I first saw Frankel about 6 months ago and was pleasantly surprised by the sounds that filled my ears. I then saw them shortly after at their CD release party at Sea Level (RIP), and they provided free beer and food, which is just a good way to have a CD release party.
Back in 2005 with some bits of tape and wire, Michael Orendy (brains behind Frankel), recorded and put together an EP called Chatterbox. In 2006, Lullaby for the Passerby, a more adventurous endeavor, was recorded at Raymond Richards’ Red Rockets Glare studios/label, and in 2007 the first official Red Rockets Glare record release party for Lullaby for the Passerby took place at Sea Level. Since then, Frankel has been playing around where they can and just getting their name out there.
I’ll just let Michael fill you in on the rest:
Indie Schmarm: So how did Frankel form to what it is today with its current musicians?
Michael Orendy: Frankel started in 2005 as a recording project. It was just me holed up in my bedroom and learning how to record some songs that I had kicking around. I had a cheap microphone, some instruments and a handful of noise makers. Anyway, some of those tunes ended up being a 6-song EP called Chatterbox (Three Ring Records). The following year, I made “Lullaby for the Passersby”, which (in my humble opinion) is a big step forward in terms of production, arrangements and recording fidelity. Like the EP, it was basically the one-man band formula, with the addition of Norm Block on the drums.
The Frankel live band is a revolving door of talented friends who have helped to reinterpret the songs. This summer, I had the good fortune to play a slew of shows with some heavy hitters: Raymond Richards (guitar, keys), Christopher Dion (bass) and Rob Poynter (drums, vox). A bona fide bunch of thugs. Other felons include Kirk Hellie, Kenny Lyon and Kevin Stevens.
Indie Schmarm: What are some of your most influential bands?
Michael Orendy: Alphabetically or autobiographically?
Indie Schmarm: I’ll let you decide.
The Beatles, My Bloody Valentine, Beck, Fugazi, Duke Ellington, Radiohead, Elliott Smith, Nilsson, Nick Drake and Wilco are a few that come to mind.
Indie Schmarm: What was your favorite piece of equipment you remember using at Red Rockets Glare studios?
Michael Orendy: Raymond has a TON of fun stuff in that cozy studio of his. We used his vibraphone on the last track of the album (Becoming You), which sounded amazing and was a definite recording highlight for me. Another great and unique sound that I used was his boudoir tack piano. Although the equipment at RRG is fantastic, it’s really the vibe of the place and the chance to work with Raymond that is the bee’s knees.
Indie Schmarm: What’s the plan for 2008?
Michael Orendy: More recording and a bunch of shows! I have a new album’s worth of songs that I’m itching to get out into the world and start performing live. As you’ll find in the attached Power Point presentation, I’ve come up with a fairly elaborate 13-point system to turn the music industry upside down. Seriously, they won’t know what hit ‘em. Did anyone get a look at the driver? Anyone get a license plate number?
Indie Schmarm: What’s been some of your favorite local bands to play with?
Michael Orendy: Mezzanine Owls, Patrick Park, Castledoor, Correatown, Parson Red Heads, Earlimart, Le Switch, Monolators, Nico Stai, Bedroom Walls, and MORE…
Indie Schmarm: Where would you put your Parson Red Head figurines if you had some?
Michael Orendy: I would put them on the dashboard of a 1970 Chevy Nova and take them out for a leisurely Sunday drive. Obviously I would use a sun shade and crack the windows a couple of inches when parking the car for extended periods of time.
End Scene,
Dan Tana
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