Innovators, geek tricksters, obsessive-perfectionists, un-serious, electronic-rock geniuses? Time will tell, however, The Legend of the Black Shawarma, Infected Mushroom’s 7th album release will definitely grab the seat from underneath you and provide you thinking- I’m unclear what was this particular meticulous musical chaos, however, I cannot quit moving even with the track has finished.
Hailing from sunlit shores of Israel, today based in another sunny city, Los Angeles, the sun’s rays generally appears to show in Infected land, the center of that is Erez Eisen and Amit Duvedevani. But honestly, between the hard earned success, the mess, the nuclear shows, the private jokes you are going to find two extremely diy type of musician scientists who write, produce, mix, master, tweak and also repair almost every detail of the music of theirs.
Part 1: “It’s constantly changing, you know”
AF: Can you very quickly present the band? Who is doing what?
AF: Are you able to easily present the band? Who is doing what?
Eisen: We started- the partner Amit Duvedevani of mine, known as Duvdev, and I, Erez Eisen, in 1996 doing a bit of horrible music. Now these days we are like a major band you understand, not large, but we have a drummer called Rogerio Jardim he’s an excellent drummer from Brazil, he lives in America right now. We have an Israeli guitar player Erez Netz, that is recognized as one of the best electric guitar players, the very best in Israel. We like him. Plus Thomas Cunningham, a new kick ass guitar player from America who performs with us. This is Infected Mushroom.
AF: What would you consider for being the influences of yours? You are using some’ metal’ gigs and even some’ jazzy organs’ on the same tracks, some hip hop influences, some Spanish music influences…
AF: What would you consider to be your influences? You are employing some’ metal’ gigs and some’ jazzy organs’ on the exact same tracks, several hip hop influences, a bit of Spanish music influences…
Eisen: It is always changing, you understand. It started with electronic like Psytrance bands, which is Simon Posford, known as Shpongle also, too Hallucinogen. At the time we adored X-Dream, Etnica, various other bands from this particular genre. These’re the principle ones. And gradually through the years we started to be prepared to everything. We are taking note of radio and MTV, not as it’s today, terrible, but how it used to be with more heavy metal things. Quite possibly if it’s hip hop sometimes, a couple of Jay Zee tracks, it may be good. Perhaps we don’t love the complete concept but we like some suggestions. We try and just have a great time in the studio essentially and also to be as creative as we can.
AF: Your design has changed a lot in the past couple of years. When you go back to the classic tracks of yours and you listen to them, what are your thoughts?
AF: Your style has transformed a great deal in the past couple of years. When you go back to your classic tracks and you listen to them, what are the thoughts of yours?
AF: Might you start building a song in your studio or even often you need to go to someplace different to purchase influenced?
AF: I realize what you mean. I’ve been stuck for 10 years now.
AF: What would you consider to be the biggest challenge of yours as a band?
AF: In the studio you can create as well as produce music under ideal conditions. It then gets to be a challenge to re create that sound on stage. How do you approach that?
AF: I see you have a Blue Microphone, exactly how did you select the pedometar?
AF: Appears to be a good way to choose.
AF: I see you have an Avalon pre-amp. How do you typically put it to use on individual instruments, like on guitars, synths?
AF: The G7?
AF: I have seen pictures of your house studio six or 7 years now and ago you have larger one in L.A., although you still utilize the Dynaudio BM6A. I have the same pair for 7 years as well. They are great but kind of aggressive in the higher pitched sounds. You never needed to upgrade to another type of speaker?
AF: And you’re used to these ones, thus the ears of yours understand perfectly how they work…
AF: Do you have a 2nd pair for mixing?
AF: What compressor or maybe limiter do you use on the last mixes? Because your tracks don’t sound so compressed when compared with other electronic music songs.
AF: Ok. Interesting.
AF: Yeah definitely, in case you have Learn more (just click the up coming article) dynamics that’s better.
AF: It’s great to hear that because you know increasingly more people simply compress and over-compress…
AF: So will you mix everything in Cubase?
AF: What exactly are your preferred virtual synths?
AF: You mean it crashes?
AF: In a single of the songs of yours there’s a violin, playing really like a violin, tends to be that what you use?
AF: I believed it was a real one.
AF: Now how about the hardware gear you use mostly if you play live?
AF: Very sensible.
AF: As well as on the computer area you never ever had any crashes while enjoying live?
AF: A few minutes ago we were talking about your mixes. They are always very’ precise’, without any redundancies on the spectrum, even if you’ve huge synths playing. For instance, I read in your forum that you mentioned “the effort is mixing things right and remove unwanted frequencies”. Might you reduce the spectrum of most of your instruments when mixing to reach this goal?
AF: It’s really working well. The bass and drums are really always very exact.
AF: Like a chorus.
AF: This sounds like you truly have two players at the same time.
AF: Very fascinating for our readers, these sorts of tricks.
AF: I won’t be bored even in case we talk all day.;-)
AF: I am going to enjoy the intro from Poquito Mas. The very first ten seconds you’ve an acoustic guitar which sort of drops and turns pitch shifted as in case you had been intending to scratch on it. I am interested to find out how you make that sound it gets pitch shifted however not exactly like a pitch shift.
AF: What delay do you use? It sounds as a delay with a filter on it, it’s a plug in?
AF: I have the Lexicon MPX-1 plus it reminds me of 1 of the consequences on it. It is really good. In order to put together a filter on the delay.
AF: On the guitar, just after the intro, you have an amp impact. You stated you are not using guitar amps.
AF: So the results that you’re using…
AF: On Sa’eed, the novice percussion components, is it your drummer who’s enjoying?
AF: Really?
AF: Sometimes you have surprises.
AF: At 1:00 you have a bit of effect on the voice. How do you make this sort of sounds on the voice?
AF: Yes. Because when you do a loop on it will make special harmonics.
AF: I thought it was a plug in that was doing that. So you’re doing that manually.
AF: You understand Depeche Mode, right? Do you feel some cross influence sometimes?
AF: It is actually creative, completely different, however, we are able to really feel the influence somehow.
AF: Not stolen but influenced. Today on Project 100, there is a very nice Rhodes piano. Has it been a plug-in which you’re using?
AF: And do you play any particular impact on it? Like an AM/FM modulator on it?
AF: OK so just as before it is manual work on the sound, rather than a preset. On [the song] Franks, in the beginning there are several really awesome chords, like some mean EQ as well as a little overdrive.
So once more, what instrument and what influence will you use?
AF: The fundamental thing in this record is your collaborations with Jonathan Davis, the Doors and Perry Farrell. Is this something that you’ve wanted to do for a quite a while, collaborate with various other artists? And that which was the contribution of theirs?
AF: So essentially, the lyrics and also the melody lines were written and he just performed them?
AF: Last question about the lyrics of yours from [the track] “The Legend of the Black Shawarma”, they are extremely positive and they’re nearly sending a message but maybe with a small amount of a warning. I am assuming these’re not totally random lyrics, is this something which you have came to the realization with time and now you wish to show your listeners?
AF: So you mean that actually you don’t want to turn vegetarians for real?