Wiz kid Maury Tapia chooses her band name, Retros, With intent – and he is often the only one of it. Although he usually joins other players on stage, the Los Retros album is essentially a one-man operation, and 19-year-old Tapia tracks analog sounds and luxurious songs in old school style in her makeshift home studio.
The first generation Mexican American Oxnard, CA, Tepia has been recording on her own since she was 11 years old. In the first EP of Los Retros, Preview (Title by the name of his original band), the singer / multi-instrumentalist taps into old words like classic spirit and psychedelic rock, avoids the original drums, guitar, and electronics preferred by many bedroom-pop writers for a room and his keyboard. I asked to reduce the analog tendency.
Spotify for Artists: When did you move from a complete band approach to recording everything yourself?
Anise Tapia: Three to four months after the band started. We were called retrospectives. It was a complete band thing, and we were all pitching in one piece, but since the recording was in my house I started to take advantage of it. Eventually I got the drums, got a lightning bolt, and I started doing everything myself. It was [changed to] Los Retros is probably five months before release, because Retrospect has already been taken, by a band from Thailand I believe.
So many people who record themselves at home tend to turn to electronics. Are you attracted to working with old school analog gear instead?
I will say because of how organic it is. I like analog. Not everything I do is analog, because you can manipulate words digitally. But I use a mixture that is a hybrid. It’s a mixer, it’s an interface, and you can record on board yourself, so it’s analog and digital. I like the analog sound of things – being able to play live and it makes the same sound [on the recording], Lots of filters and effects and instead of keeping all these things. I like to start with the simplest thing, because I think when the message is really simple, and you know the instruments are easier than you think … it shows people, “Hey, I It can. “
What kind of gear are you using on the record?
A mug Mother-32; This is a semi-modular synth. It’s a very simple thing, and I recommend it to those who want to get into synths. Williams digital piano – it has lots of words Williams Williams Overture 2. I use a cheap base one I got it one day at an exchange meeting, it was like 100 bucks. It is a semicolon, a five-string base. I use StarCaster for my guitar songs, a very basic Fender guitar. I do this because what you have is not so important; If you can be creative with it, you can definitely come up with a great word. Drums, a combination of Pearl Shell and Zildzian Hi-Hat and Sweet Ride [cymbal], This is a k [Series]. I use a mix of many things, random hand-me-down.
You mentioned your parents’ love for South American rock bands from the ’60s and’ 70s, like the Los Angeles Negros.
When a little kid heard this grow up I didn’t really think too much about it, until I really started getting into music, and I was like, “Wow man, I really miss it. I can do something like that but in my own style. . “And that’s what I did. I must have taken something from the jazz musicians of the early 70’s, usually in the 70’s – that’s where I got it. [the inspiration for] “The last day on earth“And”Never Have Enough. ”
What else has affected your words?
KPM series – their library has a bunch of music, and some of them really got me into funk and jazz, like Alan Hawks And Brian Bennett. I already knew about it Roy Ayers And Parliament–Funcadelic And a bunch of those cats, and it certainly opened my mind.
Looks like there’s something The Beatles Vibe on a couple of tracks.
For “Nostalgic vibrations, “I think we can all say that there is something [Beatles-influenced] Going. It’s a little descended from one of their songs. The Beatles took a good part in my inspiration for a good time.
Can you go through the process of recording a song in your home studio?
I would imagine myself in a certain place and I would kind of go from there. I would often start with just the drums, because I was obsessed with the drums. To me it’s like a drum, when you have a certain trap and a certain kick – I think that’s important. I always asked the question, how to do it [other] Are artists so crisp and so dense to get their traps? I’ll just start the drums, then I’ll probably play the keys. Then I’ll play the lightning, add the vocals – that’s the whole formula right there, but lately I’ve been experimenting more. If I feel [an overdub] The song won’t hold together to jump to the next instrument, I’ll do it again. It’s as simple as my process.
– Jim Allen