The Marvelous Alcohol Orchestra is one of the most active national groups of the moment. After an intense year of tour presenting its last disc, with more than 70 performances in Spain, United States, Mexico and Colombia, the band faces an autumn full of novelties. The main one is the release of a new EP recorded and mixed by Steve Albini at the Electrical Audio studio in Chicago. The EP, titled '7:47 (Not another minute) ', includes three new songs recorded on tape, without digital retouching, with the group playing live. Also, the M.O.D.A. It will be turning at the end of October for Mexico (information in the image on the left).
In the words of David Ruiz, singer and composer of the group: "In June of last year we traveled to the United States to play there for the first time, we did a concert in New York, another one in Whasington and we ended up in Chicago, playing at the Ruido Fest, a music event in Spanish with a lot of acceptance among the Hispanic community As soon as we saw the dates and the cities we started thinking about recording with Steve Albini, taking advantage of the fact that his studio, Electrical Audio, is in the capital of Illinois. A bit like a dream, we wrote to the studio and sent them a couple of songs of ours, Albini said 'ok' and we closed the dates, we were going to record with the same person who recorded Nirvana, Pixies, PJ Harvey and One hundred thousand incredible groups Once the mini tour of three dates was over, the day arrived, we went to the studio, met Steve and his team, and immediately went to work, Albini is known for his analogue recording methods, for his vi anti-commercial industry and its rejection of artificial productions. We were going to record on tape, three new songs, without digital retouching, playing all at once. The only computer screen we saw in the whole studio was Steve's laptop and he used it to look at poker hands. For the rest, everything was as we had imagined it. The studio has several floors, full of instruments and music history. Upon arrival we go down to the basement, where there is a work area with tools and in the background, a couple of rooms full of battery elements. Bombs, boxes, plates and kettledrums of all brands, colors, sounds and ages of manufacture. Once we were clear that 'set' of drums used, we went upstairs to choose the equipment needed for bass and guitars. In the different rooms of the studio we were finding unique amplifiers and pedals, some made by Albini himself. Once we had everything ready, we divided it into three different rooms to start the recording. Each space has its own sound characteristics, but the studio is thinking in such a way that, although we were in different rooms, we could all see each other while we were playing.
Of the recording itself we can only say that it was a joy and that we enjoyed every minute. It was a bit like being in the middle of one of those music documentaries that we have seen so many times. Albini, clad in a work overalls as if he were-what is it-a rock mechanic, placing microphones, moving from one room to another, adjusting their 'pots' and looking sideways at the poker on the laptop. In one day we recorded the three songs. The next, we mix. Albini works like a madman (he does not even eat during the 10 or 12 hours he is in the studio) and it is also so legal that they gave us back the money for the extra day of study we had booked. It has been one of the most exciting experiences we have had with the group. Working with a mythical like him and being up to the circumstances makes us feel that we have taken a step forward as a band. We are very satisfied with the sound achieved and proud of a recording that honestly and crudely portrays how we sound. "