Dan‰۪l Boone is Charles Ballas (Formant), Neil Hagerty (ex-Royal Trux, Howling Hex), Nate Young (Wolf Eyes, Regression) and Alex Moskos (Drainolith). The crew convened in Denver, CO to work on the forthcoming Drainolith record and decided to make another record at the same time. Everyone involved seemed pretty dedicated to experimentation and pushing the music forward.
‰ÛÏIt‰۪s like Lucas with ‰Û÷Episodes I‰۪, ‰Û÷II‰۪, ‰Û÷III‰۪, make ‰۪em all at once. We were making two records at once: The Drainolith and the Boone. It became apparent right away that the Boone was going to be waaaaay more avant than the Draino.‰ admits Moskos. ‰ÛÏSo I was like I want to do some scratching on there. But we are all really paranoid about sample clearance, so I did all my cuts with Wolf Eyes and Howling Hex wax.‰
‰ÛÏNate played a variation of his Regression rig and did a lot of post- prod with Charles, setting up midi networks and complex trigger chains. Neil mostly played his double neck and sang. The golden voice. But he played clarinet as well. Charles played electronics and did on the fly sequencing, if I remember correctly. Which I don‰۪t often do.‰ recalls Moskos.
‰ÛÏMoskos played Krumar string synth and bongos too. I call him Krungo Canuck.‰ adds Charles.
‰ÛÏTo create music by reverting to zit-popping thrash you must believe that the prognosis is so dismal that it takes time to hear them retain enough for your face before summary dismissal.‰ says Hagerty cryptically over the phone into Charles‰۪ voicemail box.
Neil and Nate really ran things at the sessions at Uneven Studios. There were lots of electronics that Young would set up and Hagerty would give some direction. Hagerty had various lyric sheets and scores that the group worked with but once the record started to take shape Young became very involved in plotting out the flow of the record. ‰ÛÏI‰۪d come downstairs into Charles‰۪ basement and Nate and Neil would be making competing diagrams that represented the record. I was so lost,‰ says Moskos.