Remote Music Production

31 03 2020

Social distancing needn’t mean the end of studio recording. We explain a simple, free setup for real-time online collaboration.
— Read more www.soundonsound.com/techniques/remote-music-production





Review – ANDREW CANE & BAND – 1996 Live At The Slaughterhouse

24 02 2020

 

 

ANDREW CANE & BAND – 1996 Live At The Slaughterhouse

(PinkOrange Records, Released December 06, 2019)

 

Shortly before the end of the year, a real delicacy fluttered into my house. It is the first production of the Munich rock band MATA HARI aka CANE, which wasn’t released out due to business reasons. The insiders of the Munich music scene should know the former band around the siblings Claudia (vocals/ songwriting) and Andrew Cane (guitar/ keyboards/ songwriting) very well. At that time also still in the band: Holger Schulten on bass and drummer Harry Bischof. Hardly 23 years have passed since the EP, which was recorded under the direction of Chris Lausmann (ex-BONFIRE | ex-FRONTLINE | FOH for MICHAEL SCHENKER) at a live gig at Schlachthof/ Munich, is now surprisingly and unexpectedly released under the project name ANDREW CANE & BAND.

The first song on the EP ‘1996 – Live At The Slaughterhouse’ is opened by “Dancing Queen, a top-class dance floor stomper, which was already produced by Andrew Cane for EMI Germany in 2000 and re-recorded by CLAUDIA CANE for her album “Friends” about two years ago. Although the original live recordings by ANDREW CANE & BAND bangs out of the speakers in direct comparison with an unbelievable elemental force, the latest recording from 2017 makes it clear that she has lost nothing of her vocal qualities over all these years and that she has succeeded damn well in spreading the live feeling in the studio. But it’s a little bit different with the great power ballad “Run But Creep” and “Jesus Was A Woman“, performed with an easygoing funky reggae beat. These two songs have already been released – as happened in 2010 on “Come Closer” by CLAUDIA CANE – but with the subtle difference that this album has been produced by Curt Cress and ANDREW CANE beforehand for a record deal with EMI in 2000 and has not been published – for reasons I cannot understand. If you compare the Slaughterhouse-Recordings here with the so-called major-production, the question inevitably arises: Which appreciation did the song material get in the end under the direction of producer icon Curt Cress? In my humble opinion – not obviously – at least from a technical point of view. It rather killed the raw charm and unbridled explosiveness of the original vision of ANDREW CANE’s production in 1996. The same goes for the casually strolling “Out Of Line“. But at this point I don’t want to give the impression that “Come Closer” is a toothless or even bad album. – Definitely not! Rather I would like to illustrate what an impressive ‘jewel’ with “1996 – Live At The Slaughterhouse” has been slumbering in ANDREW CANE’s archives for over two decades. The two previously unreleased songs of this EP underline this more than impressive. On the one hand the dizzying and hit-suspicious mid-tempo anthem “In Our Hearts” and on the other hand the happy backbeat of the rock n roller “You Are Naked“.

“1996 – Live At The Slaughterhouse” is an absolutely desirable object for collectors who like honest and handmade rock music. I must quote myself from two years ago: ‘CANE stands for quality!’

The EP, produced by Andrew Cane and mixed and mastered by Uli Eisner, is for the time being, only available as download at www.bandcamp.com. But this fact shouldn’t stop the ‘old school’ fraction from buying this release, because on this platform you can choose between the different audio formats (MP3, FLAC, ALAC, AAC, Ogg Vorbis, WAV and AIFF) and thus meets the highest quality demands on the sound.

Adapted from Review Lauschangriff – KW 02/20 written by Sonny
Rock Chicks Magazine
Get your copy at Bandcamp




Review of 1996 Live at the Slaughterhouse

3 01 2020

Read the review. It is written in German, but you can get the idea using google translate.

http://www.rockchicks-magazin.de/?p=4348&fbclid=IwAR0zDZ1TnZZY9g_UB5apZGn9CL_eGMcqh-9O_MwTQ_STvjdCZYPzhrjWh-Y





The Front Cover

13 12 2019

https://andrewcane.bandcamp.com/





A Journey of Songs and its Outcome

7 12 2019

LIVE AT THE SLAUGHTERHOUSE is the first production of the German rock band Mata Hari. Six out of seven songs were written by the founding members, Andrew Cane and Claudia Cane, except for one song which was written by Lenny Kravitz.

All songs were recorded in 1996 at a live gig at the Slaughterhouse in Munich (Germany), with vocalist Claudia Cane, Andrew Cane on guitar and keyboards, Holger Schulten playing bass and Harry Bischof behind the drums.

But the EP has not been released until now, because the band got the attention of several people in the music business, which led to a deal with EMI Germany and for the sake of the new production the band was of course urged to not to release the record.

Meanwhile the band name had changed a few times and the band started to record twelve songs at the Pilot Studios in Munich.

Dancing Queen, Why Don’t You Run? aka Run but Creep, Jesus was a Woman, In Our Hearts and Out of Line were re-recorded amongst other songs which had been demoed so far on Andrew’s home recordings only.

The album wasn’t released by EMI Germany, except for the single “Free”, with which the band performed at the European Song Contest (ESC) back in the year 2000.

So the band changed its name again back to “Cane” and went its own ways, including as a support band for the all time heroes AC/DC.

In 2002 Andrew had left the band due to personal reasons and the band broke up. In 2010 Claudia finally released the album on CD and Digital as a solo artist.

History of the Original Recordings – Stats for Nerds

For the original recordings a Fostex 8-track tape machine was used.

These tracks were transferred twice – once to record overdubs onto a Fostex G24S and second for mixdown onto a Studer A80. The final mixdown was recorded to Dat-Tape and a few CDs were burnt for demo reasons.

The Dat-Tape disappeared and was forgotten until a bunch of CD-ROMs were detected by Andrew Cane after sorting his demo-tapes in late summer of 2016.

All of the CDs had errors and most of the songs were not playable as a whole.

So Andrew pieced all 7 songs together from several CD-Roms and mastered them in December 2016 at his studio “ Station 2OG MP”.

Credits

Songwriters: Andrew Cane, Claudia Cane

Label: PinkOrange Records

Release date: December 2019-12-06

Produced by ANDREW CANE

Mixed and Pre-Mastered by ULI EISNER

Live-Recordings by CHRIS LAUSMANN

Schlachthof (Munich)

Overdub-Recordings by FLO BLOECHL

Pyramid (Munich)

Mix Engineering by ULI EISNER

Uli Eisner Studios (Munich)

Mastered by ANDREW CANE

Station 2OG MP (HD Germany)

Instrumentation:

The Cane

Art Direction:

ANDREW CANE

Cover artwork by SHUSHU

℗ + © 2016 Andrew Cane

LC 14477

all rights reserved

ISRC DEDR60500072

Download https://andrewcane.bandcamp.com/releases





SUMMER IN BERLIN

9 07 2019





Mayim Bialik: Being a Feminist in Harvey Weinstein’s World

26 10 2017

#metoo
Why did she get a shit storm for this article?

I still make choices every day as a 41-year-old actress that I think of as self-protecting and wise. I have decided that my sexual self is best reserved for private situations with those I am most intimate with. I dress modestly. I don’t act flirtatiously with men as a policy.
I am entirely aware that these types of choices might feel oppressive to many young feminists. Women should be able to wear whatever they want. They should be able to flirt however they want with whomever they want. Why are we the ones who have to police our behavior?
In a perfect world, women should be free to act however they want. But our world isn’t perfect. Nothing — absolutely nothing — excuses men for assaulting or abusing women. But we can’t be naïve about the culture we live in.
I believe that we can change our culture, but it won’t be something that happens overnight. We live in a society that has treated women as disposable playmates for far longer than Mr. Weinstein has been meeting ingénues in luxury hotel rooms.
https://mobile.nytimes.com/2017/10/13/opinion/mayim-bialik-feminist-harvey-weinstein.html?_r=0&referer=








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