Fat Freddy's Drop - Dropping In On Fat Freddy's Drop
Author: Shaun Chait
Jetlag concurs. "That's how we write songs - we evolve them live. I once made a mistake on a chord progression to Midnight Marauders and that led to what became the main version of it."
With 'Based On A True Story' sporadically recorded between March 2004 and April '05, the band had the luxury of being able to take their time, recording at The Drop - Fitchie's home studio. He also took the helm on production duties, handling the recording, engineering and mixing, thus allowing the band the freedom to tour the UK and Europe without add-on producer and studio constraints restricting their movement.
"Resources come in many different forms," explains Fitchie. "We had time. We were able to walk away and come back with fresh ears."
The recording process flowed as naturally as their music.
"We got ideas from the jams without worrying too much about how it sounded," elaborates Jetlag. "Once we had the core idea down we came in individually and laid down our parts."
They kept a lot of the jams, aiming to keep long sections in there to keep it as live sounding as possible with a natural feel and dynamics. Both agree a key ingredient was patience, Fitchie saying he pretty much lived in the studio for six months.
"We only used two mics, but we used good ones. A lot of people will say you should vary, but everything sounded good. A lot of it has to do with a good performance from the band and me being fussy at the point of recording and taking time mixing it. The conversion was also important. It's a part of the process a lot of people underestimate, but there's no point having a flash mic, pre-amp, and compressor if the conversion's done on something really cheap."
The modest Fitchie is somewhat of a recording/producing genius, widely regarded as one of NZ's finest - indeed this talent earned him the public-voted Best Producer award at the recent bNets, along with a second as Most Outstanding musician. (Dallas/Dukie won the Best Male Vocalist title.)
"Pro Tools has been my main weapon for years," he begins. "There was some late night drunk talk of one-take recordings, but that process only works now if you're a non-improvised, well-rehearsed band. We are all quite into the studio too - embracing the Pro Tools world."
Fitchie and Jetlag agree that the band approached recording as a collective. With seven equally capable voices able to make decisions on which directions to take songs in, it often came down to Fitchie engineering with whoever was around helping with arrangements. And with ideas flowing, the songs might have gone on even longer.
"Each song could've lasted for two years", quips Jetlag.
Fat Freddy's 'on our own terms' mentality is a model many bands aspire to. They are very much about old school ideas, combining them with a remarkably focused business head.
The decision to remain independent in the face of significant offers is also with an eye to the long term.
"We wanted musical freedom, but it also made better maths in regards to finances," explains Fitchie, as Jetlag nods.
"We are all into being business owners and directors. We want to learn how to run a business. If you sign to a major, somebody is doing all those jobs for you. If you concentrate on the music, keep it real and have a good product, those good opportunities will still exist and you will still have a product to sell in six months time."
Walking the walk, the band released 'Based On A True Story' on their own label The Drop Ltd, with distribution handled by Rhythmethod Ltd, a small Auckland outfit whose initial involvement with the band was with the 'Live At The Matterhorn' release.
Fat Freddy's Drop have used their time abroad well, establishing contacts in key markets. 'Based On A True Story' is being released in Australia earlier than projected due to sales through online retailers Smoke and Marbecks forcing Aussie distributors Inertia to strike while the CD is hot. Distribution has also been set up for European markets through independents Kartel in the UK and Sonar Kollektiv in Germany, as well as Lexington in Japan.
Fitchie astutely explains that one big benefit of licensing to different distributors in different markets is that "... if one falls over it doesn't pull down the whole thing."
Europe is the big target, and typically the members of Freddy's have their own well-developed theories as Fitchie espouses. "You have to go there year in, year out. You have to hold onto your integrity and keep it real. If you stick to the old style of playing live lots and injecting money at the right time, then it's humbling what real music can do."