On the Record with Say Hi

By Aiden Landman
Published: March 8th, 2009 | 5:00pm

Eric Elbogen, the creative force behind Seattle's (by way of Brooklyn) Say Hi, takes solace in working alone. Using his bedroom as a recording studio, he creates lush walls of sound and textured foundations with an assortment of organic and digital instrumentation, which he often refers to as his “robots.”

The sole constant member of Say Hi, Elbogen's recorded output listens like volumes of diary entries and journaled thoughts: personal and fragile, yet determined and high in spirit when low on confidence.

Gearing up for the release of his sixth full-length album, Oohs & Aahs (Barsuk), and a subsequent robot-free tour, as his enlisted friends will join him on stage, Elbogen told us which records he loves and which records make him want to sell a kidney.

Now, Now Every Children
Cars (Afternoon)

We had the pleasure of playing with these guys in their hometown of Minneapolis a year ago and I was blown away. The record is the absolute perfect mix of shoegaze, pop, and epic rock. Her [Cacie Dalager’s] voice is frail, evocative, compelling, awesome, and genuine.

M. Ward
Transfiguration of Vincent (Merge)

I recently went back to this record after several years and it hit me like a brick. The scope of the production and the sophistication of the instrumentation are mind-boggling. And man, that voice. I'd donate several essential organs for some soul like his.

Grouper
Dragging a Dead Deer Up a Hill (Type)

I'm not always into the overwhelmingness of reverb-drenched psyche folk. Normally it's the ’70s-style, dry production that does it for me, but these songs are tender, heady, and very pretty, without being too pretty. This record makes me want to talk to ghosts and caterpillars in some enchanted woods somewhere.

The Desert Sessions
Volumes 1 through 10 (Man's Ruin, Southern Lord, Ipecac, Rekords)

I finally got a chance to check these out recently, after being a huge fan of the first three Queens of the Stone Age records. I didn't realize it then but, in my formative years when I used to get together with friends to play music, this is what I wanted it to sound like: crunchy, weird, nocturnal, experimental, poppy, riffy. It never came close, unfortunately. Maybe one day I'll move to the desert and invite all my friends over and just roll tape. It'll probably suck. But, who knows..?

Tobacco
Fucked Up Friends (Anticon)

After spending so much time over the course of the past 10 years working with digital recording devices, fake analog, and sample rates, I'm finding myself feeling literally nauseous when I listen to most things that were recorded digitally. It's a cliché to say something like that, I know, but I mean it from the bottom of my heart. This record is pure gooey analog synthesizer and four-track goodness, and it's minimalist and interesting at the same time. If you could only see me shake my butt when I'm listening to this record. Really.

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