There were other rules, but I can't remember them. (I ended up making three records to equal 30 pieces). Only make a collection of 10 pieces to call an album. Use only one microphone (a Shure SM57) for everything.ħ. ![]() I thought I'd try to "take back the music" by giving myself some rules, such as:ĥ. ![]() The Mark's Keyboard Repair album came about as an experimental concept loosely based on Lars von Trier’s Dogme 95 idea. Then production was a consideration, then sampling, sequencing, and the use of found sounds (I tend to use anything I can). Originally, my ideas came from trying to build the song architecture itself. How have your working methods evolved over the years? Are you still writing songs much in the same way you were on albums like Mark's Keyboard Repair and Push the Button, or do you approach music in a much different way currently?īasically, there are more tools to work with now and lots of different ways to spark an idea. With a thirst for creative endeavours and an ability to absorb new techniques and influences as alive today as it ever was, Money Mark was eager to guide us through a bit of his musical history, give us some keen insight into his working methods, and help explain why he thinks the key to overcoming writer's block is simply not believing it exists at all. In addition, Nishita has also built a reputation as a creative collaborator, working with a diverse group of artists over the years including Yoko Ono, the Yeah Yeah Yeahs, and Beck (that's Money Mark on the keyboard riff for the Odelay mega-hit " Where It's At").Īhead of his appearance at the upcoming Loop summit in Berlin, we wanted to see what possible gems of wisdom we could dig out from this veteran artist's depth of musical knowledge, and so on a recent afternoon gave Nishita a ring at his LA workspace. A key component of the Beastie Boys' legacy, Nishita was instrumental in the recording and production of 1992's Check Your Head LP as well as the subsequent albums Ill Communication and Hello Nasty.įrom that starting point, Money Mark has gone on to be a unique musical force for over two decades, finding success as a solo artist first with the homespun, 30-track Mark's Keyboard Repair album (initially released as a series of three separate 10" records) and then 1998's Push the Button, which saw him return to James Lavelle's esteemed Mo Wax label. As the story goes, the group eventually became aware of Nishita's musical interests and exceptional talents, enlisting him to help build the Beastie Boys' G-Son Studio and bringing him into the fold as an essential musical collaborator to the group, earning him the nickname "Money Mark" in the process. ![]() A life-long musical adventurer (with a taste for a wide spectrum of musical genres and an enthusiasm for all types of hardware synthesizers and real-world instruments), Nishita had initially made his living as a professional carpenter before one day taking a job to fix a gate at a LA home, which happened to be that of recent West Coast transplants the Beastie Boys. As far as music-industry origin stories go, Los Angeles native Mark Ramos‐Nishita (a.k.a.
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