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http://remixmag.com/artists/remix_tapeheads/


"We wanted to bring back that life and noise into a record that sounded like a record."


“A little over a year ago, my friend [Marc Hellner from Chicago band pulseprogramming] gave me an Otari MX5050BII, and it changed everything,” Eustis says of the 2-track, ¼-inch tape recorder. “While we were in the process of demoing, we were making loops, remixing to analog, slowing and speeding things up. It was so different than what we did before, and it has this timeless quality. It sounds real because it is real — it's a physical media to master. It's not ones and zeros; it's a physical piece of shit with silver oxide on it wrapped around an aluminum spool. The move to tape, for sure, for mixdown and as an instrument was a huge shift.”


“I realized I liked making music more than writing, orchestrating or programming it,” Cooper says.

“It's like a Vonnegut kind of thing,” Cooper reflects on the album's themes of nature's anger and angry natures. “He found humor in the most fucked-up things, but it wasn't morbid. He just recognized that being a human in the world, you have to go along and watch the stupid shit — you can't stop it; you just have to laugh and say, ‘It's fucked up.’”


“We have [Chicago post-rock icons] Tortoise's old [Neotek Series II] mixer, and it made things sound more real; it sounded like what I remember music sounding like. It gave it this beautiful sound that wasn't there before — a little high end shaved here and there and not always as full-frequencied, but somehow sounding better, with more girth. The mixer also helped in the work flow, to have it in front of you where you could touch it."