VIDEO PREMIERE: Warbly Jets Share Creative Process On Candid Walk Through Videos

Warbly Jets are indeed creative gurus, one who somersault the sounds of early Brit rock with contagious alt-rock and modern nuances. Yes, if Twenty One Pilots kept it indie and jammed with The Stone Roses, we might catch a glimpse of what this LA duo comprised of founding members Samuel Shea (vocals, instruments) and Julien O’Neill (synthesizers, instruments) and its rotating casts of musical assassins are continually brewing. These studio honchos have toured as support acts alongside artists such as Liam Gallagher, The Dandy Warhols, Stone Temple Pilots and Rival Sons and their music has been featured in video games and TV series.

Glide recently got hold of these behind the scene glimpses of their two singles “NASA” and “Low Resolution” and how they came together and the gear that was used. Tech nerds and studio hobbits rejoice! Check out the clips below…


Samuel Shea on the making of ‘LOW RESOLUTION’:

“I love the creative process of figuring out how to achieve new sounds–hearing something in my head and working it through in the studio until we find it. These videos give a little bit of a look into how we created ‘LOW RESOLUTION’ and ‘NASA,’ with some of the techniques and equipment we used to record the songs.”

One late Friday night I was at the studio trying to write lyrics, and there was a massive party happening in the loft next door. That crowd was spilling into the hallway and the sound was carrying into the studio. Normally that would bother me, but I remembered that a friend had told me when he did some sessions with Mike D (Beastie Boys) that he would hang an SM57 out a window in NYC and record street noise to use. Instead of telling them to be quiet I thought why not hang a 57 on the doorknob of the front door to the studio and put them on the track! I recorded and layered a few ‘takes’ of the captured sound, and it ended up creating a feeling of being at a party that we loved.

Another cool moment was trying to get a really 70s tone for the drums. We started by having Sam [Richard] play at an extremely low dynamic so we could crank all the preamps and compressors to really pump. We tried a few different sets of sticks and everything was feeling too loud. We ended up having him play with chopsticks so that it was impossible for him to play louder than we wanted.

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