Dormitory Effect...Back in Effect
|Are they hot...or are they hot?|
~ Special Edition Post ~
In her interview with Moi, bassist Urith Myree (the chocolate one to the far right) foretold the coming of Dormitory Effect's next album (December 4th, 2010), and its inevitable awesomeness.
Ladies and gents...she wasn't kidding.
"Being women and scene veterans, we are all too familiar with the lack of faith in and little regard for all-female Metal acts and females in hard music in general. There are people that will never believe we write and play our instruments at the level we do. We're not, 'good for a bunch of chicks' - we're good, period. We can hold our own with anyone. So with this recording, we wanted to get great sounds, but we didn't want it to sound 'slick' or artificial. We wanted to keep it as 'live' as possible in order to try and capture the punch of our live performances.The Voice of Sue cannot and will not be tamed. It is simply too powerful, and that power rings true on every single track. When she belts out, "You're just an asshole/Oh I can tell/You're just an asshole" ("Crawler"), she's not some angst-ridden teen feigning "jaded". She's an adult who's been there, done that, and is just not impressed.
"Metal recordings now seem to get thinner and thinner, and when you try to turn up the bass you just get a slightly fuller bass drum. I'm an aggressive bass player that likes being heard and Gee's got great double-bass feet, so we weren't shy with the low end. Plus, many people now listen to music primarily through small computer speakers, laptops and tiny earbuds. We wanted a recording that had a nice beefy low end spectrum so it sounded full no matter what it's played through. Some may have to turn the bass down on this one! That's an awesome novelty these days. Also, the singers tends to be so low in the mix you have to strain to hear him or her. Susan is a powerful singer and she will not be buried in anyone's mix just as she isn't live. Meredith is our only guitarist while most bands have two. So while we're aware of how most Metal recordings sound now, that's not what we sound like, and we didn't want to try and misrepresent ourselves or add elements we couldn't reproduce live musically. Alex played some acoustic guitar with Meredith on one track, and Earl (Maneein, Resolution 15) played violin on another. That's it. You may hear a crackle or buzz now and then, but those were natural, and we didn't feel the need to clean up every little bit. This is us."
~ Urith Myree
"Effects" are used sparingly, and not as a substitute for skill. The opening of "Star You Are" features an echoic electric guitar. "To Belong" is a slow, guttural groove in which the full force of Urith's bass is showcased (along with a touch of violin). "Don't Know Me" reminds the listeners of why Meredith is in charge of guitars. Her playing is astounding (I have a borderline platonic thing for female guitarists...don't ask). The composition of "RJ Song" - from the guitars to the drumming (courtesy of the bad-ass G) to the lyricism - shows the thoughtful effort put forth by the band, and their ability to create many brilliant layers in a single song.
Co-produced by Myree, the composition and execution of About Time is nothing short of mind-blowing. This is an album for grown women by grown women. Exploring relatable topics like the pain of "the day job", losers with sycophantic friends, and unhealthy love, About Time revs listeners up by saying everything you've ever wanted to say.
About Time...track listing:
"Hand That Feeds" (featuring Dan Nelson)
"Star You Are" (featuring Melissa "The Jester")
"To Belong" (violin: Earl Maneein, Resolution 15)
"Don't Know Me"
"Regarding Your Daughter"
Bonus: "Hand That Feeds" (raw "All Bitch" version)