Watch Ostinato play live at club "Bliksem" in Den Helder, Netherlands May 2006.
Scroll to the bottom of this page to listen to the song Latitude by Ostinato.

"Chasing The Form", the new third album from Ostinato, is nothing short of huge. It has just been released by the Borkheide, Germany label Exile On Mainstream Records (EOM022). With 7 tracks, totalling 49 minutes, Ostinato manifest orchestras of the emotive, orchestras of the ethereal, orchestras of the dance of life and death. Washes of accomplished, encyclopedic ambient guitar and keen, anchoring magnetic bass combine with powerhouse, foundational, freak-flag drumming. Get ready, because in "Rock & Roll Heaven, you know they've got a Hell of a band".

Ostinato is Matthew R. Clark (drums and percussion), David P. Hennessy (guitars, pedals, and vocals), and Jeremy Arn Ramirez
(bass and vocals). This DC/Virginia-based band have been together now for almost 10 years and have released two previous albums,
1998's self-released "Unusable Signal" and 2004's "Left Too Far Behind"
(Exile On Mainstream Records EOM14).

So what is chasing the form ? What are monkey gestures ? What is the art of vanishing ? What is the goal of all believers ? It is intense majestic bitersweet drone. It is resonant mounting hallucinatory layering. It is lush atmospheric enervating tension. It is far out,
yet it is straightforward. It allows one to either chillout or rockout.
It is in your face and it is as far behind you as ancient mineral sediment. Nice one.

Some reviewers have gone so far as to say that "Chasing The Form" charts the territory between "melancholy uberpoignant softness to boiling unrest". Or, and I super-like this comment, it's even been likened to Winsor McCay - that's "Little Nemo In Slumberland" for those of you not up on early 1900's graphic art.

Live, Ostinato come on like a loud and mysterious wailing banshee filtered through a massive wind tunnel of mathematically-fueled power series. Live they will show you.

Ostinato have played extensively in Europe -- Austria, Belguim, Germany, Netherlands, Switzerland, as well as Croatia. The band explains. "This year has us on the road for two full months touring. A tour of Europe and one of the United States. Currently we are aiming on increasing our presence in North America and dreaming of the day we head off to tour Japan".

After you've "kissed the sky" with Hendrix, why not re-touch the Heavens with Ostinato.

Ostinato is currently distributed worldwide by Southern Records
Visit The Ostinato Website

FALL UNITED STATES TOUR DATES

Sep 14 2006 10:00P
Club Sandwich w/ worn in red Harrisonburg, VA

Sep 15 2006 9:00P
Hollywood Grille w/glorious co. Richmond, VA

Sep 17 2006 9:00P
Flying Anvil w/dead elephant bicycle/neptune/dark meat Greensboro, NC

Sep 18 2006 8:00P
El Nuevo w/on the take Asheville, NC

Sep 20 2006 8:00P
The Pilot Light w/Ex-Lion Tamer Knoxville, TN

Sep 21 2006 9:00P
Caledonia Lounge Athens, GA

Sep 22 2006 8:00P
Neutral Grounds New Orleans, LA

Sep 23 2006 8:00P
Trophy's w/Red Leaves/My Education Austin, TX

Sep 25 2006 8:00P
Sound Pony Tulsa, OK

Sep 26 2006 8:00P
Replay Lounge Lawrence, KS

Sep 27 2006 8:00P
Vaudeville Mews Des Moines, IA

Sep 28 2006 8:00P
Big V's St Paul, MN

Sep 29 2006 8:00P
Courtyard Cafe Urbana, IL

Oct 1 2006 8:00P
Hospital Bloomington, IN

Oct 3 2006 8:00P
Cake Shop New York City, NY

Oct 4 2006 8:00P
Empty Cup Syracuse, NY

Oct 5 2006 8:00P
Bennington College w/animal hospital Bennington, VT

Oct 6 2006 9:00P
House Party w/ The Wayward, Amoroso & Piles Allston, MA

Official Band Website

Ostinato At MySpace

Here is the interview:

************************************************************

1. Can you briefly discuss the history of your engineering at Inner Ear
Studios.

I started off with the control room in the porch of my home in Arlington, and recorded the bands that played in the basement. From there, built a control room in the furnace room of my basement with the band playing in the next room. With this, we moved into the large commercial space we are in right now. Bigger rooms for recording and for gear!

2. Over the years, are there any highly memorable moments in the Studios that you can recall ?

There are MANY memorable moments. So many that it would not be practical to isolate one or two (or ten or eleven). Plus, it would put undue emphasis on one session or style of music. As you know from studio experience, engineers are required to record many styles, instruments, groups, etc..I have recorded everything from a mime (no typo), to a symphony orchestra, to a zoused conductor. Dozens of ethnic styles. Many instruments I do not know the names of. So, there is no top ten, top five, or even single event that stands alone.

3. How do you feel about helping shape not only the Virginia/DC underground music scene but also the greater American underground music scene via your role at Inner Ear Studio ?

Surprised. There was never any global plan, other than record as much as possible.

4. The D.C. punk rock movement that you were an integral part of was recognized for it's intelligent and political stances as well as for fostering positive lifestyles. Do you think that you still see that same energy present in the current D.C. music scene ?

Yes.

5. Can you discuss your feelings about DigiDesign's ProTools configuration.

I have used Digtal Performer for years. Just the other day I bought a Pro Tools LE 002 system, so it's very new. The word "configuration" gives me the willies. But let's talk a little bit about resolution. At the forefront of all digital setups specs is the data pertaining to resolution. Let's even include bit depth (12, 16, 24, or 32 [or more). I have heard music and voice at 44.1 and 48 and 88.2 and 96 (192 not yet), and have come to the conclusion that the higher number is not always the best. Indeed, we can think of resolution as the "blend" factor in music - with lower #s giving better blending, and higher #s giving less blend but more detail. For it is the extreme detail that is crucial to be managed in music, especially rock music. The sound of a lot of vingage gear is appreciated for its smoothness (read: blend), and less for the detail. So, a kick drum that plays back with a little less attack, or a voice that is slightly distorted can serve the medium well. If we're talking about the benefits of ANY digital recording program, then list editing as a strong plus. And also, stored media space (providing the hard drive works the next time you play it back). Analog has a smoothness that tends to glue the song together a little better than digital.

6. From your perspective as an engineer, what are some of your favorite musical recordings and what makes them great ?

I believe that a great recording (or art, in general) pushes the viewer/listener to new places. As for my favorites.... let me think.... a good song, effective use of harmony and scales, nice interplay between the instruments. For example, I favor recordings by the Byrds, Squeeze, the Zombies, the Kinks, Rockpile, Elliott Smith, and the classical recordings of Debussy, Holst, and Copeland.

7. List what you think lends to a great recording studio experience.

From the engineer's point of view? An artist or group that has their shit together: songs organized and rehearsed, arrangements all worked out, instruments in good shape, preproduction all done, ideas fleshed out and discussed with the other members, and a sense of humor appropriate to the profession that they are in.

8. What does the future hold for your own songwriting and performing ?

More songs (getting better as they go on) and more performing. I find that it's valuable to know how an artist feels when he/she performs (or writes, for that matter!).

Joe Lally, bass player of mighty D.C. band Fugazi, played a politically charged, focused, solo set with solid electric bass, emphasizing powerful songs and earnest singing.  A few of the songs featured laptop sample loops, that augmented the texture nicely.  He sang protest style songs about war and guns, and songs about the meaning of words and suburban alienation.  During his set he covered a Grand Central Station song.  His set culminated with an acappella version of Elliot Smith's "King's Crossing".  Lally's current 4 date mini tour is the first time that he is showcasing his own solo material and he is currently working on a solo record.

Don Zientara is the chief engineer and owner of Inner Ear Studios, located in Arlington, Virginia.  Don recorded some of the more important punk rock records, namely bands in the Dischord Records catalog.  Don played a lively, uptempo, acoustic set that was engaging and honest.  His songs were introspective and unabashed.  Don, an avid surfer, performed a Beach Boys song and a Kinks song as well.  It was an auspicious treat for all to see different facets of these punk rock luminaries.