I had the pleasure of working on Carrie and Lowell with Sufjan and Casey.  This was a peaceful recording process that I won’t soon forget.  Sufjan wanted me to bring in some friends towards the end of the session so we called upon Sean Carey and Ben Lester.  Casey brought some amazing food from the butcher shop and we shared stories around the table.  We even stepped out to look at the stars at night when we weren’t working too late.

I mixed FOH for a portion of Surfjohn Steven’s Christmas Sing-A-Long tour while my friend Brenndan was busy slaying another dragon.  ’Twas a wonderful tour, where we all got to throw our carpenter hats on and work together.  Truly one of the most unique live sound experiences I have had.  This was another absolutely lovely group of individuals who woke up the inner spirit that had been sleeping for a while.

The second LP by Bon Iver.  I recorded, mixed, and am credited as a band member for the album.  It is safe to say I was the co-pilot to Justin’s vision, which was clear as I have seen anyone at something.  

I remember my beginning on this project.  After his sleepless night, Justin woke me in the cold early morning of March two-thousand and nine.   We were to begin tracking drums on Perth.  We used a single Sony C37a in the defunct pool room of what would become our working space known as April Base.  Some of my favorite moments and human beings were shown to me during the making of this album.  After years of hard work, the record was released on June 21st, 2011.    

I also acted as FOH Engineer and Production Manager for the touring cycle of this record. 

Working on records with Sean is like a meditation.  He may not be able to explain where he is going with a song, but you are wise to trust his path and keep your mind as clear as possible.  Sean shows his true self in all manner of making albums, and is truly the most gifted singer I have had the pleasure to record.

There is certain to be no shortage of laughter in the studio with this lot.  From the moment we press record to the late nights of  sipping whiskey and listening to Bjork, there are few better jobs than this.

For 14 years I have followed the works of Andrew Broder.  He has inspired and shaped my sonic landscapes.  Andrew creates music that already seems to be running through my mind.  It is an honor to be working alongside him on his newest record, and with every listen I am drawn closer to the realization that this will be a phenomenal statement.  I cannot wait for people to hear what he has been working on...

Sunlit Youth

A truly special and learned experience.  A lesson in the fact that as long as you continue to draw from creation it will never leave you, and will only become deeper. Working with Amy, Emily, and their producer Jordan was very important to me.  I feel they made me a better person by believing in me and expecting that I could give them exactly what they were after.  They are people who know what they want and deserve what it is that finds them.  Incredible human beings they are.

I was asked to help record and mix Volcano Choir’s Repave alongside the immensely talented BJ Burton.  What ensued was a massive sounding and emotionally dense record that had all of us choked up at one point or another.  This was the first record that, while mixing, I was genuinely short of breath.  The final piece of Almanac still makes me weak in the knees.

Working with a group of folks that have been, and continue to be, so involved in the creation of influential music and art was a special event.

-This record was unofficially sponsored by Guinness

I had the distinct and unique pleasure of engineering the record I’ll Find a Way.  Among the many firsts while working on this project, being witness to my cousin Phil Cook as musical director was one of them.  Phil, being a mentor in my life, enriched the already special privilege of working on this album.  Being in the studio alongside a team this gifted was truly a piece of musical history for me.

It is a rare event when a person’s true grace is translated to recording.  With Kathleen, it should be known that her recordings are an honest glimpse at the beautiful person she is.  I entered this project a fan, and though it presented personal challenge, it was just what I needed.  The engineering I performed for this album serves as an incredible learning experience.  Like playing ping pong with someone way way better than yourself, you will only get better.

I had the incredible honor of producing and recording a band who is young only by numbers.  Phox are a collection of individuals who are wise beyond their years, gifted beyond comprehension, and kind like you would only hope your favorite band might be.  We worked on pre-production at the yellow house (R.I.P) and recorded the bulk of this record at April Base Studios in January of 2014.  Dave Roberts and I then quickly took the recordings to New York where it was mixed by Michael Brauer with the help of his talented assistant Mark Bengston.  Mark worked tirelessly with Dave and I to ensure Brauer had exactly what he needed to mix the record  the way he wanted over a 7 day period in February.  

Working on this record has certainly changed the way I think about making albums and I am forever grateful to have spent the time I did with these humanoids.

The Fray were the first band willing to take a chance and bring me on the road with them.  They were the second people who gave me a chance to take my job seriously as a career.  I did everything from monitors to piano tech, from pretending to be qualified as stage manager (thank goodness for Joel Wojcik) to guitar tech.  In the end, when we thought we had parted ways professionally, they had me back to perform FOH in 2009.  

When I think about my time with The Fray it is less about specific memories, and more the feeling of growth.  It was an honor to work alongside such an incredible group of humans at such a pivotal time in all of our lives.  From the studio to the stage, these gentlemen will always be an important part of my life.

Three incredibly special friends gathered in a room to celebrate each other’s strengths.  I was there to record and mix it.  It was fast and fun.  Loud and wonderful.  Fairly unforgettable, despite our best efforts to burn off brain cells .

I have had the pleasure of mixing these gents whenever they get out to play, as well.