A little background:
Elektric Voodoo originally started out as a way for me to have a musical outlet after I left Grace Potter & The Nocturnals. After 13 years, touring and playing with a band were all I had come to know and after leaving I was left with a void. I started focusing on recording and engineering instead of going into a traditional recording studio to learn something new and also, honestly, because I couldn't afford to. There was a steep learning curve and many a day was lost arguing with a computer screen. After some time though, I began to find my footing and a couple song ideas started to emerge.
Musically I wanted to try something a little different than what I'd done before. I wanted to make music with an undeniable rhythmic pulse but I really didn't want to make computer driven dance music as these past few years that seems to be much of what I hear. I started by making imperfect loops of old wooden percussion that I found at yard sales around town. Maracas, tambourines, shekere, congas, etc. I'd find a rhythm that intrigued me and then I'd play guitar or bass over it until I found something that felt right. Next, I would record it on my phone and sing along to it nonsensically while driving (and roll up the window while stopped at red lights). Soon, I would come up with a melody and lyrics and then I would record it. I loved the process but it definitely took a lot of time.
After listening back to the recordings I decided that much of my drumming and percussion could be better. I reached out to John Staten (Karl Denson, Pimps of Joytime) who lives in San Diego and he came in and blew me away. The songs leaped out of the speakers after he added his gift to the music. Soon after I met Ty Kiernan who has been playing percussion regionally in San Diego for years and is a true student of his craft. Ty came in and schooled me on the art of percussion. He added Timbales, congas, bongos, shekere, etc and in the process exposed me to a whole world of rhythms that I didn't know about. Together these guys pushed the rhythm of the record into a whole new stratosphere. I'm so grateful for their contributions.
With many new songs recorded I started getting the itch to play live again. It had been over a year since I had been on stage which was the longest amount of time since I started playing. I invited my friend Evan Lucas to play bass as we had been jamming together informally and had a very natural chemistry. John Staten was out on tour so Ty reached out to drummer Matt Bozzone (Todo Mundo) who came in and impressed with his skill and passion to continually learn and push himself. Finally, Mark Boyce (Jon Spencer Blues Explosion, G-Love) rounded out the group on keys. I had crossed paths with Mark on the road but we'd never met. As a musician, he is truly a force to be reckoned with.
So as you see, this started out as my thing but has morphed into a living, breathing band of talented individuals. Please help us get this album out and get out on tour to support it. Historically, it's a tricky financial time for musicians. Your support truly can make the difference. Thank you so much.
Where your contributions go:
Printing Vinyl: $3,100
Printing CD's: $1,100
Marketing (Videos, Photos, graphic design, etc: $4,000)
Kickstarter fee: 10% (-$2,200)
Taxes: 10% estimate (-$2,200)
Black w/ Red
Red w/ Black
White w/ Red
Risks and challenges
I don't really see many "risks" for this campaign. I've paid out of pocket for a lot of the project so far so it's actually further along than most projects you'll find through crowdfunding. I've produced a number of albums and fully understand the process. After the album is released any extra money will go towards touring expenses. Again, I'm very experienced with putting tours together. All contributions will be put to good use and everything will be executed accordingly.Learn about accountability on Kickstarter
- (30 days)