In this episode, we'll get a deconstructed view of the song One Second of Love by Nite Jewel. I spoke to Ramona Gonzalez of Nite Jewel and her partner and producer Cole MGN in their home studio in Los Angeles as they took a break from making a new record. Coming up, they'll talk about the process they undertook, including recording to tape as a creative restriction, and collaborating with their friends and each other.
This is an unofficial transcript meant for reference. Accuracy is not guaranteed.
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in this episode we'll get a deconstructed view of the song one second of love by nigel, I spoke to Ramona Gonzalez and her partner and producer cole m gn in their home studio, in LOS angeles, as they took a break from making a new nigel record coming up. They'll talk about working with friends like Julia holter, who sings backing vocals on this and their own collaborative relationship with one another, the prime nature and I'm also called romana by some people, my name's, call him jan and I'm a producer and part of nato so into
the ten year we started tracking the instrumental ideas for what became one second of love or when we start out recording we. the idea was just to record ourselves improvising Friends studio they built that's incredible, called breakfast three and so like cool. Let's just go up, there bring some sense and jam on sense and just with no expectations, a fine one of the stipulations for us, because we like to work under certain parameters and we're like work on record was we have to court on tape gabardine. We can only afford one real of tape, which afore this about, like thirty minutes or something I gotta, we turned into an hour. We split the tape in half, so we set up his eyes a twenty four track machine, and so he said, if we do twelve tracks, you know we have effectively twice as long. You know and actually
we recorded from literally the first second, the tape, starting with it to the very end. Then it was a long process before that before we even realise that what we need to do is to take those sessions sample from them and then really go back into right. Songs. You, SAM
wait. So that's that's what we did with this song as we sampled like a twelve minute jam. Co got this m s. Twenty corgan and a he started to like mess around with and get really familiar with how to make these really cool sequences because he had the also the accompanying sequencer with the synthesizer. We realized that, like a lot of the songs could be formulated from creating a sequence on the emus twenty and using it as sort of like a metronomic cool, sound, rhythmic and melodic. We wanted something that was rhythmic, melodic and also sort of noisy. I just kind of had a rhythm in my head, something, like I described, said about fiddling with it for five or ten minutes till you got that produced. It was all very spontaneous songs. Even though I had this spark of an idea in my head, he was just something I came out really fast yeah, we just let this sequence kind of go. It ended up being the fundamental backbone of a song for the whole process. We were trying to also do this thing. I think this was like really important, where it's like taking the time to be inspired by something, like you know, sit there for as long as you need to dial in a certain tone catching these moments that the aesthetic of this studio, the brick factory are talking about, is very much the industrial sort of like almost german aesthetic of recording or something where it's big sheets of metal in there. So we just created sort of these weird
My comments, I love the shelf, it just says sounds like a show. The it was like a big industrial shelf like a big pieces, and then we started playing we and then we were like. Oh it's almost in the pitch of the song here. If you various bees, the tape machine, because that's when one of the amazing things about the tape is that you can train pigeons and then it took us a while to get the tape transferred to digital because we were really working with like on our own budget and everything. So, finally, when we got the maltese from take back really. Well, that's when we discovered the via that we created. There was really intact. On this. It's sat in our house for a while. We didn't open the sessions mainly because we moved to topanga canyon. Co got a job working for back, so our whole life just like changed very drastically and we were like working to set up our studio. All this and then so like we,
open the sessions, and it was like oh oh, I see what to do with the song. It like it all just started to make sense. call had the idea, because we have this amazing drummer him gavin, someone who is performing with us and call was like. I think we should have Gavin play drums on of love. I think we should doubled unless twenty loop with drums, which was a great idea and call had an idea for the drum pattern. Peter granite recorded these drums actually, and is our friends dad and a seriously accomplished engineer producer he's worked as people like the jackson five and morrison investors are friends down is where I was I corey from on. Please can between you any service like inspiration at times like talking from the control room like ramona geckos,
the mike and like think about these lyrics and who you're talkin to and such like that, which is never what I ever do, and he had this idea that you're speaking to your audience, it's a different sort of approach to singing the waste absolutely I much more passionately than I think it has. I think it it helped they talk all the time burden. Nothing gets done. I played the base. Part ended goals, which is normally sort of like where I find the core harmonic structure in a song as I how the vocal and bass interact their work begins with the setting of the sun. He'd advise me how to play. How do I look the way this song, It has to be like really harmonically simple and that's kind of how it works. Is
the simplicity of the base and the vote, because the melodic idea than I dont mean we didn't articulated verbally at all, but it was clear. Those like this beautiful malady on top of this harsh noisy, electronic back on and there was the contract that and I think that's why we initially seen life goes on and on and melted none, and I think I was really used to like writing music and melodies within like a sort of dissonant, detain structure, and so I really didn't bother one second of love. I wrote it for my voice and it just sounded sort of like especially the high high vocal I couldn't get. Pure tone. I I use for more of a bravo in my voice. I couldn't get that like pure tone- and I was just like to to think you could
help me doesn't like joins in romania's voice, just complement each other, well once again of love. One second of love, one sex of love, as that phrase was something that I thought about, because I was thinking how interesting it was that people have these like very intense but short relationship, sing connections due to like internet speed, so you can exchange, email exchange, a post or something- and you get this like momentary just like feeling- and it's very intense, but it's it's very short. That's too bad. Basically, not in the sense that I think it's wrong, but that there's more than that, the diverse. The first two verses actually are centred around sort of like the drawbacks in the issues that arise because of that and the law, as traverse is sort of about how I attempt to overcome that basically
it for this middle section that splits up the two parts of the song needed this draft stick change. Well, I guess it was created by our friend Farley burghardt, whose aim long time. Collaborator of of ours and I've been tarling. I've been working on such together since I was a teenager since I was a kid keen and an eye- and I was gonna- give all this If the harley industry do something, but so then you get all these like crazy. Things the harmonised. Earth, rivers and he uses the same stuff. Anybody has you know just
I feel like with the people that inspire me with like software and all that are they don't have anything special. You know they're just they just make something amazing out of nothing out of this, the most it's a graver like anyone. Can I met in new york through a friend when we're both both going to college and I sort of fell in love with cole, but then we just started working on music, not going out or anything. We were just sort of collaborating on music living in this horrible apartment in harlem yeah, I'm sure yet, but you know then we played in bands together and then at that point we were going out play bands together in oakland. That's where we met scott and David, who recorded these sessions, and- in time is together since two thousand and four and I am so grateful for it and now you one second of love by night jewel in its entirety,
we talk all the time, nothing, the game's setting sun. These buys me how to play how to look that way. Life goes on and on and on and on the visits,
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Transcript generated on 2022-06-07.