news

L A T E S T N E W S 7/3/2010

After spending the middle portion of February in England with audio mixing engineer Marcel van Limbeek (Tori Amos) laying down some additional recordings and mixing, Kate spent the early portion of June in England recording the album's four piano songs on Tori Amos' stunning Bosendorfer at Martian Engineering. The album is shaping up sweetly, indeed, with string/synth arrangements by John Philip Shenale.

Please stay tuned.

AN INSIDE LOOK by Kate Borkowski

Hello All,

Believe me, I know it has been awhile. In January 2007, I recorded a four-song demo with the help of some of the finest musicians around. I realized afterwards that the production was a bit much for me, though. Well, I actually realized during the sessions, but I felt somewhat green, and when you find yourself feeling green among veterans, it can be quite daunting. And sometimes you forget that you have a voice, like theirs. And sometimes you forget that your mouth can form words like, "No, I don't like that." And sometimes it takes bringing a near-perfect (in every aspect) recording home and playing it back, and crying because you are stuck with it, to make a musician, however green, remember that "No" the next time. Always, for that matter.

In any event, I decided to avoid the direction that demo was headed and to set out with a somewhat simpler approach. Not simpler in terms of fullness or richness or groove, but simpler in terms of the extras. More dinner. Less dessert.

I began writing the songs for this album (I'm sorry, I just can't bring myself to disclose the name yet) in the fall of 2007 and began playing keyboard around that same time. Perhaps the biggest change for me has been in allowing myself to write, freely, those things that I want to say. By saying this, I am in no way suggesting that these songs have been crafted in a space void of criticism or censorship. In fact, I am incredibly self-critical. Pressure comes from many places, without and within. Whether the pressure for accessible music originates in the popular sphere or from one's own family, it does exist and it can be difficult for some to overcome or respond to. At some point, I decided that I just am not able to un-know certain things; after all, I am English major. And besides, why should I? I have favorite books and poems and authors and plays and have seen Chaucer's scribble on dirt old pages under glass at the British museum. One day, I woke up and realized that rather than trying to fence these thoughts and memories out of my music, I invited them in. And rightly so. For writing and history and mythology have been my friends, it is these things that have helped me to understand and have shaped my world. Don't we invite our friends to the table, into our homes and lives and life songs? At some point, I became critical enough of my music not to not care what others think, but to care completely what I think. Let it be judged. Certainly. We judge everything. But I will judge it too, and first.

"Mr. Sulu, warp speed."

The next spring, I headed back to the studio with my limited budget, myself comprising the entire production team and, most importantly, my "NO!". The sessions started out with my vision being more rhythmic and less shimmer than that which had played out before, with a different producer. I had begun the spring session with the vision of a trio in mind - electric bass, drums, and guitar. I believed that I could capture a full and groove-oriented sound even better by having the kick drum and bass comprise more of each song's fabric. For a time, at least, I was a little reluctant (kicking and biting) to add any electric guitar to the songs. This studio experience helped to instill confidence; I found myself able to leave with four different songs on a disc that I finally could be happy with. And, while each song was transformed and translated though the drums and bass, I could listen and still know her completely, as mine.

In the winter of 2010, after completing the recording of the twelfth song (remember, I had a very limited budget, sort of a pay-as-you-go type thing), I had the good fortune to gain the interest of Marcel van Limbeek, studio mixing and live sound engineer for Tori Amos (that's a separate and surreal story for another day, when I don't need breakfast as badly). Anyway, I spent the middle part of February in England with Marcel. We did some additional recordings of background vocals and guitar on seven songs - 12 hours, 1 day - yikes! The rest of the time was spent mixing. And mingling. And making friends.

In one of the first conversations I had with Marcel, after he heard a solo piano song of mine, "In My Stoli", he suggested that Rosie Banks (Tori Amos, Abnormally Attracted to Sin) should collaborate on my album. So, we all should be looking forward to that. I will be headed back to England in May to finalize the album in two mastering sessions with Marcel.

I will keep everyone posted. Be well.

-Kate

PMB 356 | Mercer Island, WA | 98040-9998 | CONTACT