Monthly Archives: July 2014

Bassling: Unmistakable Release (remix of riding waves)

Australian multi-instrumentalist Bassling layered a haunting bass line and Rust Cohle’s (Matthew McConaughey) equally chilling rumination on death from True Detective over my track riding waves [disquiet0066-nonofi].

I added a favourite monologue from True Detective where Rusty Cohle ruminates on death. My partner immediately called out that it worked, so I left it in.

Despite the somber nature of the 132nd junto project (which revisits collaborations with the late Jeffrey (Nofi) Melton, and which as of this writing I am still trying to take a stab at), I am thrilled that Bassling would see inspiration in my track. That Wagga Wagga (Leeton), Australia, is his home base adds to the thrill – irrefutable proof that my tracks have journeyed all the way around the world and back. That the track is riding a wave created by Nofi makes this even sweeter.

Run around Bassling’s cunning-as-a-dunny-rat universe at:

[a few words on] @mark_ward_: one moon appears everywhere

“Fine Art trained” guitarist Mark Ward lives in Sheffield, UK, and his ambient electronica connects listeners to the serenity that inhabits every pastoral dream of the English countryside. He layers guitar with keyboards, field recordings and percussive loops, then filters with a gentle hand through software. His wonderful EP, One Moon Appears Everywhere, moves us through landscapes and textures, coming in and out of the foreground while mingling with and enhancing any thoughts that pop into our heads. The track Contentment is 12 minutes of hypnogogic tranquility, floating on a drone made from a rusting piano frame in an overgrown English meadow. No separation, indeed.

From the liner notes:

…the moon has never not been there, the light has never disappeared – light and dark are as one, death and life have no separation.

His latest official single, E Minor Blues, expands on aspects of his earlier output. The deceptively simple timing manipulation of 3 chords leads listeners through a fascinating series of caresses and disruptions, almost as if the chords are sentient and on journeys of self-discovery. That description might be a bit too new-agey for you hardened cupcakes, but deal with it. Give in to it. Let it all go…

Mark Ward

[a few words on] @wrenarthur: benchmark

A close friend for years, Wren Arthur (no question one of my fav people ever), runs Olive Productions, the production company owned by Steve Buscemi and Stanley Tucci. Prior to this gig, she honed her production skills as a Producer for Robert Altman (yeah, that Altman) and remains a sought-after actress in the highwire world of independent NYC film and theater. And way before either of us were anything or even knew each other, Wren ran the day-to-day at Tortilla Flats on Washington Street, where she may or may not have kicked me out of the restaurant’s Elvis Room for not being “Borgnine enough.”

Her most current project, Park Bench, a “talking show” hosted by Buscemi, is absolute deep, true New York City in the best way, an entertaining street-side diversion on the surface with an undertow of sneaky subversion. Try balancing that on the end of a fork.

Episode #4: Benchmark with Rosanne Cash and Michael Shannon defines the semi-non-fictional genre Arthur and Buscemi set out to create. The episode’s disarming blithe extra-real universe will infiltrate your subconscious and a few days from viewing, you will flash back to one or two moments and smile, like you know a secret you’ll never spill. And then you’ll want to watch it again.

There is an arc, so watch the series from the beginning. Your only penalty will be having to watch the episode above twice.

Oh, and today the series was nominated for an Emmy in Outstanding Short-Format Non-Fiction. Nice to know that I’m not crazy for thinking it’s special. Or that I’m just as insane and out of touch as Academy members. Either way, good on you, Wren!

Wren Arthur:
twitter (disclaimer: the beautiful brunette with Wren in her avatar is my wife, Cat)
pinterest (like, 200K+ followers for fux sake)

intention creates attention


[a few words on] shreddergost: thicket

shredderghost is a delaware ambient / noise / post rock / thoroughly modern music maker whom i met via the disquiet junto. he revels in cassette manipulation is never afraid to defy the laws of guitar pedal placement.

his tracks play in all types of guises. “thicket” off his 2013 record “strange growth” sits in my listening wheelhouse as one of his, well, softer efforts, full of dream-laden reverse guitar lines on a bed of gravity-free floatation. check out his latest (and way more provocative) work, too, at the links below.


spaced out tumblr refresh

i’ve dripped stuff into a tumblr site for a few years at:

mostly my own work, but for some reason i’ve always felt a bit off using that stream as a personal portfolio. so this week, i am re-charging my tumblr with the mission to be a curated inspiration board of friends/followers/followed stuff that moves me.

some of the posts there may end up here, and i’ll collect them into updates every week. for now, i just want to see how a separate stream may work.


what’s left still stands

[vine] road chewer

facing wednesday

Summer Cherryflower

3 Reyka vodka : 1 Elderflower.
3 sour cherries + jus.
Juice of 1/2 lime.
Muddle. Shake w/ ice.
Into highball, fizz to taste.
Garnish: 2 Rainier cherries + lime slice.

art of your lives

66/55 for 07/04

66/55 at the free music archive

66/55 at bandcamp

Among my thirty tracks at the Free Music Archive as of this post, 66/55 is the most downloaded. The track was written in a backseat down Interstate 55 from Chicago to Peoria, Illinois, on a 1995 trip to say goodbye to my wife’s grandmother. The song looks back and around at 20th century America. Shirley and Normal are towns along the way, and “Normal: Next Exit” is just a perfect highway sign.

shirley got electricity back in 1939
kept the milk from spoiling and rotting right there on the vine
just so happened when i drove through
shirley said she didn’t but i knew that she knew
all that power wasn’t flowing through the lines

normal had its heyday back in 1945
almost ½ the town had made it back ½ alive
and there was a house or two for every boy and girl
they had all just beaten back the enemy of that world
and all that government money made it easy to survive

the straightest shot became a straighter line
when 66 became 55
you can see it every time you go for a drive
66 became 55

mclean didn’t care for kennedy back in 1959
still, they circled chicago with a highway and called it the dan ryan
shirley & normal thought they’d never need another road
‘cause they said that 6 lane highway could carry any load
and shirley and normal forgot what it meant to stop at a light

66 became 55

they put a cyclone in the center of town
they fought for all those parking spots from miles around
seventy-five feet high and a mile and a quarter around
all that light, all that color, all that sound

now shirley went all l.a. and normal wants to be las vegas
so jackpot boats float down the river where huck finn said “big jim saved us.”
and there is a coin or two for every girl and boy
if you think you earned it, it could not have been a ploy
you know that story. it’s old. ’cause history never changed it.

the straightest shot became a straighter line
when 66 became 55
you can see it every time you go for a drive
hey, 66 became 55

66 is off to the side
because it’s the service road of 55
½ the town
is ½ alive


morning walk guest star

sum + difference [disquiet0130-filteredmelody]

4 notes. 3 intervals of 3. then 12 pedals. Made mathematical sense, so the title references “An Individual Note” by Daphne Oram, this month’s Junto reading selection (I’ve only gotten as far as pg 50, tho). Image is my pedal board through a kaleidoscopic app.

Finally had an excuse to put my Pigtronix Infinity at the head of the effects chain.

D#–>F#–>Bb–>C#. “Melody” unresolved, though, as it’s meant in the key of B. There’s no B-note to be found, however, so it’s unsure if it wants a straight maj, a maj7 or a maj9. Otoh, it could also be taken as an arpeggiation in the key of F#, or as a melody over a modulation shift between B and F#. After listening to it for 10 minutes or so, I got mad at it for being so indecisive. And then mad at myself for being mad about something so silly. So I went in for a bit of pretty obliteration. “I throw it on the ground / because it’s stupid,” sang Lonely Island.

The notes and their indecisive infuriating interval eventually wend their way through merciful peripeteia (Pigtronix reverse/undo footswitch), carnivorous compression (EQD Warden), candied fuzz (Small Sound / Big Sound mini, Zvex Box Of Rock), grain silos (EHX Freeze, EHX Superego), chaotic stutter (Diamond Tremolo), 4 & 5 step arpeggiation (EQD Arpanoid), stereo ping pong (Line6 POD-xt), octave shifting (EHX POG2), tape delayed infinity (tc flashback), distant reverberations (Strymon blueSky) and a bit of rickety pitch/speed shifting, equalization and dither (on-board Acid mastering fx).

In any event, it’s just 4 notes. They meant no harm.



More on this 130th Disquiet Junto project — “Create a composition by altering an ongoing loop”

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