Monthly Archives: November 2013


Particle Theory

Life imprints sentience on the particles we cede back to the universe upon passing. Death is decentralization, not expiration, of consciousness. Each of our muons and protons and electrons comprises the cumulative wisdom of all that has experienced life before. We are each one, and we are each all.

My friend John Arthur passed on 22 October 2013. I met him through my wife, who knew him for her entire life. After attending a memorial gathering for John in Cincinnati in October 2013, this track just kinda spilled out.

In the course of fighting ALS, John and his partner Jim also fought for their right to be buried together as spouses. The former battle ended, but not before the latter battle was won. All the wars, however, rage on.

you & i let’s float away
lighter than air
lighter than light

you can’t break down what you can’t divide
you can’t destroy what you can’t collide
let’s float away

you & i let’s drift away
we are the clouds
that make a perfect sky

you can’t break down what you can’t divide
you can’t destroy what you can’t collide
let’s float away


[disquiet review] prologue: in recollection and amazement

Wonderful review of the opening track of transient lines by marc weidenbaum of disquiet.com

If noise music is ambient music turned up loud, then shoegaze is ambient music with a beat. Not just any beat, mind you, but a beat that emerges from the ebb and flow of the underlying drone, a beat that recognizes the rhythmic content in the flow of the drone and that latches onto it, building a hard lattice that supports the seemingly ethereal initial audio. It traces that underlying form, a cloud fitted with an iron scaffold. This is what happens in “Prologue: In Recollection and Amazement,” the first track off the new album from Westy Reflector, titled Transient Lines and available at bandcamp.com. The initial glisten, with hints of Robert Fripp’s tape loops, hovers like a thick cloud, builds a pulse that then reveals itself as proper drums, playing along in stereophonic splendor. What makes this more than a matter of accrual, of layering, is that the glisten itself has a reveal — slowly, for if anything this track embraces its placid approximation of momentum, the hazy original sound acknowledges that it is produced on guitar, and more familiar chiming, ringing, strummed chords kick in.


#coverclub

an evolving project since 2006.

1: The Psychedelic Furs
2. Neil Young
3. The Sonics
4. The Grateful Dead
5. The Cure
6. Credence Clearwater Revival
7. The Replacements
8. George Harrison
9. Kris Kristofferson
10. The Postal Service
11. Tom Petty
12. Landon Pigg

more to come…


transient lines

15 november 2013

prologue: in recollection and amazement
grey sky undertow
riding waves
one city
night sky dead letter office
ursula
fire in the arcade (the reflectors)
soma
dreamy solace of rivers and bridges

bandcamp | free music archive


prologue: in recollection and amazement



improvised guitar drones, loops and melody lines over beats.

guitar / amp:
jolie (gibson es-335 dot reissue, peekamoose custom electronics)
vox ac4c1-bl tube combo

efx chain:
(ebow –>) earthquaker “warden” compressor –> ehx pog2 –> ehx freeze –> ibanez ts-808 tube screamer –> small sound/big sound mini overdrive –> tc electronic flashback delay+looper –> strymon blue-sky reverberator –> line6 pod xt phaser modeler

software / hardware:
sony acid, motu 828mk2, XP

title is reference to jack kerouac’s “list of essentials” in his belief & technique for modern prose:
17. write in recollection and amazement for yourself


o(men)s [disquiet0097-page99remix]

PROCESS

Currently (re)reading:
The Alchemist by Paolo Coehlo
Illustrated Edition, Paintings by Moebius

First 80 characters on page 99:
“Can’t you just observe men and omens in order to understand the language?” the

There’s a heaviness to Coehlo’s fable that this treatment revealed. I first read it in ’93, when it was first published in English. I was re-reading it this past couple weeks on the realization it had been 20 years since that initial reading. Then, this Junto assignment hit and here we are.

Drew the notes into a MIDI track in ACID.
Arranged in 4/4 time over 20 measures. Was going to do 99 bpm but it moved a bit too fast, so it settled back around 93 bpm.
Processed the track through the Tapeworm VST soft-synth by Tweakbench, which is meant to simulate a Mellotron.
Amped up the decay and sustain on the synth’s “strings 2” virtual “tape bank.”
Added royalty-free rhythm and oscillation samples hanging out in a loops folder.
Ran the whole thing through ACID’s on-board cathedral reverb.

| {beat} B A Bb | {beat} E {rest} A | B F {rest} F# | F Eb E {rest} |

| B Bb Eb Db | D F# Db {rest} | A Db Bb {rest} | A Bb C {rest} |

| B A Db Bb | Eb {rest} F Bb | {rest} B D C | Db D {rest} E |

B {rest} F Bb | C Db D Eb | E A Bb C | {rest} E E Db |

| {rest} Ab A Bb | Eb F A Eb | Db D {beat} {rest} | E E Db {rest} |

—————————————————————————————

More on this 97th Disquiet Junto project, in which music is decoded from a phrase in a book, at:
disquiet.com/2013/11/07/disquiet0097-page99remix/

More details on the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/