Quintet

A handful of new musics for you.

Unaware

This a cappella piece begins as a solo voice and builds to a sizable male choral group.  Multitrack this time – no looping.

Ticonderoga

The first finished track from Post Feederz, a collaborative project with Bret Harold Hart. It wants to be ominous, but it’s really just a thoughtful piece of abstract psychedelia.

Tormented

Yay! A new Sampson – Carroll song! Part of Midnight Radio Compilation 30


Working the Stream

There’s a story in every life. This is one of them.

We Did Not Know What to Make of Him

Yet another song different from all the rest of this 5-group. On this I revisit the layered looping approach I’m so happy to have discovered 12 years ago. This appears as part of the truly massive Telephone to the Dead compilation.

 

 

 

The Displaced Persons Act

Gone, but not forgotten, with a touch of Tibet.

I didn’t start using a looping device for live vocals until 2002. By 2004 I was looping two signal paths live. The piece linked here was recorded live in my (then) home studio, Look-at-the-Pond, in 2004.

For those of you who devour technical information: two Beta 58As, a Line 6 DL4, and a Boomerang 1.

Summer Project

About a week ago, Sean Carroll and I got together in his studio to make a
little music. As it was the first time in six years we’d both been in the
same town long enough to do this, to say we were excited wouldn’t be an
overstatement. And with nothing in particular in mind, it was simply set up
and start improvising.

It was a good one – lots of interesting bits and ideas to nurse into songs.

We’d like to have some kind of “whole thing” completed before early September,
which is when I’m projecting to be on the road again. At this point, not sure
if the songs will have lyrical continuity, or if the stories will be more
individualistic, but working with Sean again is outstanding. Some of the most
interesting music I’ve been involved with making has been with him.

Nocturnes

There is a charming satisfaction in successfully collaborating with someone over the Internet. Two people in different countries sharing ideas, critiquing in constructive ways, producing sounds brought out from hearing what the other has done – those are a few of the joys that come from working with someone who listens. Long distance improvisation in non-real time.

Kecap Tuyul and I spent a good amount of time working on, ultimately, four audio tracks. We were patient. We were willing to work until they were the best we could do.

We hope you are able to get some pleasure from listening to what we did together.

Shravaka in Babel (6:25)
Repercussion (9:41)
Sailing with Ghosts (3:17)
In the Curse Lies the Blessing (33:21)

Resuscitation

There I was – frustrated to the point of exasperation. Trying to put the finishing touches on a particular piece of music was only proving to be an exercise in beating my head on the table top. Well, figuratively anyway.

I finally regained enough emotional stability to step back. And take several deep breaths. And let go. Felt better but I still wanted to accomplish Something. It almost doesn’t matter what that something might be when I reach that state. I just need to feel like I haven’t “wasted” several hours.

Without really knowing why, I dug around in some old rehearsal recordings of the Often Coiled trio. (Heh – they have to be old. Much as I wish the group was still together it’s been more than three years since we last occupied a room in unison.) After several cringe-inducing “well, I don’t need to save that any longer” listens, I found something I had managed to play without major screw ups. Yeah, it was usually me fat-fingering keys that rendered the other tracks useless.

We always recorded rehearsals with a Zoom H2 sitting in the middle of the room. Front and back stereo channels gave me something to “mix” after the fact. The live feel is still there – you’ll get a pretty good idea of the impact we could have in a club setting. We never settled on a name for this one – although we tried. So it’s here in its working title Matt used when he presented the original idea. An aggressive rocker with more than a little hint of Zeuhl.