Thou hast remembered me, O God; neither hast thou forsaken them that seek Thee and love Thee.
— Daniel (Daniel's Prelude to the Dreaming)
nerdfiles on various acoustic and electric guitars, harmonicas and possibly other instruments.
These are explorations into the externalization of a supposed homogeneous organization of pheNOMonological, or being candid: pre-ontological experience, should the neologism be so repugnant to the mind. Supposing experience is intentionally structured, what might categorically dissimilar experiences, such as the linguistic experience and the physical experience; allowing that one perceives their vacuity in canonicalization. Bankruptcy follows at assuming the logical equivalence of the world as a totality of parts and language as a totality of canonical forms; where each presupposes a prior lexical representation. In that, to ask questions within such a supposed organization of experience, intentionally structured, what would its reverberation sound like?
It is not enough to say "self-taught"; these are sonic transliterations of self to public, undergone seemingly tragic loss and the bankruptcy of post-analytic reasoning. I have no interest in the guitar as a philosophical, paradigmatic project, with its normative claims, language games, and 138 different nail shapes.
In the same hour came forth fingers of a man's hand, and wrote over against the candlestick upon the plaister of the wall of the king's palace: and the king saw the part of the hand that wrote.
Then the king's countenance was changed, and his thoughts troubled him, so that the joints of his loins were loosed, and his knees smote one against another.
— Book of Daniel, 5:5-6
Death Rites (October 2010)
Fancy a poem?:
When the world grew intolerant of those Who took to drink with the faint’st need for occasion, We and they return’d to our quarters and consummat’d Our wills through the pleasures of intoxicat’d introspection Under pallid shadow and the dimly bell
2.18 Hatred Hallows the Marching Meek 2.04 Fickle Child (Come On) Home 1.01 Rustling Mammoths Know, Saints Tow 1.03 Trees Become Tombstones for Themselves 1.43 Him Who Loved Us in the Home Found Lost 2.28 Dishevel'd Procession 0.33 Sympathetic Symptomatic
The Matters of Matter
The serendipitous, sporadic holidays Which teach nothing less than the beauty Of nothingness, And the lies which bind it so warmly.
1.41 Some Forgotten June 1.18 The Spectre of Worth
With Reflection Comes the Rent
Hearts of nebulae must pay rent too; but they shall dance; they shall.
1.18 Weaving Wierd 1.29 Heart of the Orion Nebula
A statement, but never a manifesto:
We author the structures of science fiction; and We author nothing else.
1.49 Freckl'd nose & the prickly rose 1.45 A Weedy Florilegium
The intersections and recapitulations of death and the romantic.
4.01 Black Bones 1.41 The Terminal Haircuts of Silouhettes
A September Before the Winter (October 2011)
An album inspired by:
death, restitution, unforgivable obduracy, the failure in human-projects, and John Cusack’s deep, middle-class eyes.
1.27 Sutures to Laughter 1.12 Memorable Rememberers (Kafke Version. Fuck you, Max Richter — O what rooms Mothers must clean.) 1.12 Memorable Rememberers 1.26 The Afternoon (Touched) 3.05 Failing Faster (All These Rotten Teeth, the Eternal Recurrence of Bereavement and the Night Terrors) 1.18 The Dance 3.13 Unattractive People Can Dance Too 2.00 That such is possible. 1.12 A Toot for Two (And The Inappropriate Compunctions And Vacillations Which Follow In Saying Goodbye)
Tandem Brew (November 2011)
A quick workflow on recording an ablbum. A test for consistency.
2.28 What the punk knew 8.33 La stress et la drogue
- Oscar Schmidt OE30
- Takemine GS330S
- Baby Taylor
- Alvarez 12-string (departed)
- Golden Melody harmonicas
- Special 20 harmonicas
- Macbook Pro,
- messy bedroom, and
- a Crate amp found in a closet.
(Note: Try not to play at full volume. Eesh. I'm monitoring through Grados, so maybe you get it.)
:(since no markdown syntax exists; and I prefer to be explicit)
=def To Listen
: Music as a social experience.
=def To Monitor
: Intentionally taking attention to a piece of music notwithstanding the influence of social experience in music listening. To explore the differentiation of sound quality and imminent variegration of sonic texture and elucidation through the manipulation of non-human variables, such as natural environment (which may exist socially as given to the concept of genre and music appropriateness), hardware and software specifications and configurations (equalization; the concept of color as expressed through mechanical operations of headphones, speaker sets, etc.), and so on.
=def To Reference
: Assuming the establishment of a base headphone set, to prepare and prompt oneself for monitoring experiences. This is both a passive and active activity. Referencing is inherently a philosophical activity as its prerequisite is the identification of an indexical sound stage. From which music experience generally is metaphorically contextualized.
It’s not a logo. It’s a stolen crop of one of the feline angels in GY!BE’s “hammers of hope” illustration. I’m appropriating it as I believe there is a strong harmony in meaning between what the angels represent and that these sounds are hopes to expression.