Recorded: Fishtank Recording Studio, 2006-2009.

available at

The story here is The Genie had been doing a bunch of gigs around Melbourne, playing whatever we felt like doing at the time (aimless fusion jams, aimless dub jams, aimless Doctor Who theme covers, occasional Spandex) and Josh Abrahams asked us to come over and record for his new label he was starting. We thought, “Wow, Josh Abrahams!” and went for it. Sadly the label never happened, and it took us years to finish, and almost as many years to release it, but it’s still one of my favourite things. The process was: press record and jam. Then go back and edit what just happened down into something a bit more digestable. Chop is probably the best example of that. The jam we had in the kitchen was another highlight for me too.

Gear: everything I had at the time. Fender Precision Highway One, Steinberger XL-2, Hondo twin-neck. The bass went into my Ashly SC-40 pre-amp, then into the effects (Digitech Whammy, Boss ODB-3 Bass Overdrive, Sansamp Bass Driver, EHX Bassballs, Moogerfooger MF-101, Line6 DL-4, Boss Phaser, Boss Flanger) then into TL Audio VP5051 Preamp with just a bee’s dick of compression to tame any flanger/delay freakouts, then into an Acme Low B-2. So the three lines to the studio were: pre-effects DI from the Ashly, post-effects DI from the TL, and a mic on the bass cab. Played some (very rough) synth bass on a Korg MS-20. Fooled around with the ARP 2600 on a few tunes (ie the explosion in Scissors when the drums come in, the dolphin noises at the end of Game Over, and the ringmod on the glockenspiel in Steppin’), and just generally messed around with everything in the studio to make some more weird noises to hide amongst the songs on the album.