Now a trio with bassist Mark Cook on board, Arlington-based heavy fuzz rockers Stone Machine Electric nonetheless recorded their self-titled, self-released debut as the core duo of Mark Kitchens and William “Dub” Irvin. The album (review here) was recorded by Kent Stump of Dallas heavyweights Wo Fat, and shares some of that band’s tonal thickness as a result, but Dub and Kitchens take tracks like “Carve” and “Mushroom Cloud” in a direction more their own, jamming out organic fuzz with psychedelic flourish, sounding raw live and studio lush all at once.
Stone Machine Electric, who are aligned to the fertile Dallas scene that also includes Orthodox Fuzz, Kin of Ettins and the rip-rocking Mothership as well as the aforementioned Wo Fat, made their debut in 2010 with the live demo Awash in Feedback (review here), on which the audio was rough but still gave some idea of where they were coming from. Emphasis on “some” only because the self-titled feels so much more fleshed out and shows them as having a clear idea of what they want Stone Machine Electric to be as a band and where they want to go with their music. It’s a big jump from one to the other, and as they’ve since undergone the pivotal change of bringing Cook in on bass, there’s potential for another such leap next time around.
Given that, it seemed time to hit up Dub and Kitchens for Six Dumb Questions about the self-titled, recording with Stump, having Darryl Bell from Dub’s prior band play bass on the track “Hypocrite Christ,” their striking album art, and so on. They were much quicker in obliging than I actually was in sending out the questions, and you’ll find the results below. Please enjoy:
Dub: The demo was just a live recording that we were ok with releasing. Something for people to hear until we could get in the studio. We did try to bring that “liveness” of the demo to the studio by playing together as much as possible.
2. How long were you in the studio with Kent from Wo Fat? What was the atmosphere like and how did the recording process go? Did Dub record bass parts first or after the guitar?
Kitchens: We were in the studio with Kent for about two and a half days. The first day and a half was spent recording, and the rest was just getting the mixes done. We’re friends with Kent, so that made it feel like we were just hanging out, but recording at the same time. We recorded the drum and guitar tracks together (other than the additional guitar tracks) to get a more live and rawer sound. “Hypocrite Christ” was the only exception. Daryl played the bass with us on that track.
Dub: Yeah, since Kent is a brother it was real laid back. He already knew what we sounded like, so it was all gravy. Like Kitchens said, all the basic guitar and drum tracks (and bass on “Hypocrite Christ”) were recorded with us in the same room together. After that I laid down the remaining bass tracks. Followed by vocals, then guitar overdubs last.
3. How did you wind up including “Hypocrite Christ” from Dub’s Dead Rustic Dog days, and how was it having Daryl Bell in the studio on bass for that?
Dub: Man, having Daryl in there was great. We don’t get to hang out or jam together much at all anymore, so I’m really glad he was able to do it. Not to mention that no one can play that tune quite like him.
That tune just seems to fit into what we do. It’s almost like it was written for SME before there was SME. Actually, Kitchens was also in the band at the time this song was written, so it seemed almost natural to bring it into SME. We played this tune early on and then dropped it for a while. We’ve been wanting to resurrect it again, and what better way than to put it on the album.
4. How has bringing in Mark Cook on bass changed the band’s sound? Have you started to write new material yet? If so, how much of a role does he play?
Kitchens: Mark is helping fill out our sound. We’ve had people tell us we sound great as a two- piece live, and that we pull it off well. You just can’t beat having that low end though. We are working on new material now, so I’m looking forward to what he’ll bring.
Dub: Cook not only helps fill out our sound but also opens it up. He brings in a whole other dimension. We are just now beginning work on new material, and hearing what Cook has brought to the existing tunes I’m excited to see how the new stuff will turn out.
5. Where did the idea for the collage cover art come from? Is there a message being conveyed there, and if so, what is it?
Kitchens: Terry Horn, who was our bassist for a while, did the artwork. I had given him some ideas that I had, but he came back with the collage. I’d never thought of that, and I loved it. We ended up not have any logo or text on the cover because it didn’t look right, and I like that idea as well. Terry is an exceptional artist.
Dub: Yeah, I dig Terry‘s work.
Terry Horn: It was spontaneous. I just put the CD on and listened to it and started flipping through magazines and sketchbooks. Ultimately, I wanted to do something for the cover that was different than most artwork you see on stoner rock/doom stuff today.
6. Any other plans, gigs or closing words you want to mention?
Kitchens: It would be great if we could do a few weekend tours this year hitting some places around Texas or the adjoining states. I’d love to play one of the festivals that happen here in the states. Hoping in a year or so we are back in the studio with Kent. I’ll end with a big thanks to our friends and fans for digging our stuff!
Dub: I think he just summed it up right there. Don’t just keep your finger on the pulse, become part of the pulse!