Studio Talk with Session Victim about their album The Haunted House of House

What People Play - Studio Talk with Session Victim We started working on The Haunted House of House in February 2011 and got it finished in December, so you can say that this is pretty much a year’s work. Never before we spent so much time on a single project, therefore we could follow up ideas we have just touched on before on previous singles. It was great to have our label Delusions of Grandeur guide us through the whole process. Their confidence in us made this possible and therefore we feel our album has the best home it can possibly have. The Haunted House We don’t usually  jam with a lot of other people. Our friend & labelmate Lewie “Tornado Wallace” was hanging out with us in Berlin during summer and we had a great time together. We were at Hauke ’s studio, Matthias was fooling with a few new drumsamples and Lewie started to improvise on Hauke’s Jupiter. So he started playing around and after 15 minutes or so Hauke suddenly yelled at him: “ Don’t change, keep this going!” and hit the record button. The whole session wasn’t planned at all - we were just lucky to get into the groove together and kept it going for hours and hours. A few days later, the two of us got back at it and started arranging - it didn’t take long to get the rest of it done. We love Lewie’s records since before we first met , and with this jam, we were lucky to witness the magic of Tornado Wallace live and direct. Push Comes to Shove This is one of those sessions that went from frustration to euphoria. Again, this took place in Berlin at Hauke’s, and it was already late at night when we started. We were both in that mood where we didn’t want to do something with 25 tracks and a million single sounds but a beat that is just a beat, a bass and this one simple, distinctive theme that can go on and on without getting on your nerves. So there we were, we had that drumset that we felt really good about and we started to add the first melodic element - we looked at each other and said : okay, this ain’t bad but it ain’t good enough either. So we threw it away and went for the next idea to come. This was repeated at least 5 more times and than we stopped. We wanted to get it done, we had the hunger but it all felt so average. Then we went out on the balcony and started talking about tracks that we feel have this “it’s so simple but it’s all there” thing in them, like Martin Landsky’s Bloodhound or Ike’s Diskadenz. we talked about a lot of beatmakers and why we love certain tracks so much, and before we knew it, this admiration got us totally excited. We don’t excactly remember how the final lick was born, but we went back in and did our thing, feeling nothing but happy. After the main theme was done, we went out for a spliff, got back in and came up with those psychedelic delay guitars, headnodded for half an hour more and went to bed  with a smile on both of our faces. These moments are priceless. Dark Sienna This one was made in Hamburg at Matthias Studio, and you might be able to hear that we’re both huge Mr Scruff fans for over ten years. As in most of the songs on the album, there’s no loop in the back but a construction of different sample chops that should leave you with the impression there is one. If you try to put different vinyl samples together, it’s sometimes really difficult to get them timestretched or pitched and tuned correctly at the same time. We usually throw stuff away before getting too much into the warp function. However, this one came easy and it didn’t take long until we had the basic shape ready. We were like, this is good, this is a nice DJ tool, but then we said: wait! Lets not stop now and  bring in a really different thing - Let’s try to convert this a little more into a song. Hauke went through a few records, dropped the needle and the classical string thing came out of our speakers nearly the way it’s in the song now. Matthias remembered this acapella thing and it was in tune right away - end of story. Light Scent of Decay This one is different from all the other tunes on the album. Another Hamburg joint, this time one with around 26 single tracks. We had some scotch and what seemed to be all the time in the world. We sampled, played and added new ideas for hours and hours and danced around the table in Matthias living room. Then, maybe around 5 in the morning, we realized: This feels really, really good but how  can we arrange this monster? So we didn’t touch it the next day, and not the day after. Next time we got together, we opened the song but again, listened, turned tracks on and off but were too afraid to actually start an arrangement. After Hauke went back to Berlin, Linnart came along and Matthias showed him. He’s not into electronic dance music that much but he heard the idea and immediately started playing on his guitar. Matthias said: “Hold on”, copied the loop until it was 10 minutes long and said: “just play on and I record.” Hauke came back a few days later and totally freaked out when he heard the guitar. He was like okay lets go, this is it. This is what was missing. We were so impressed by Linnarts way of improvising and evolving though those ten minutes that we said: Lets try to do it the same way. We took two midi controllers, automated at least 30 paramenters and started the recording. Although we tweaked a few things in the end, 90% of the song is how it went down while we were recording. Completely improvised,  Linnarts guitar guided us through the song - we left it exactly the way it was recorded. That was one of those days when you think: Today I learned something new. Something important.

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