OK, its not like the making of Star Wars, but we thought some of you might be interested in what goes into making a record.  We took some pictures while we recording, and have written down some of the stuff we went through.

Be very afraid - We were when we got into the scary elevator at Q-Division recording studios in Boston.  There was no light in the elevator, and many things scrawled upon the walls.  Wondering whether or not we would survive, we chose to document this moment much like the makers of the Blair Witch Project.

Scott checks levels - After dragging in all of the gear and setting up, Scott started checking the levels on room mikes.  We used microphones placed through-out different parts of the room to capture and blend the real sounds of us playing, so that the record would have all the sounds of listening to an actual band.

Carl checks drums - Scott's friend Carl Plaster came in to help us in checking drum tunings and selection of drums for songs.  The process took a long time.  We would put several drum sounds to tape and then listen back to decide which one sounded best for the particular song.  Carl has worked on recordings for Hole and Radiohead.

Joe soundchecks on drums - After we had room levels set and the drums ready, Joe started playing so we could soundcheck on the drums.  Joe had brought his Pearl custom kit and was happy that we ended up using most of his kit during recording.  We also swapped in other various drums that Carl had brought during recording.

Scott adjust drum mikes - We recorded some short drum samples to check the levels for playback, and Scott constantly went in adjusting microphones.  Carl and Scott were constantly tweaking to make sure that the sound that we heard back from tape sounded as much like a real drum as possible.  It took several hours to get the drums set up before we could even start recording songs to tape.

Cool Mark - Here's Mark being cool.  Although we weren't recording guitar tracks that would kept on the final record, we needed to play scratch tracks to help establish the feel of the song for Joe.  Scratch tracks are placeholders for the real tracks that are recorded later.  We set-up guitar amps in a separate room from the drums so that the sound of the guitars wouldn't bleed into any of the drum tracks.  Our guitar amps were miked up and we were able to hear what we were playing through headphones.

Surprised Kris - Here's Kris looking rather surprise. In addition to laying down scratch guitar tracks we also did scratch vocal tracks.  The glass window in the background of this picture is the recording booth from which Scott looked in at the band.  While we cut the drum tracks, we were all in the same room as Joe (with the exception of Scott who was in the control room).  We didn't bother to lay down any scratch tracks for bass.

Album title? - Can you guess where the title for the record title came from?  Ever been to the London Underground?  This was a rather cheesy pose.  We were all still very happy and very awake.  When were done tracking drums we probably didn' t leave the studio until around 3:30am, and had spent over about a 16 hour day recording.

Tired or stoned? - The answer is very tired.  By the time we started tracking the last song it was really late.  We were all falling asleep.   Mark dozed off while standing up and almost fell over.  We finished all the drum tracks for all four songs on the EP in day one, and were due back in the studio the next morning to start work on the guitar tracks.