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SPACELAND RECORDS AND PRODUCTIONS

A door handle falls off, floors are taped and demolished, the bathroom may be your mother’s wildest nightmare, but the music is raw and the booz is heavy. Welcome to Spaceland Studio Madrid pilgrims…

         Welcome to Spaceland Records & Productions’ Sound Cloud page. Here, we showcase a variety of different musical styles and levels of bands, artists, and musicians whom have recorded, composed, produced, and/or created music at Spaceland Studios Madrid over the span of its conception and evolution.
         Founded by composer and songwriter Robyn Green in late 2008, Rob’s Spaceland began as just that, a small operational studio for him to compose and arrange his own material in order to prepare original songs and works to be put into live performance for tours and produced into higher fidelity studio albums, most importantly keeping quality and originality in mind at its core. 
         Shortly after opening the studio, Rob was approached by some other bands in what was at that time, a very “makeshift” establishment compared to actual recording studios. Armed with only a Mackie mixer, Roland VS1880 Digital Workstation, and some microphones, recording projects were extremely limited to artists having their shit together and entering solely to record raw, uncut, material either as demos, or music that could later be worked on in studios that could provide adequate fidelity and easier work environments for artists to finish their projects. Nevertheless, the enthusiasm and comprehension of several who came in to work on music in the old space (at a just price given the quality of the gear) spawned an interest of newer upcoming artists in the Madrid area contrived of expats, Spanish groups, and foreign bands alike searching for a studio that would allow them at least to capture their music in its true state, without dissecting every track in a computer program or auto-tuning every sonic rarity that arose in vocal performances. 
        Limited options demanded higher degrees of performance, but the willingness for many artists to choose Spaceland over larger studios became a signature aspect to offering every artist a possibility of recording their music with owner and chief engineer/producer Rob Green in some concrete format as long as the artists’ sole intention was not to over-saturate the market with the same old redundant commercial pop, rap, R&B, and horrible dance remixes destroying great original bands’ songs. One philosophy heavily surrounding Spaceland as a studio is that this kind of music that has ultimately “killed” the drive for many bands to develop their own sound, while simultaneously wiping feeling and chance off the map in terms of being elements which strongly influence an overall record or performance.
         As much as raw, lo-fi recording capabilities had their own quirks and unique elemental advantages, Spaceland made the transition to computer-based DAWs by mid- 2009 incorporating Logic Pro and the adoption of plugins, while later bringing in a Soundcraft Analog Console to add more warmth to the sound design. This decision came as it only made sense to enhance fidelity, store more projects that would provide more compatible formats for bands and artists’ work to be carried to other studios, and to allow for the possibility of adding high-end outboard gear and audio conversion that would enable artists to be more content with the sonic results, possibly saving them bank in the long run from having to deal with pricier rooms and oftentimes pompous attitudes of sound engineers who believe they own the music industry based on the room they work as opposed to how well their ears hear.
         While upgrading studio equipment, demand that artists have their shit together (or a producer would be the only artist) remained paramount and projects were not forcefully polished, leaving the ultimate sound up to the artist unless they verbally indicated a desire to have production input for their project. This factor would be one of the principle aspects distinguishing Spaceland from other studios and business-philosophies. Rather than selling every word in the dictionary to bring clients into the studio and make money, artists only wishing to control the pop industry were encouraged to find another studio to do their music in. These proposals were not made in a way to demonstrate any degree of pretentiousness against those who want to be pop star queens, but to firmly indicate that Rob’s own philosophical belief in recording artists is that if he cannot in some way or another be passionate about what is happening, artists won’t attain the results they deserve after paying for the work.
        These key indicators were not to say that every group that has come to Spaceland has everything in their project pinned up against the commercial pop industry, nor that they were favorites to Rob, Rob Thornburn, or Woody Woodenman (two other producer/engineers), but that every artist had some sort of charisma, originality, or musical characteristic that was unique and in itself worthy of musically fucking around with and trying to capture great recordings. 
         Spaceland has since evolved in profound ways. Apart from being well-known by virtually all bands and artists whom have worked there as being a hub for disastrous carpet, broken door handles, occasionally humid and hellish conditions, and interruptions from other friends and artists buzzing in to drop by, Spaceland Studios strives to take a Lou Reed-like approach towards giving character that is not always pleasing but honest and blunt, where the attitude is definitely worth the rock n roll involved, leaving the posers aside and humiliating poor performances via honest critique, laughing them off even temporarily hurting some feelings. The studio further characterizes its reputation by bringing mobs of regulars in and drinking the Asturian bar across the street into the ground (or the musicians and Robs), while proudly representing themselves in the center of Madrid as the one-of-a-kind, all original alternative studio like no other in Madrid, and for that matter possibly all of Europe.
         At this Sound Cloud page, be prepared to throw headphones on, blast some speakers, maybe turn some songs off, or turn others loud to the top. Represented here are merely tastes of new and practically unknown groups of bands, musicians, and artists caught by the vibe of life and perhaps making a statement through their own honest interpretation of love for music. Love it, hate it, but most importantly, soak it up because by the way radio sounds today, this will all be gone tomorrow.       

A small dwelling above an antique store on a main road near Bondi Beach is not the ideal studio space. Add to that a main bus line and a few microphones and youʼve got yourself a very unlikely recording sanctuary. Yet, this is where Guineafowl chose to record his first ideas. With merely his laptop, its in-built microphone and a soda water at his side, the beginning ideas of his debut EP “Hello Anxiety” began to take shape.
“The recording process was a little frustrating. I would often have to stop what I was doing every ten minutes to let a bus pass. The antique store below would also be moving heavy furniture each day that added to the loud outside sound. I chose to do it there though as I had ideas bursting out of me and I wanted to get them down by any means possible,” the songwriter explains.

Take a quick look at Guineafowlʼs creative family and itʼs no surprise he is bursting with inspiration. His mother, stepfather and brothers are all visual artists, living successfully off their paintings and artworks. His sister is a film producer, and his father an ambitious fashion designer that owns his own boutique. Although this artist does not follow the line of visual art, he does take on the philosophy that his family has taught him.
“My family, particularly my brother showed me that art is about capturing stories.
Although Iʼm not a painter, thatʼs how Iʼve always seen my songwriting – another way to translate a story.”

Debut EP “Hello Anxiety” is just that, a translation of Guineafowlʼs life stories; a scrapbook collection of of fuck-ups, frustrations and elation. From the stomping ʻBotanistʼ to the harsh ʻMy Lonely Armsʼ to the grateful ʻLittle Fingersʼ, this talented lyricist is translating his take on the world, assessing circumstance and critiquing every move.

Guineafowlʼs peers have always been supportive of his creativity. Once his trusty laptop and in-built mic had recorded the loops and melodies that he was satisfied with he showed it to a friend who urged him to put it online. From there his fanbase grew, and after a playing a few solo shows, he realised these tracks could not make the impact he wanted them to if it was only him on stage.

He again called upon those friends, as well as a few other stragglers to help him with his live show. “In choosing my band there was only one rule: they had to be better players than me. As a result Iʼm surrounded by some genius players, that makes the on-stage work feel playful and easy.”

Next came the more serious work of getting their hands dirty in the studio. Soon they transferred to BJB studios, laying down what the motley crew had formed together. The band worked hard over a short 48 hours, tracking two songs and mixing four. “We took it all very seriously, making sure we got things right and got things done quickly,” he grins.

The result was “Hello Anxiety”, an EP which Guineafowl sees as a melding of his sounds from the small room above the antique store with the melodies of the in-studio time with his band. ʻBotanistʼ still contains his original vocal takes from the humble beginnings with his in-built microphone, whilst ʻMy Lonely Armsʼ delivers to you Guineafowl as a band through a large mixing desk. Each track brings its own colour to the palette, and although itʼs not in his familyʼs tradition of visual art, he has succeeded in putting together a canvas of stories in “Hello Anxiety”.


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