A paved path leads to the studio. The eclectic decor, which Catching calls “swap meet/thrift store chic,” pops with a mishmash of treats on the porch. There is a dusty Hammond organ covered in trinkets opposite a pair of worn chairs. Various objects, including a bowling pin, guitars, paintings and a mirror, are strewn on the floor. A sofa with pillows resembling musical equipment provides seating under a metal peacock sculpture. And a wooden Rancho de la Luna sign, where Catching likes to photograph guests, hangs on the front door.
The entrance to the studio is a living room where musicians wait to record their parts – a living room with white painted brick walls, dark wood flooring, ceiling fans, ceramic tile coffee table, stained glass window , an old couch draped in a southwest-style blanket, and a row of guitars. The room contains many curious objects: an alien mask hanging on the wall, a star-shaped lantern and a bald doll’s head on a shelf with an array of effect pedals, some of which look like vintage cars.
On the left side of the entrance, reminders of Drake at the top of the recording console – a photo in which he is wearing a white t-shirt and jeans, and a painting of his horse, Kashmir, in the middle of a variety of Rancho de la Luna picks. To the right is a small room with keyboards, guitars and amplifiers and decorated with white fairy lights, a Rancho de la Luna neon sign and a 1994 Al Green poster.