Was roused out of a post work nap on Sunday by a call from my buddy Noah, drummer for the great NYC champs SKATERS, asking if I wanted to write some horn and string arrangements for their new record. That night I was at his bar talking over the details and furiously texting trumpet players, Monday I was in the studio hearing the songs for the first time and talking over ideas, Tuesday I was on my couch for 8 hours with a keyboard hashing it out, Wednesday we honed the parts and tracked the horn section, and yesterday we knocked out the strings and sax solos. My last act on the SKATERS LP was to blow a skronk bari solo over a song called "suck a fuck." ("When should I come in?" "Now. Whenever." "Ok, anything specific you want me to do?" "I mean, the song's called "suck a fuck") Then I ate some brown rice and chicken and went home to take another nap.

S/O to my pals Adam Dotson (Rubblebucket), Cole Kamen-Green (Cuddle Magic), Andrew McGovern (Underground Horns), Renata Zeiguer (Cantina), & Melody Giron for playing the hell out of those parts. I love working on crazy timelines - so much momentum, no time to overthink, no time to get mired in details, so much energy from the clock pressure and lack of sleep. It's all intuition, which is how arranging on pop music probably ought to be - an idea comes, you flesh it out, feel if it's working or not and if not you throw it over and go for something else. It's a whirlwind. Now when do I get to do it again?