago), The Recording Academy, and the P&E celebrated in July at JOYRIDE STUDIOS in Chicago.

Despite the suggestive title, Soft Speaker’s Stranger In The Alps wasn’t recorded in Western Europe or even on a German-themed bender heading up Lincoln Avenue. Mike Lust recorded the drum and bass parts at PHANTOM MANOR RECORDING; Joe Daley handled the other instruments at LOW ORBIT; and owner Carl Saff at SAFF MASTERING polished it off. All rooms are in Chicago.

At FAIRVIEW RECORDING in St. Charles, Dead Mans Wake recorded It Comes To This, which they then took to MASSIVE MASTERING in Schaumburg . . . Ceiling Stars likewise used multiple shops on their latest album. All The Fallen Parts was mostly recorded and mixed by Jonathan Schenke at E.S.S. in Chicago, though mixing and additional tracking occurred with Dan Dietrich at WALL2WALL RECORDING, also in Chicago. Further, strings were engineered by David Osborne at THE LOFT . . . Schenke likewise assisted with some tracking, mixing, and mastering on Caw Caw’s Bummer Palace (Trust Tapes). The rest was handled at INFRASONIC SOUND in Los Angeles . . . Mike Hagler mastered Dan Wallace’s self-recorded Den Of Maniacs at KING SIZE SOUND in Chicago.

Condolences to acclaimed Chicago-based producer/engineer Harry Brotman, whose wife Helen passed away suddenly in July.

Local longtime mainstay Pete Berwick entered the studio to record his follow up to 2009’s Just Another Day In Hell. Co-producer Jason Botka and engineer Mike Kozitka have been drafted for the 11-song album’s sessions at SKYE BLUE STUDIOS in Villa Park. Due for late summer release, the new album will be only a slight departure from Berwick’s cowpunk roots. Though those elements will be prevalent, it will be what he hopes will be his most accessible work yet. Berwick tells Illinois Entertainer, “I am attempting to record a theme album that focuses on the concept of time, while also appealing to bikers, beer drinkers, romantics, and trailer trash. No easy task, but I’m confident we can fix it in the mix.”

At LINDER AVENUE RECORDING in Roselle, 610 continued tracking and mixing for CD release this year . . . Julie Kaylin returned to the studio to work on her full-length production . . . Growth LTD tracked material for their debut . . . Randy Raatz tracked guitars and keyboards for two singles to be released soon . . . Dom Palmisano mixed a full-length CD for True Witness and two new single releases for Michael Riser.

At STUDIO VMR in Brookfield, Don Griffin and producer Nate Johnson worked on a new release by Mike Gallagher including Ron Hall on bass and Desmond Nicks on drums; Walter Cunningham was scheduled to add VMR’s Hammond A100 to the tracks . . . Cunningham rec-ently completed his solo CD at VMR with John-son and Griffin engineering . . . Kadijah Bermiss also completed a CD project that featured production and keys by Cunningham . . . Susan Palmer recorded vocals for a new release with Eric Michaels Organ Trio . . . Vonchalont tracked a new single. They recorded live in the studio with minimal overdubs.

Squeaking in just hours before the deadline, GRAVITY STUDIOS in Chicago was included in the Mix Magazine Class of 2010. Lee DeWyze’s Slumberland (recorded at Gravity) debuted at 32 on the Billboard Heatseeker list and hit 68 on the iTunes albums charts. MTV News’ Gil Kaufman stopped by the studio to talk with Ryan McGuire, Louis Svitek, and Gravity’s Doug McBride and DeWyze and his recently released new song, “Princess (Reprise).”

At PLANET10 STUDIOS in Palatine, two days were spent recording Derek St. Holmes, including a late-night session with Amanda Palmer (Dresden Dolls, Eveyln Evelyn), Erica Iozzo, and Mat Devine of Kill Hannah . . . The new Garaj Mahal CD Discovery: The MOOG Guitar (with Fareed Haque and tracked at Planet10) is now available on iTunes . . . Palmer has also arranged for future sessions.

At UPTOWN RECORDING in Chicago, they congratulated client Levi Kreis‘ Tony Awards nomination for his role as Jerry Lee Lewis, in the Chicago-gone-Broadway musical “Million Dollar Quartet.” Visit Levikreis.com for his latest album, which features songs that were recorded and mixed at Uptown . . . Alkaline Trio have been uploaded in footage from their in-studio performance for Fuse Music Loop sponsored by Q101 . . . Ingrid Michaelson was just in with her producer and band to track a song. Michaelson is most famous for her songs that have appeared in Old Navy and Hair Cuttery commercials as well as television shows like “Grey’s Anatomy”.

Celtic rockers Flatfoot 56 tracked Black Thorn in Houston, but remixed it at AUDIO KING in Elmhurst and mastered it in Chicago at BOILER ROOM MASTERING with Collin Jordan.

Broken Social Scene

Though based near Woodstock, New York, GIMME THAT SOUND PRODUCTIONS has deep Chicago ties. Founder Stephen George was the original drummer in Ministry and left in 1984 to form Colortone. Using his major-label connections, he began producing albums for Ric Ocasek and Jane Wiedlin. Within five years, he became chief engineer at Chicago’s Battery Studios – run by Zomba/Jive Records – where he developed a close relationship with R. Kelly. After a move to New York he worked recordings from Lil Jon, Luther Vandross, and Maroon 5, before landing upstate.

At ENGINE STUDIOS in Chicago, Sage Francis recorded I, out in May on Anti Records (Neko Case, Tom Waits, Nick Cave) . . . Nathaniel Rateliff recorded with Brian Deck . . . Neil Strauch has been busy with Allá, Beak, Sybris, Anthony Alban, and Green View . . . Jake Westermann completed projects with Seafarer and Flame Shark . . . ENGINE, CREATIVE CAFFEINE (Nashville), and ELECTRIC HOUSE STUDIOS all take credit for Run From Dogs, the debut full-length from Luster. The 11-track album disperses credit among Strauch, Colin Peterson, and bandmates Bryan and Jeremy Mederich respectively, though mastering was handled by Greg Calabi at STERLING SOUND in New York.

At I.V. LAB STUDIOS in Chicago, Automata recorded pieces that would become their debut EP, Microcosm. Jay Marino and Man-ny Sanchez assisted in the sessions; the band open for Apteka and Dast-ardly at Lincoln Hall on June 19th . . . Recent projects also include Miracle Condi-tion’s The Wand-ering Y, Alger-non’s Ghost Surv-eillance, a Love In October track, and Umphrey McGee’s Mantis.

Mahjongg’s The Long Shadow Of The Paper Tiger was not recorded in a laboratory, but Benjamin Balcom’s MINBAL STUDIO on Chicago’s West Side. Releasing in July on Washington state’s vaunted K Records imprint (Kurt Cobain had the label’s logo tattooed on his forearm), Mah-jongg and Balcom share recording and mixing credits, but took TLSOTPT to the South Loop’s SHAPE SHOPPE for mastering.

At SOMA STUDIOS in Chicago, Broken Social Scene tracked bits of this spring’s Forgiveness Rock Record (Arts & Crafts). Co-produced by the band and Tortoise’s John McEntire, it’s their fourth album but surprisingly first since 2005’s self-titled set. Following a litany of side-projects, McEntire and the band pulled the plug on the usual merry-go-round of guest artists resulting in a less claustrophobic sound. They co-headline Friday night at Pitchfork Music Festival in mid July with Modest Mouse.

At UP ON THE ROOF RECORDING in Lombard, owner/engineer Mark Blas finished projects for Tanglewood, Amanda Lauricella, and 28 Days.

UPTOWN RECORDING in Chicago has various recent sessions online featuring Alkaline Trio’s recent stopover for Q101, Ingrid Michaelson tracked a song, and Three Days Grace. The studio also has its own YouTube channel for your studio-voyeur pleasures.

Windy City Rev-Ups set aside time in their busy schedule in June for the recording of an EP of new material at their own WCRU STUDIOS in Glendale Heights. Following another break, sessions will hopefully end in September with a late fall release planned. The band also plans to record their set at Taste Of Chicago. Frontman Rich Reminger says, “We have enough material for two or three CDs, but, depending on how the sessions and live show goes, we may pare it down to one CD or an EP.”

Legendary Chicago punk rockers Naked Raygun recorded at TRANSIENT SOUND STUDIOS in Chicago on March 19th. The band intend a slew of songs for release on their “7-inch Series” in 2010. The first single (their first recordings in 20 years) sold out quickly and the second will be released in vinyl and digital formats on June 15th. They’ll also be filming a video for one of the new songs – look for it to arrive later this year. In late summer, Raygun descends on Europe and the U.K. – details will be announced shortly.

Easily the most influential band bursting forth from the initial Chicago punk-rock explosion, Naked Raygun also hold the distinction of being the longest running. When many of their peers were either breaking up or going metal in the mid-to-late 1980s, Naked Raygun soldiered on with their trademark sound, combining infectious vocal melodies with muscular guitar and a precision rhythm section. Echoes of the golden era of Raygun sound can be heard in punk rock circles worldwide.

The band broke up in 1992 and, save for a one-off reunion in 1997 to celebrate the release of the Last Of The Demohicans collection, stayed inactive while band members tended to family business and occasionally other musical projects such as The Bomb and Pegboy.

Naked Raygun return-ed to action by playing shows across the Mid-west and embarking on their first West Coast tour in a decade with Bay Area legends The Swingin’ Utters. The band also released their first DVD via Riot Fest Records, entitled What Poor Gods We Do Make. The CD/DVD package combined a documentary covering the lifespan of the band with performances from their sold-out performance at Riot Fest 2006.

During a two-night stand at the House Of Blues, Raygun debuted their first new songs in 17 years. Met with a reaction of surprise and elation from the slam-dancing crowd, both songs embody the classic Chicago Sound” that Naked Raygun first defined more than 20 years ago.

At Gravity Studios in Chicago, former Spitalfield frontman Mark Rose recently tracked two new songs with producer/engineer Matt Opal. Selling more than 130,000 albums worldwide with Spitalfield from 1998-2007, Rose is no stranger to the road, having taken the stage over 1,400 times – hitting nine countries over three continents. Rose also took the time to make a video blog about the experience available to view on the Gravity Web site. You can catch him live at Bottom Lounge on April 9th . . . Engineer Doug McBride finished mastering the Million Dollar Quartet album.

At Studiomedia in Evanston, The Chicago Sessions jazz record label produced multiple projects . . . Renowned recording artist Judy Roberts laid songs for an upcoming album . . . Ozzie Guillen did White Sox voice spots for their upcoming Championship season.

At Planet 10 STUDIOS in Palatine, Garaj Mahal, Owl Records, and Moog have collaborated to release a full length CD on which Fareed Haque played the Moog guitar and Eric Levy delivered on its iconic synths. Moog documented the proceedings with video that will be placed on its Web site.

At Pressure Point Recording in Chicago, Midwest Music Group’s new artist, Mathien, has completed its new album. The record, Hello Again, was recorded, mixed, and mastered over the past few months. The album is out now and is available for online purchase and digital download.

Standby Radio tracked the When Signals Cross EP at Bz artistry studios in Libertyville with producer Brian Zaharias . . . Stranger In The Alps, Soft Speaker’s latest EP, was split among Mike Lust at Phantom manor and Joe Daley at LOW ORBIT; mastering was handled by Carl Saff at SAFF MASTERING. All studios are in Chicago.

The name Neil Larsen might not immediately jump off the page to average music fans, but to those in the know, he’s a legendary keyboardist with credits on some 150 prominent albums. And he just so happens to be on one of this decade’s most anticipated tours, linking up with the legendary Leonard Cohen for a several-leg stint across the globe.

Neil Larsen appears with Leonard Cohen at Rosemont Theatre on October 29th.

“I certainly didn’t see this coming but it’s not an accident,” Larsen offers. “We spent over four months organizing a band and rehearsing before playing a note in public. [Cohen] first finds musicians who interpret his songs the way he hears them, then we just start running them down. It’s a little more involved than that, but if you have the right musicians, there’s less that needs to be said. We talk more about moods than actual notes. Leonard is a warm, sincere guy. You can see it on stage and it makes the show a real treat for his fans that are attracted to those qualities in his recordings.”

Much of that magnetism and warmth is enhanced from Larsen’s own playing in Cohen’s band, where he tickles the Hammond B3, along with the Wurlitzer EP200 electric piano (“That Don’t Make It Junk”) and the Yamaha DX-7 electric piano (“Ain’t No Cure For Love”). But no matter what the tunes, the band and its vocal leader are in fine form in spite of Cohen’s lengthy hiatus.

“Having not toured for 15 years, a lot of his believers thought they would never see him perform live,” Larsen admits. “He’s come back in strong voice, with a three-hour show that includes music from throughout his career, and some new material that no one has heard yet. Leonard’s material gets covered by younger artists [Jeff Buckley, Don Henley] and there’s probably a lot of their fans who are curious to see the real guy interpret his material in his own way. He has a hell of a story to tell and will undoubtedly open up some young minds.”

Outside of his stage conquests, Larsen’s been a go-to guy in the studio, starting with television jingles in New York, followed by countless album sessions. His first two collaborations were with singer/songwriter Don McLean and classic rockers Foghat, though he found much more success after heading west.

“I eventually moved to Los Angeles where there seemed to be more work and began working with producers: Tommy Lipuma, Russ Titleman, Herb Alpert, and others,” he recalls. “Again [there were], many different types of music and I enjoyed the challenge. At one point, I went from working with Rick Springfield right to Miles Davis.”

As his performance stock throughout such sessions grew, so did the prominence of the performers who called upon his recording and touring services. The piano man’s résumé also includes George Harrison, Whitney Houston, B.B. King, Kenny Loggins, Rickie Lee Jones, Gregg Allman, and Jimmy Cliff. “I like the several records I’ve done with B.B. King, including his last [One Kind Favor], and I’m proud of the ones I did with Rickie Lee Jones,” he reflects. “I drive home after the session with more than a paycheck. I have a feeling of making a musical contribution to what could be a great project that will always be there to listen to. This is a reward for a session musician instead of the applause of a live audience. The drive home, thinking ‘I did it!,’ knowing people will eventually hear it.”

While King and Jones may have been his personal favorites, one can’t help but pick Larsen’s brain about the late great Beatle or get his take on Houston’s comeback attempt. “I’d love to see Whitney do it again – I’m a fan,” he asserts, before reflecting upon Harrison. “It’s very sad not to have George around. The world can’t afford to lose such a big representative of peace. He was a good guy and very sincere about his beliefs.”

Besides his work for others, Larsen’s also an accomplished solo artist who even has a Grammy nomination under his own name. While this particular season is tied up with the Cohen road trip, individual albums are never far from the switch hitter’s mind. “I’m not around to do much recording because of our touring, but I’ve done a couple of album projects this year, and worked on a film soundtrack with Elvis Costello,” he adds. “The last solo album I did, Orbit, was a direct-to-disc record produced by my old buddy, Stewart Levine. It’s a good format for me and hopefully I can do another project like this soon.”

– Andy Argyrakis

J-Miah

At COMFORTZONE RECORDS in Oswego, J-Miah and producer Jason Mackniskas recorded the last two tracks needed to finish his debut album . . . On The House from Indiana University At Bloomington threw a three-song demo down featuring Brice Fox (vocals/piano), Bryan Flinn (vocals/guitar), Conor O’Toole (lead guitar), Ben Shulman (bass), and Nick Tanner (percussion). The session was engineered by John and Jason Mackniskas and Nathan Briggs, with production by John Mackniskas and On The House.

Adam Krier and Jason Shultejann (Lucky Boys Confusion) and their fellow members of American Taxi flew to Austin, Texas to record producer Mike McCarthy’s (Spoon) private recording studio for their Virgin Records debut.

Le Concorde, led by songwriter/multi-instrumentalist Stephen Becker, has been busy recording their new full-length album, tentatively titled House. Several weeks of sessions were undertaken in May with Grammy- nominated producer David Gamson (Scritti Politti, Kesha, Me’Shell Ndegeocello, Chaka Khan) at Mechanism in Los Angeles. The West Coast sessions were followed by June sessions at SLANG STUDIOS in Chicago with legendary producer/remixer Vince Lawrence and engeneer Brian Gaynor. Tracks were also completed in February and are currently underway with Chicago producer/ engineer Ed Tinley (Liz Phair, Ike Reilly Assassination) both at Tinley’s studio, Boris Karlov, and mixing sessions at Jeff Frankl’s SUNBURST SOUND.

Band Called Catch released their second album, entitled . . . This, during a June 20th show at the Cubby Bear in Wrigleyville. The album was recorded and mixed by Dan Stock at UPTOWN RECORDINGS on Chicago’s North Side . . . Chicagoland rockers Deepsix worked on their demo CD at VELOCITY RECORDING in Aurora with local producer, writer, and musician Bobby Scumaci, who also performs locally with Hi Infidelity.

Besides the usual studio recording at LINDER AVENUE, Dom Palmisano has been busy producing and incorporating his own musical talent into the newly released Michael Riser CD. Palmisano produced, engineered, mixed, and lent his drumming skills on Rise – clips of which can be heard at www.michaelriser.com . . . Hard rockers Lower Wacker have also completed an EP with Palmisano producing and engineering the project. Guitarist extraordinaire/IE contributor Mike O’Cull has finished all the basic tracks at Linder Avenue for his upcoming solo release . . . Palmisano has also been credited as co-producer for the EP from alternative rock artisit 610, who tracked and mixed the entire release at Linder Avenue.

ENGINE STUDIOS has reconfigured both studios A and B to be bigger and more approachable for clients. Will Oldham (Palace, Bonnie “Prince” Billy) recorded and mixed, with the help of Neil Strauch, his new album, Beware, at Engine. Editor Steve Forstneger had this to say of Beware earlier this year: “After the warmth of last year’s Lie Down In The Light, Will Oldham is positively resplendent on Beware. Despite the felt-tip scrawling “Seek the wolf in thyself” on a dollar bill in the liners, the contents within sparkle in a mixture of gospel and outlaw- country besottedness. The thaw has also reached Oldham’s lyrics, which have taken on a Lou Barlow emo-ness. “You say my kissing rates a six on a scale of one to 10,” he snarls on “You Don’t Love Me,” “and you wouldn’t pass the time with me ‘cept you’re tired of all your friends.” In other instances, the crossing of Oldham’s world with that of Waylon Jennings’ seems like a joke (“You Are Lost”), but the care with which he, Neil Strauch, and Jake Westermann unfurl the recordings reveals a reverance that never lets on so much as a wink. Beware, Oldham fans. Beware.

YO STUDIOPHILERS! E-mail whom or where you’re recording to ed (at) illinoisentertainer.com by the 10th of each month. Submissions may be edited.

At STUDIO VMR in Brookfield, producer Nate Johnson and Don Griffin recorded Chico DeBarge for Kedar Entertainment and Universal New York. The track will be added to a CD that DeBarge has compiling for several months . . . Silver Pipe was in VMR recording and mixing a new CD with some fantastic flute performances . . . Acclaimed local guitarist/songwriter Johnny L is ready to begin mixing his long-awaited CD that has been in the the works for the the past year with Grffin engineering. Track samples can be heard at www.johnnyl.com.

SOUNDSCAPE RECORDINGS in Chicago hosted Mikkey Halsted as he was was putting the finishing touches on his new EP, Uncrowned City. Owner Michael Kolar wrapped up mixing Naledge’s new mix-tape, Chicago Picasso, which will be out next month on iTunes. He was assisted by a power trio of DJs: Timbuck 2, DR RTC and Mick Boogie . . .The Reverands knocked out a six song EP for release this summer. The EP was recorded, mixed, and mastered by Kolar.

At MILLION YEN STUDIOS in Chicago, Anxiety High (Land Of The El Caminos, Phistine Verona) recorded an EP for their Metro show with Pegboy . . . London After Midnight (Silents, With A Gun) recorded three songs . . .Populele is mixing a full- length CD . . .Kevin Flynn And The Avondale Ramblers finished tracks on their CD: The Murderer, The Thief, The Minstrels And The Rest. Flynn and his band are hosting a CD release party May 9th at Martyrs. All sessions engineered by Andy Gerber.

At PASSIONWORKS STUDIO in Orland Park, Tommy Knox recorded a benefit song for the Songs Of Love organization, who sponsor a terminally ill boy named Gage Burree . . . Stephen Walsh And Station W have recorded additional tracks for their upcoming CD. Waste recorded two songs at SOUTHSIDE RECORDING COMPANY in Chicago, with Jesse Ewan. The mini-EP will be available for free sometime in May.

DUNGEON OF NOISE RECORDING STUDIOS in Alsip has taken over the studio space formerly occupied by A.R.S. Recording. Owner A.J. Storm has updated nearly all facets of the space. Check this column next month for more details.

They’ve been busy at ENGINE STUDIOS in Chicago. While preparing for his summer tour with the Decemberists and a local Lollapalooza appearance, Andrew Bird recorded some post Noble Beast tracks with Brian Deck at the controls. Former Addison native Tim Rutili and Chicago alt-legends Red Red Meat also visited to record tracks for an as-yet-unannounced release.

Planet10 Studios are hosting The Coop for a three-song demo for their show at the Summer Camp Music Festival. . .The Hannah Ford Band will record vocal tracks for their up-coming debut CD. Acclaimed drummer Paul Wertico (Pat Metheny, Kurt Elling) is producer. The studio will also be featured in the May edition of Mix Magazine.

This month at PARAGON RECORDING STUDIO in Chicago, The Hallelujah Chamber Ensemble recorded their 13 song CD. The album was engineered by Weston Dombroski . . . Hannah Frank and Victor Sanders finished their EP. Sessions were engineered by Joseph Connor. And a blast from the past: The Famous Gypsy Squatters Band continued tracking/mixing their upcoming reunion CD.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on whom you’re recording or who’s recording you to studionews [at] illinoisentertainer.com, subject Studiophile, or fax (312) 930-9341. We reserve the right to edit or omit submissions for space. Our deadline will be earlier than usual in May, so submit your news early. Deadline for the June issue is May 10th.

At COMFORTZONE RECORDS in Oswego, The Empty Can Band is still working on its long-awaited second CD. Steady Rollin’ Bob Margolin (Muddy Waters) laid guitar tracks for ECB on one of his tunes, “Ice Or Fire,” and Tad Walters (from Margolin’s band) may add to “Slam ‘Em Down” . . . DBL-Shot tracked vocals on a demo it plans on shopping to major labels . . . Adam Krier of Lucky Boys Confusion (and more recently of American Taxi) helped with production on the ECB project . . . Dulcet Records co-founders Daniel Bryan, Manny Mayhem, and Jay Mackniskas have Mackniskas engineering and tracking Dulcet’s new artist,  Chavito. Session players on this project include vocalist Melo and lyricist Tisa. John Mackniskas will be doing the final mixing.

At ENERGY COMMAND STUDIOS in Arlington Heights, studio owner Dave Banks and his wife welcomed a new addition to the team, baby girl Izzy, born Dec 26th . . . Tri-State Blues Band worked on a six-song demo. The project was recorded and mixed with Banks . . . The town of Vail, Colorado had some voiceover work done for their annual ice show; Energy Command Studios edited and mixed . . . Mid Life Crisis worked on its first single, and Banks produced . . . Singer-songwriter Nick Gaddini laid down and mixed his second song . . . Kimberly Wilkens did pre-production and tracked drums for two singles, mixed and produced by Amo Schmize at Energy Command affiliate, Amo Sound. Don Carlsson played guitar, and Banks bass . . . Seattle voiceover producer Lisa Foster worked with some Chicago-based clients. Foster is part of Vermont-based Such A Voice. Jon Owens and Art Garceau engineered the project . . . Manny Capozzi worked with Banks, remixing three songs . . . . Energy Command went remote to track Midwest Chamber Strings and mix its second CD in a year. The concert was record at the Schaumburg Prarie Center For The Arts. Jon Owens assisted with live engineering; the CD was mixed at the studio . . . Jazz saxophonist and composer Andy Marsala remastered and compiled two CDs of some vintage material.

At ENGINE STUDIOS in Chicago, Lonesome Cougars, Hey Champ, and Luster all worked on new material . . . Ben Weaver geared up for the follow-up to The Ax In The Oak . . . The wheels begin spinning on a new Iron & Wine album . . . Brian Deck worked on Tulsa’s new album for Park The Van Records . . . Jon Langford worked with Neil Strauch on the new Pine Valley Cosmonauts record for Bloodshot. Jake Westermann worked with North Pilot and on John Landecker’s syndicated radio show for XM.

Chicago power metal band Ion Vein is almost finished with its new album. The group worked at RAX TRAX in Chicago with producer Neil Kernon (Nevermore, Nile) and hopes to begin mixing soon.

CORRECTION: In last month’s “Studiophile,” M STUDIOS manager Andy Steil was identified as the producer of Scott Waterhouse’s A Spot In The Shade, but Waterhouse produced the album. Vocalist Kristina Marie Castandeda was also omitted from the band lineup. We apologize for the confusion.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on whom you’re recording or who’s recording you to ed@illinoisentertainer.com, subject Studiophile, or fax (312) 930-9341. We reserve the right to edit or omit submissions for space. Deadline for the May issue is April 15th.