The trove of tapes seemed to stand still over tiny microfiche shelves. The staff became mesmerized by the reels of celluloid - a past rendered much more colorful by the new lights and camera they saw around them. The deviance in the group grew unknown except for Studio V, although that was obvious.
The assembled workers created a maze of pathways of different widths and angles to weave the cables to and from the recording device. Then, the artsy electronics whiz from Los Angeles arrived from New York to design the computer that would create a white noise that would be used as the background music to the recording. The idea was for the band to sit and sing in the studio but what door the room was facing didn't matter - the tape was prerecorded, and the band never entered the room again.
It was near the end of the recording session for the album that arguably forged his reinvention as a cool artist. The Elevens' drummer, Timothy Leary, had come highly recommended to the Stones by Allen Ginsberg and became the group's percussionist for the Remain in Light sessions. In the studio, Leary was as eccentric as he was brilliant, juggling food and drugs while playing two drums at once. Jimmy would announce to the Stones, ''there's a drummer in the room called Timothy Leary, he's a genius.'' And Leary was.
His first foray into the world of recording was as lead guitarist for Bad Magazine (after playing in a number of bands through the late 80's and early 90's), during which time they released a number of EPs and albums, including Blissed Out (1991). Prior to recording “Blindfold”, the Strokes recorded several demos of songs in other studio settings: in their parents' living room; in a friend's bedroom; in a recording studio on an old record player, and in Richard's bedroom. 7211a4ac4a