Well… ok… the transition, like most of my career was very,
what’s the word?, organic! I started out DIY, of course,
because it was the only way I could do, so I recorded at
home and I self-released my own stuff.

Then I had small labels put out my stuff, all of which still didn’t give me any
money. The song ‘Freeway’

I did record in a proper studio, and I saved up for that myself,

and that was me wanting to go into the studio.

Our shows were then getting tighter and more rock’n’roll, so I went to a local guy called Jeff Zeigler who did ‘Childish Prodigy’ on his 16-track, 1-inch reel-to-reel he’s got great gear; it’s not top of the line but it’s by no
means low grade.

So that was another step, still with no producer, so it still had a DIY punk edge. DEAL

And then once I got Matador interested in that record, they wanted me to go in with a real producer, but I wanted to as well because I was
kinda exhausted. DEAL

I’d say that it depends on the producer though, and how they are as people – it’s not just about the fidelity. So here I am now and I love it.

To tell you the truth, for now, I prefer recording in the studio.

It’s akin to a lot of my influences, and for them it was never an issue because people always used to make records in a studio.

I’d say Lord of The Flies, but only to reference my song ‘On
Tour’. It’s funny that you mention both though.

[In my song] it’s a reference to the fact that your band is your island and
you’re ready to kill each other, but just today we were
watching that Lord of

The Rings parody of the end scene [see it at],

y’know when they’re blown out after the war and they’re all
jumping in bed together and smiling at each other with these
really creepy smiles,

and they’re rocking and making sexual noises at each other. You know the one I’m talking about? It’s really, really funny.

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