Recent Posts

Monday, January 4, 2010

prattle on, rick.

When I first moved to Nashville*, about four years ago, the first musician I met was a singer-songwriter named Patrick Rickelton. I immediately knew he was something special because, like me, he had a rather coincidental love for both the band Sigur Ros and for double-tracking his vocals on demo recordings**. For a few months the two of us met infrequently but when I started to get musicians together for an indie rock band I was forming I knew that he would be a perfect fit, so I asked him to join the group.

What emerged from these first meetings was one of the most fruitful musical pairings I've ever had. For nearly two years Patrick and I, along with Evan James, Michael Green, and Matt Goetz, played around Nashville as the band Greenland. We recorded a 7-song self-titled EP and made two music videos, the first of which, for my song "The Way It Is", won the Youtube Underground Contest and won us all tickets to NYC to meet with record companies and eat lots of free food.

Almost immediately after the success of the contest Greenland broke up, but Patrick and I continued to play and record music as the duo entitled Noble Three. We recorded two e-singles and countless others, our recordings were featured twice on NPR, and were used in the upcoming indie film Sneakers and Soul.

But through it all Patrick continued to record and play shows as prattle on, rick., a neo-folk offering, with our friend and producer extraordinaire, Josh Fuson.

To make a long story short, when I moved to Atlanta, Patrick threw himself into his latest POR recording, Communion Bread, and now that it's about to be released he asked me to write up a little bio for him. This recording is absolutely gorgeous, filled with airy melodies, and beautiful arrangements. I think you will all like it.

To read the bio I wrote for him click here.
To read more about Prattle On, Rick. click here.

*I, of course, now live in Atlanta but I lived in Nashville for over three years.
**Double-tracking is a recording technique in which the vocalist sings the same exact part on two or more tracks in order to create a thicker, more choral sound. It was used a lot in the early days of recording when time was at a premium in order to mask any minor vocal imperfections. When two voices are singing the same part in tandem the ear usually combines the two into one voice, thus any imperfections in one track can be compensated by the other. In modern recordings the technique has been used ad infinitum as a way of fattening the vocal during choruses and heavier parts so that it doesn't sound thin next to all the other multi-tracked instruments. However, Patrick and I both used double-tracking, rather idiosynchratically, as a way of making our vocals sound otherworldly on demo recordings. Other than
Elliot Smith, I've found very few artists who use this technique as ubiquitously as Patrick and me.