I pick truth
Recent Responses
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OK no but see that wasnt actually a Sand cats track. I just put it on our Myspace (I think) to fillspace. That track was really a short thing I made in college for a sketch I wrote for the improv group I was in. Kevin Coelho aka DJ Panda Attack came up with the idea but I did the editing to make it real-- it was just a cut of a part of Angela Landsbury singing in the Disney version of Beauty & The Beast, edited so that she said, "Tale as old as time... song as old as time" over and over again until it faded out.
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right now I am feeling the happiest I have felt in quite a while. I moved into a great new place which my cats seem to like & I feel like last year was a big one for me in terms of leveling up my prolificness & tunecrafting & I'm excited about the awesome music my friends are making & I'm really pumped to be getting into this Plays thing so that I can collaborate with other people on something creative in a medium that I'm not even a little emotionally scarred by. yet.
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I've had them just sitting zipped up in a zip file for a while now. I'll email them to you if you want.
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I lived in a church for a year and last October, when I was moving out, it seemed a little too fucked up to try and sell to anybody, so I put that guitar (I used the same guitar on OOPS, TD&H, BR1, MM, KD, + AF) on the corner and somebody adopted it no more than 10 minutes later. I don't really like touching those really small strings so I don't see any guitar jams in the near future but I am also always and forever winding tighter round the center so at some point I expect to want to touch those really small strings again for some reason.
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No. I was just trying to think of a name more grandiose than Boston, Europe, or Earth.
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'When a cycle of civilization is reaching its end, it is difficult to achieve anything by resisting it and by directly opposing the forces in motion. The current is too strong; one would be overwhelmed. The essential thing is not to let oneself be impressed by the omnipotence and apparent triumph of the forces of the epoch. These forces, devoid of connection with any higher principle, are in fact on a short chain. One should not become fixated on the present and on things at hand, but keep in view the conditions that may come about in the future. Thus the principle to follow could be that of letting the forces and processes of this epoch take their own course, while keeping oneself firm and ready to intervene when "the tiger, which cannot leap on the person riding it, is tired of running."'
from RIDE THE TIGER by Julius Evola (1961) -
Automation recently released PRESUMED DEAD which comes with a story by my friend Elizabeth (the album is actually the soundtrack to that story.) In a few weeks Wtr Clr will release MASOKISMI which comes with a story that I wrote, a retelling of an obscene folk tale I used to like a lot when I was a teen. Before the years is over I hope to also release SHAMANEATER, which comes with a guide to the 18-episode Korean cartoon of the same name (because it is also the soundtrack to that series.) Getting clearance for the illustrations I want to include with that is taking a little while, though. I've also started a longer story about televangelism which I hope to get out before the year is over, maybe with an accompanying soundtrack or maybe just on it's own. I kind of want to only always include stories with the albums from now on.
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I def used Screamtracker on a Windows machine, but it may not necessarily be the right software for you. I would play around with as many different kinds of music software as you can-- Reaper, Renoise, Live, Numerology, Audacity, Paulstretch, spend a day googling around for demos-- and for now, just look at it as playing. Move on when you're frustrated and look for the one that excites you, the program whose logic resonate with other programs you know how to use or operations/methodology you're familiar with. If you're just getting started I think you should trust your unconscious and mess with stuff that appeals to you. Don't judge what's happening based on an output expectation-- ie, I need a song/ep/album/etc done by the end of this night/week/month/etc. The key ingredient is wonder, if you can find a place where you feel lots of wonder, then you are going to enjoy going there, you're going to make the most discoveries there, and you're going to feel the satisfaction that will keep you coming back.
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That is a good question. It probably depends on your motive. If you are being tolerant to spare someone's feelings, it's probably a kindness, even if it is also deceitful. If your tolerance arises from a desire to avoid losing something strategic, a perceived advantage or whatever, it's obviously not a kindness. The main thing is probably not to choose that it's deception merely because you tire of sparing some more-or-less harmless doof's feelings.
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I love Lungfish. I think INDIVISIBLE is my favorite full-length but I feel like there's a song or two on every album that's vital. I saw Lungfish live for the first time when I played ATP lo some many years back and they blew me the fuck away, I suddenly couldn't wait to be an older gentleman with rings on.
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Yes but if you get a lucrative job I want lunch.
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I have a bad habit of putting something that doesn't quite fit with everything else first, something I can't bear to leave off but which seems to interrupt the flow going anywhere else. Second song is usually the one with the most instant gratification. The last song has to be something that will stick-- I always pick that one with the idea that the person has put this album on when they got into bed, expecting to be asleep before it's over, but for whatever reason can't get to sleep, so when the final song finishes and there's the sudden, awful silence, that last song has to completely color that moment, trap you there. Connecting the beginning to the end is a push-pull thing, hopefully with a discernible arc like a story, cycles of build and release.
I nearly always think in terms of a Side A & Side B, even if it's a digital or cd only thing-- I think that's just cuz I spent so many years dubbing everything to tape to listen to in a walkman and being all anal and prideful about the sequencing. Nowadays I usually sit rearranging final mixdowns until I think I have the right arc, then go test out the sequence in a couple different crucial situations: walking around to take care of some menial chores with headphones, in a car, at my job, and in front of other people. -
____mostly superfrosty alien shit atm:
Mark Fell MANITUTSHU
Surgeon BREAKING THE FRAME
Mika Vanio LIFE ...IT EATS YOU UP
Keith Fullerton Whitman GENERATOR
Phoenecia DEMISSIONS
Lil Jabba SWISHER
been revisiting Squarepusher ULTRAVISITOR a lot lately for some reason
(not some reason, I'm in a speedy mindset)
+really amped for that new Gescom EP -
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I snuck into Otakon last year and livetweeted it, that was fun as hell and I'm a little sad I didn't do it again this year. I'd like to go to SDCC but I'd REALLY like to go because a story I wrote is the kind of story that gets promoted at SDCC. I went to the Maryland Sheep & Wool Festival this year for the first time and I will definitely be going back, watching sheepdogs doing herding demos was exhilarating.
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DANNIBAL always brings me back to the time when I had just finished it and listened to it in headphones at a show at the old Ottobar/Talking Head, and pretty vividly evokes that building for me. Steely Dan's THE ROYAL SCAM makes me think of shooting bb guns with Chris & Richie at the treefort behind the beautiful house I lived in near Lake Merritt, and THE GOLDEN AGE OF THE GROTESQUE makes me think of the commute from that house to the Rasputin's in Berkley where I worked. Peter Gabriel's UP reminds me of a playground behind the Towson Library. Dose One's CIRCLE reminds me of being lost in Barcelona when I was there for Sonar festival. Faith No More's ANGEL DUST reminds me of traveling to a future version of the planet Xenon.
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Playing the piano or akido, or if possible 致命的な高調波タッチ a discipline I just made up that combines those two things.
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I think it's really weird when they're fat.
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