Audioconfusion releases “Sampler 3″!!!

It’s probably no secret that Audioconfusion is one of my favorite studios in town and that Jalipaz is one of my favorite producers/engineers–I’m betting a good 33% of the bands I have written about over the last six years of covering local music have recorded with him at that studio. One thing is for sure, I’m continually surprised by the diversity of sounds he produces and the results he manages to get from bands of all genres, all styles and manner of music. I had been writing about local music for over a year before I had ever heard of Audioconfusion or Jalipaz when I went to interview a band in August 2009 that was recording what would be their final album: Kirkwood Dellinger. It was the first time a band had spoken so highly of their producer and the studio in which they were recording. It wouldn’t be long before this was echoed by several artists that I met at the When In AZ… release parties that happened soon after that and eventually from The Black Cactus Records collective with with whom Jalipaz was a founder. Needless to say, in a years time I was trying to follow quite closely what was going on in that studio, because it seemed to me that some of the most vital local indie rock was coming out of there. I really can’t count how many bands I’ve written about that have recorded there over the years and its safe to say that many of them no longer exist, but the ones that do are still fantastic. This week Audioconfusion released their Sampler 3 and its quite a showcase of amazing diverse bands and talent found locally–totaling no less than twenty-five tracks in all, it’s an impressive display to say the least. What surprised me the most about this sampler? I’ve only written about fourteen of these bands in any capacity between this blog and JAVA Magazine. I honestly would have thought it would have been more.

I learned a lot in listening to this sampler, especially about some bands I’ve never heard of as well as some bands I’m thoroughly enjoy already. First of all, did I miss an album or EP by Mr. Mudd & Mr. Gold somehow? I’m not sure and their facebook and bandcamp pages are elusive in this regard. Secondly, the single mix of Tierra Firme’s “Pyramind” is fantastic and I didn’t have a copy of that somehow. There are a lot of bands here I have covered (or will cover when the May issue of JAVA is released) whose songs were quite familiar: Sundressed, Wolvves, Diners, Playboy Manbaby, Andrew Jackson Jihad, Dogbreth, Green Line Operator, The Oxford Coma, Green Line Operator, Huckleberry and a few more, which reminded me how much I enjoy the work of Jalipaz and his studio. There were also some surprises here, for instance the country awesomeness of D.J. Scherrer, There There (whom I have seen live, but only written about in that regard), Adam Allred’s beautiful “Waiting To Bloom” is a gem and I can’t wait to hear more, JJCNV is always great, while I had no idea about Kiss The Red Alarm, Roseblack & Dreamer or The Old Storm, but now I must as well as Horizon I, who I have foolishly ignored for sometime (completely foolish). For some reason, I thought Waytansea Point was from California, but I see they are from Gilbert and now I have to dig further. I must say, I’m ignoring one aspect here and that’s the metal, which honestly isn’t usually my thing, except I kind of dig this stuff too–on an angrier day I could dig into some Twingiant, Horsehead, Happiness Machine or Resinator. This compilation is free to download and it’s all in an amazing. Don’t believe me? Well, I’ve embedded it below for your listening pleasure.

One more thing, I’m glad I checked out the entire bandcamp page for this release, because I think that Jalipaz explains Audioconfusion the best and it bears repeating. “Audioconfusion is a recording studio in East Mesa. It’s housed in a proper 1000 Sq. Ft. stand alone building designed from the ground up. The outside is concrete block, each block is filled with sand for extra sound proofing and insulation. The inside walls are all doubled and completely isolated from the other walls of the studio. If you’re interested in learning more check out The recordings I do are mostly live. Live is great because the band is in the same room with their instruments and amps (I don’t use baffles or iso rooms); it feels like practice. I do this so we don’t have to use headphones. Everything sounds so unnatural in headphones and its hard to get used to them. Plus, you can not beat the energy you hear in a live recording.” Awesome. Truth. Check it out first hand.