Watch the video and then buy something real.

All dates feature young fire-keepers Rare Grooves. March 11th features I Heart Lung in quartet mode with special guests Chris Cogburn and C.J. Boyd.

Not coincidentally, I will be speaking on a panel at the NX35 Music Festival in Denton, Texas on March 12th. Many thanks to Michael Seman for inviting me out and making this little tour a possibility.

March 10th at Salvage Vanguard Theater, Austin, TX. Presented by Church of the Friendly Ghost.
March 11th at Hot Mamas Espresso, Austin, TX. with Chris Cogburn and C.J. Boyd. Presented by Church of the Friendly Ghost.
March 12th at NX35 Festival, Denton, TX. (Chris Schlarb Discussion Panel)
March 13th at NX35 Festival, Denton, TX. with Shiny Around The Edges
March 14th at Resonant Sound Series, Houston, TX. with C.J. Boyd
March 15th at Avant Garden, Houston, TX. with C.J. Boyd

For maps, links, and detailed show listings, check this out.

I try to keep it simple. In fact, for most of the last 10 years, my use of effects pedals has been downright spartan. At this point, I think I have finally put the right combination of sounds together. The only difference with this photo and my actual performance set up is that the BOSS RC-50 Loop Station is placed to the left of the pedal board and not on top of it.

From left to right (beginning at the top):

BOSS RC-50 Loop Station: I just replaced my Digitech JamMan with the RC-50. I used the JamMan for every live performance and recording session over the last few years and it never failed me. My only frustration was the last of control over the loops and the large amount of noise produced by the unit when attempting to record direct. So far the RC-50 has been amazing. Three stereo loops, each with their own pan, volume and forward/reverse settings.

BOSS RE-20 Roland Space Echo: I imagine this is about as close as I will ever get to a real Space Echo sound. I toyed with the idea of buying a vintage RE-201 but the cost and upkeep are a little prohibitive. Thankfully the RE-20 sounds amazing. I use it mostly on guitar but it is hard to be on a snare drum too.

Electro-Harmonix Stereo Electric Mistress: Believe it or not but this is the only modulation pedal I have ever owned in 15 years of playing guitar. The ability to combine flange and chorus leads to a number of beautiful, shimmering accidents. Play and record in stereo if at all possible.

T-Rex Mudhoney: Unlike modulation pedals, I have owned my fair share of distortion boxes. From the ugly sounds of the BOSS MT-2 Metal Zone to the underwhelming overdrive and fuzz boxes from Electro-Harmonix, I have had a difficult time finding a sound that was right for me. It just so happened that I booked a recording session for I Heart Lung at Matt Wignall’s Long Beach studio, Tackyland, when I found a Mudhoney pedal among the cables and wires. I plugged it in and ordered my own a few days later.

Ernie Ball VPJR: Volume pedals aren’t very sexy. They rank up there with DI boxes and power supplies as the last thing any musician wants to spend their money on. A volume pedal helps me add texture and thoughtful accompaniment to whatever style of music I am playing. It might be boring but it’s also my secret weapon.

Not Pictured
I still have two pedals that aren’t in this setup. One is the BOSS DD-20 Gigadelay, which I have used extensively for many years now. The other is a Digitech Synth Wah which is a decent/weird envelope filter. Depending on the setting, I’ll swap out the DD-20 for the RE-20 and if I’m feeling adventurous, I’ll plug the synth wah.

LINKS

BOSS
Electro-Harmonix
T-Rex
Ernie Ball

I did not list any records that I released (personally or on Sounds Are Active) but I have included The Widow Babies second (and final) album, Jetpacks, which I produced and engineered. It’s that good.

Honrable Mentions

Deradoorian- Mind Raft
There is something about Angel Deradoorian’s song “High Road” that reminds me of Belladonna-era Stevie Nicks. That is an incredibly good thing.

ZaneOne- L.A. Woman
With legendary underground hip-hop producer Dert handling beats and samples, Zane finally gets her moment to shine. The heavy metal guitars on the self-titled, “ZaneOne” take RUN-DMC’s “Rock Box” to the next level.

Darcy James Argue’s Secret Society- Infernal Machines (New Amsterdam)
Ambitious, clean and well arranged, it took me a little while to finally listen to this album, but I’m glad I did. I have a feeling that whatever comes next is going to be incredible.

TOP 10 of 2009

10. Mos Def- The Ecstatic (Downtown Records)
Mos Def stops acting and starts rapping. Probably the best album of his career. Remarkably consistent considering all the different producers involved.

09. C.J. Boyd- Aerial Roots (Joyful Noise Recordings)
Picking up where The Greatest Weight left off, C.J. moves his solo bass tempest in any direction that his imagination desires. Meditative, grounded and gorgeous.

08. DM Stith- Heavy Ghost (Asthmatic Kitty Records)
With equal concern for texture, structure and harmony, DM Stith layers hundreds of tracks and keeps simple melody at the core. Hard to believe this is a debut album.

07. Serengeti & Polyphonic- Terradactyl (Anticon)
Two of the most misunderstood and progressive artists working in hip-hop. Terradactyl doesn’t sound like any other record released this year.

06. Nels Cline- Coward (Cryptogramophone)
Nels Cline at his most vulnerable, Coward finds him dancing through ECM territory on all manner of stringed instruments. It also contains one of the prettiest pieces of music I heard all year in “Prayer Wheel”.

05. Brian Blade- Mama Rosa (Verve Forecast)
Brilliant jazz drummer Brian Blade makes his debut as a singer/songwriter. Half of Mama Rosa’s songs are stunning embodiments of the medium informed by the masters (Neil Young, Joni Mitchell, Bob Dylan- the latter two Blade has performed alongside). The occasional song, like “Get There”, reminds you that he might be human after all.

04. The Widow Babies- Jetpacks (OlFactory Records)
Twelve burning, undeniably catchy songs in under 19 minutes, The Widow Babies second album finds them fulfilling all the promise heard in The Mike Watt E.P. Drummer/lyricist Tabor Allen churns through complex drum patterns while Danny Miller scrapes sunshine out of his guitar. Bassist Neal Marquez and vocalist Elise McCutchen integrate the band’s sound with powerful low and high end accents. SadlyJetpacks is also the band’s too soon swan song.

03. Grizzly Bear- Veckatimest (Warp Records)
It’s funny how “prog” used to be a four-letter word. In the last ten years bands like Deerhoof and Blonde Redhead helped reintroduce the genre with fresh aggression and now, somehow, Grizzly Bear releases the most ambitious album I have heard in years. Not only is it a well arranged and highly considerate album, it also sounds gorgeous. I would also propose that Veckatimest is the bastard love child of Pet Sounds and Close To The Edge, but that’s a conversation for another time.

02. Cryptacize- Mythomania (Asthmatic Kitty Records)
Mythomania was the first album I heard in 2009 that blew me away. Chris Cohen’s chords are so smart, Nedelle Torrisi’s voice so pure, and the presentation so right, I was certain that it would end up as one of my most listened to albums of year. Songs like “What You Can’t See Is” and “New Spell” made sure of it.

01. Little Dragon- Machine Dreams (Peacefrog)
I was minding my own business when I accidentally listened to the radio in Los Angeles. Little Dragon was performing live on KCRW and I was hooked. After dozens of times through Machine Dreams I am starting to understand why I love it so much: the synth-heavy 80’s production is pitch perfect (especially on the live drums) and vocalist Yukimi Nagano imbues each song with strange phrasings and melodic imagination. Highlights include the weird Zappa-esque keyboard harmonies over a stilted Jimmy Jam and Terry Lewis beat on “Swimming” or the devastating melody that sneaks into the non-chorus of “Fortune”.
Far and away, the album I listened to most in 2009.

So I went to Guitar Center today. I wanted to check out a few Electro Harmonix pedals. I didn’t buy anything.

We pulled in a few ringers this year and are very happy to have family friend Tabor Allen playing drums on two songs. One of those songs, “Rocky Raccoon”, also happens to feature the talents of Andrew Durkin of Industrial Jazz Group on piano. Lastly, we present the recording debut of Amparo Lomas (Adriana’s mother) on vocals. Although not “Christmas songs”, the real gift was making music together with family and friends.

We recorded and rehearsed everything in about two weeks. Naima knew from the beginning she wanted to whistle “I Will” and she knocked it out in two takes. Elisha IS “Rocky Raccoon” and my wife Adriana, our mom Amparo and I recorded “Mother Nature’s Son” in two takes with a stereo mic set up, just the three of us playing and singing in a room. Just for the record, that’s me hitting the high notes on “Dear Prudence”. Merry Christmas!

01. I Will [mp3]
02. Mother Nature’s Son [mp3]
03. Rocky Raccoon [mp3]
04. Dear Prudence [mp3]

Download high quality mp3s in a .zip file here!

CREDITS
Naima Schlarb- whistling on “I Will” and co-lead vocals on “Dear Prudence”
Elisha Schlarb- lead vocals and harmonica on “Rocky Raccoon” and co-lead vocals on “Dear Prudence”
Adriana Schlarb- vocals on “Mother Nature’s Son” and backing vocals on “Dear Prudence”, handclaps on “Rocky Raccoon”
Chris Schlarb- acoustic and electric guitars, vocals on “Mother Nature’s Son”, backing vocals, drums, jingle bells and bass on “Dear Prudence”, handclaps on “Rocky Raccoon”

with:
Tabor Allen- drums on “I Will” and “Rocky Raccoon”
Andrew Durkin- piano on “Rocky Raccoon”
Amparo Lomas- vocals on “Mother Nature’s Son” and handclaps on “Rocky Raccoon”

Produced, Arranged and Recorded by Chris Schlarb
Recorded from November 21st through December 6th in the Red Room (next to the kitchen)

In the last few years, the recording was featured on Boing Boing and downloaded thousands of times. I recently went back to the original recordings, added some EQ, a little reverb and generally remastered the whole affair. The original recording was only 7 minutes long but I have looped it and crossfaded it into a 33 minute beast that begs for many Halloween listens. Enjoy!

Orlando Greenhill- voice, electronics, electric bass, percussion
Chris Schlarb- drums, piano, percussion, electronics, voice
Chaos Theory- electric guitar, voice, percussion

Produced and Recorded by Chris Schlarb

The Widow Babies are an incredible group and I could not be more pleased with the work we did on this album. The songs are short, smart, angular and catchy as hell. I also think the production is pretty great too but maybe that’s just me. Jim Smith, who runs the venerable L.A. underground venue The Smell, has released Jetpacks on clear 12″ vinyl on his olFactory Records label. The one-sided record comes with screenprinted art on the B-side and a digital download of the full album. Pick it up soon because these won’t last long.

Produced, engineered and mixed by Chris Schlarb

The Widow Babies are:
Tabor Allen- drums
Neal Marquez- electric bass
Elise McCutchen- vocals
Danny Miller- electric guitar

Sometimes I get invitations that are too good to pass up and it seems that a lot of them came within a 14 day span in the middle of September.

Here’s the quick run down:

Sunday September 13th, 2009
Eagle Rock Center For The Arts
2225 Colorado Blvd.
Los Angeles, CA. 90041
Nels Cline + G.E. Stinson
Hans Fjellestad
Starts at 7pm // $10

Nels and G.E. are celebrating the release of their new duo album, Elevating Device. I will be recording the performance and running the merchandise table. Come out and say hello!

Sunday September 13th, 2009
Part Time Punks
1822 Sunset Blvd
Los Angeles CA 90026
The Widow Babies
Blue Jungle
Starts at 10pm // $5

I’ll be heading straight from the Elevating Device album release show to The Widow Babies Jet Packs album release show. In January of this year, the group and I began recording Jet Packs and I couldn’t be happier for them. They have taken a massive step forward in songwriting and performance and their new songs are just incredible. Who knows, maybe I’ll end up recording this show too.

Monday September 14th, 2009
The Santa Animals Sneak Peak Party
533 Havana
Long Beach CA 90814
Starts at 9pm // FREE

In August I started work on the independent short film, The Santa Animals. I have been recording everything from the sound of bacon sizzling and dogs barking to wind blowing softly through bird-filled trees. One of the last things I need is to record is the sound of a party for the film’s final scene. That’s where you come in. There are worse ways to spend your Monday night: free food and lending the sound of your voice to a movie.

Thursday September 17th, 2009
Slow Sound Festival at {open}
2226 E. 4th St.
Long Beach, CA. 90814
Chris Schlarb plays Night Game
Albert Ortega
Catherine Lamb
Starts at 8pm // $5

This is a very special event for me. I have worked on the music for Night Game for almost two years now. The funny thing is, almost no one has heard it. Night Game is scheduled for release on the Nintendo Wii in coming months and this event will feature music and projections from and inspired by the game.

Monday September 21st
Fingerprints
4612 E 2nd St
Long Beach, CA. 90803
Nels Cline + G.E. Stinson
Starts at 7pm // Free Instore

I was on the phone all day yesterday putting this together. Nels flies out to New York the next morning but he was looking forward to coming back to Long Beach and performing at the best music store Southern California.

Wednesday September 23rd
Jimmy’s Lounge
6202 Santa Monica Blvd.
Hollywood, Ca. 90038
I Heart Lung
Omid
Emily Hay Collective
Brother Mitya
Screwtape (featuring Bizzart)
DJ ESP
Starts at 9pm // $5

This show, in honor of John Coltrane’s birthday, is almost a miniature festival. I Heart Lung will be throwing down a few Coltrane tunes (with DJ ESP) and will also be sitting in with Brother Mitya for the night. An unbelievably rare performance. Don’t miss it.

The Limpets, is a documentary short by Justin Dial and Nate Smith about controversial visual artist and teacher Melanie Weaver. The subject matter in Limpets crosses from whimsical to deeply reflective and I enjoyed writing music that shared those qualities. The four-minute film contains six pieces of original music.

Composed, Recorded and Produced by
Chris Schlarb

Performed by
Chris Schlarb- electric guitar, marimba, melodica, drum programming, percussion

Limpets Soundtrack by schlarb

As many of you may know, I run the Sounds Are Active record label in what doctors and psychologists call my “spare time.” Today, I am very proud to hold in my hands, the label’s 50th release: Nels Cline + G.E. Stinson’s Elevating Device. Nels and G.E. are long time friends who have both accomplished a many great musical thing over the years. With Elevating Device, they finally sit down together with their guitars and conjure up the sounds they’ve always wanted to. It’s an honor for me to have them on the label.

At 2 seconds you can hear him kick the ball from the left.

At 4 seconds the ball lands on the right.

You then hear him run from the left to the right.

At 16 seconds he kicks the ball straight toward my Zoom H4n microphone and tripod stand.

At 17 seconds you hear the impact of the ball and the microphone and then the microphone and the ground.

At 24 seconds you hear the man run to the microphone and gasp. He then attempts to place the microphone back on the stand, at which point I take it from him, he apologizes and I tell him it’s okay.

It wasn’t funny at the time but the more I listen to it, the funnier it becomes. Thankfully the Zoom H4n is pretty well made and it showed no ill affects of the impact and subsequent four foot drop.

Written and recorded in August 2009, “Theme For Acoustic Guitar and Mandolin No. 2″ was recently used in a tutorial video for Seattle, Washington based software company BeeDocs Software. BeeDocs owner Adam Behringer sent me a rough cut video of a Timeline 3D tutorial he was working on and said he was looking for light musical accompaniment. I proposed a simple piece that could function as both foreground and background music.

Theme For Acoustic Guitar and Mandolin No. 2

Written, Recorded and Produced by
Chris Schlarb

Performed by
Chris Schlarb- 6-string acoustic guitar, mandolin

A few days after recording the demo sketch, I rehearsed with Destroyer of Brains and taught them the piece. Here is a our first quartet attempt, warts and all.

On July 13th, 2009 we recorded at Compound Studio in Long Beach, CA. This video is from the song’s second take. It doesn’t really feature the full melody, which are present in the other demos. For that you’ll have to wait for the master take (Take 3) which will appear on the album.

Destroyer of Brains Sextet (from left to right)
Danny Miller- electric guitar
Danny T. Levin- euphonium, trumpet
David Moyer- tenor saxophone
Chris Nowak- electric bass
Chris Schlarb- electric guitar
Tabor Allen- drums

Written and Produced by Chris Schlarb
Engineered by Jeff Lewis

]]> http://www.chrisschlarb.com/2009/07/song-for-charles-rocket-sketch/feed/ 0 http://www.chrisschlarb.com/2009/06/indie-video-game-music-roundtable/ http://www.chrisschlarb.com/2009/06/indie-video-game-music-roundtable/#comments Wed, 01 Jul 2009 00:01:11 +0000 schlarb http://www.chrisschlarb.com/?p=684 Photo by Vincent Diamante

In late March of 2009, I attended the Game Developer’s Conference in San Francisco, California. NightSky was nominated for the Seumas McNally Grand Prize at the Independent Game Festival and the game’s creator, Nifflas and I would be helping to demo the game on the show floor.

The conference was bustling with energy, creativity and audio/visual stimulus. I met a number of incredible designers, writers, and artists but the biggest treat for me was the Indie Video Game Music Roudntable conducted by Jeriaska. Four video game composers, Vincent Diamante (Flower on PS3), Baiyon (PixelJunk Eden on PS3), Shaw-Han Liem and I, talk about modern game music, player feedback, interactivity, and the chicken/egg dilemma of the creative process.

It was an honor to be invited and I thoroughly enjoyed the conversation.

FUTHER READING
An Indie VGM Roundtable – Night, Flower, Eden and Proud

I couldn’t resist any longer and now my wife and I are trying to plow full steam ahead into this project. I will be composing the score for the film and am trying to raise enough money (through Kickstarter.com) to put some time and love into it. Once it’s done, we’ll release the film and the soundtrack online.

Any financial help you can give will be much appreciated. I promise to give something right back to you once the project is done. Check out the link for a quick trailer, a few short pieces of music and lots of ice cream trucks.

Shannon Fields and I started talked in the early winter of 2008. He was booking four months in advance for the calendar at John Zorn’s venue, The Stone. Each month one person picks all of the music that will be played there, two seatings per night, one at 8pm and one at 10pm. It’s a wonderfully rigid place: they don’t serve food or drinks and they don’t accept demos. You have to be invited. Once that invitation came, I didn’t think twice before accepting it. The time and date were set for Saturday, February 7th, 2009. All I had to do was get myself to New York.

Performing Twilight & Ghost Stories in front of an audience involves highly controlled group improvisation and a loose sense of composition. There are three prewritten sections in the piece for an acoustic guitar tuned to Open C. The rest of the group has no idea how they will be used, what they might play or whom they will accompany. Some players receive specific rules or requests that the others do not. I write out charts ahead of time that help me organize instrument combinations, then I use a light box to conduct the group once we begin. The most important consideration, however, takes place long before the performance: choosing the right musicians.

Diane Cluck is one of the most intense and gifted improvisers I have ever played with. She was the first to person to confirm and it gave me early confidence. Known for focusing his immense energies on whatever instruments are set before him, Tom Abbs is a restless artist. The upright bass he brought to the performance had a didgeridoo cut into it, allowing him to alternate low end attacks. Once I read that The Stone had a Yamaha grand piano in residence I knew I would ask Mick Rossi to play it. Rossi’s work with the Philip Glass Ensemble and his own solo albums reveal a dexterity of imagination and sense of humor all to rare in the jazz and classical elite. Katie Young was the third musician who was an original contributor to the Twilight & Ghost Stories album. Her bassoon would be much needed tone in a group dominated by string instruments. With half of the group in place I contacted drummer Chad Taylor, a musician whose thoughtful, propulsive drumming with the Chicago Underground Duo I have long admired.

Naturally, I asked Shannon to participate as well. His production and arrangements with Stars Like Fleas are themselves sophisticated combinations improvisation and composition. Composer and producer Roberto Carlos Lange is perhaps better known as half of Savath & Savalas or one of his other myriad pseudonyms: Boom & Birds, ROM, or Helado Negro. Roberto has a sharp ear for melody and rhythm which would serve the performance even if he was limited to samplers and delay pedals. Lastly, G. Lucas Crane (of Vanishing Voice) and Grey Gersten were confirmed for alternate seatings. Lucas and Grey, on cassette tapes and electric guitar respectively, are both gifted improvisors and I knew they would lend color to the sets they performed in. Finally, photographer Scott Friedlander was hired to document the evening. He kindly served as the de facto master of ceremonies addressing the audience prior to the performances and establishing an etiquette for the night.

In 2003, my wife and I took a road trip across the country. It was a fast and loose affair that masqueraded as a solo guitar tour for me. In reality, it was an extended honeymoon in which we saw the country for the first time. We ate Kentucky Fried Chicken in Shelbyville, Kentucky. Our car broke down in a Sunday in Utah. We made it as far east as Charlottesville, Virginia, but our trip to New York did not materialize. Once the group was put together, I invited Adriana come to New York with me. We would spend a few days walking around the city, eat incredible food and, for the first time, she could see a live performance of Twilight & Ghost Stories. We packed a week’s worth of clothes into one bag and used the rest of our luggage to transport all of my equipment. I left my acoustic guitar at home and hoped that I would be able to borrow one in town. A few days before the performance, I talked to Lars Gotrich who said he was traveling from Washington DC to attend. He would bring his guitar on the bus, the one he played during the first live Twilight event in Athens, Georgia.

On Saturday afternoon Katie Young graciously called to excuse herself due to a nagging cold. After a few moments of slight panic I remembered that my long time friend and band mate, Danny T. Levin (of Create (!)) was in town on a tour of his own. He sent word that he could make the 8pm seating but, because of prior plans, wouldn’t be able to stay for the second set. I was also contacted by Jeff Hylton-Simmons who offered to help with microphone stands, engineering and makeshift cinematography. Without Jeff’s help at the 11th hour, the shows would not have started on time and they certainly would not have been captured with such clarity. In less than three hours we set up lighting, live sound and recording for nine musicians, and made arrangements to the stage and seating area. The group was laid out in a cramped horseshoe and we blocked off a number of seats in the back with a shared table for Roberto and Shannon as well as the grand piano. Once the doors opened, every seat before us filled up and the remaining audience members walked through the stage to take a seat behind the ensemble.

Early February was still in the heart of a cold New York winter. Every day the temperature climbed ever so slightly from 15 to 35 degrees Fahrenheit. Somehow, by showtime on Saturday it was a downright balmy 60 degrees. Maybe it was the beautiful weather or the assembly of these musicians, maybe it was the previews in Time Out and the NY Times. Whatever the reason, the show was deeply successful: both sets were standing room only and the music we played was nuanced, energetic and unpredictable. Small shadows bounced off the walls behind each musician as he or she was brought into and out of the piece. It contained the intimacy and drama of good theater.

Once the first set was over I talked to Danny, whose cornet playing gave the group a dynamic, melodic voice. He said he needed to grab something to eat and change his plans. He would be back for the 10pm seating. Regrettably, G. Lucas Crane’s schedule became so troublesome that he was unable to attend. Talking with friends who had driven from Lancaster, Pennsylvania and Rochester, New York I was snapped back into the moment itself. There I was in the company of everyone assembled: smiling, talking, shaking hands.

At one point during the second set, both Grey and Diane locked into a loping key where he supplied a few well chosen chords and she, a melody and lyrics. Earlier, Mick brandished drum sticks and began pounding out sharp rhythm on the strings of the grand piano. No sooner had he begun, Chad’s light flickered on, he picked up sticks of his own and they were off to the races. All the while, Roberto was sampling the entire group in real time, throwing on feedback and letting it all die out in a wash of reverb. Shannon alternated from understated glockenspiel and chiming autoharp to skronking clarinet and Tom Abbs bulldozed his bass without mercy. The music was alive.

A few days later on the flight home, somewhere over the border of South Dakota and Wyoming I was listening to Paul Motian’s Story of Maryam. That night, both Motian and the incredible Cassandra Wilson would begin individual residencies at two different NYC venues, an embarrassment of riches. For one night however, I was honored to share the stage that is New York City.

FUTHER READING
NY Times Preview
Time Out NY Preview
NY Press Review
Bomblog Review
Prefix Magazine Photos

Available exclusively for the Nintendo Wii console, over 45 minutes of original music was composed for the moody, side-scrolling NightSky (formerly Night Game). Created by Swedish designer Nifflas, NightSky was nominated for the 2009 Independent Game Festival’s Seumas McNally Grand Prize as well as Excellence in Design.

NightSky’s setting and minimalist art design required a unique approach to composition. The score features live musicians instead of long, looped keyboard/drum machine sections. Nifflas and I created a simple engine that allowed for the 40 different pieces of music to be randomly interspersed with silence. The result is an experience set apart from the video game canon past and present.

Written, Arranged, Recorded and Produced by
Chris Schlarb

Performed by
Chris Schlarb- 6- and 12-string acoustic guitar, electric guitar, marimba, electronics, piano, electric bass, keyboard, percussion
Nick Hennies- bowed cymbals, drum set
Danny Levin- euphonium, valve trombone
Andrew Pompey- drum set, marimba, acoustic mandolin
Anthony Shadduck- upright bass