Original percussion/field recording concept recorded by Tracy. Stephen and Jeff responded to Tracy’s piece separately, with no awareness of each other’s track beyond that. Jeff put the various parts together, massaged them into being all that they truly could be, and here are the completely bizarro results.
Recording finalized 7/8/19 at The Subversive Workshop.
Tracy Harris – percussion, keyboards, kazoo, vocals & field recordings
Stephen McClurg – synth/keys, bass & art
Jeff McLeod – synth & massage
scum piano sand guitar is, at its heart, a piano and guitar piece–but this whirlwind collaboration with multidimensional artist vylter will amazingly tear itself apart and reconstruct itself right before your very ears! Out now for streaming and download via vylter’s Bandcamp page.
This music fell into place very quickly and with the most excellent results.
And they are just sounds. Not just any old sounds–but just sounds, really, after all. Different arrangements of synthesis presented in very raw form. These are the final reports from me, soundwise, for the year. I plan to do more Joyless noise and related volumes next year. I also plan on finishing up a long-dormant noisework called Randy & Gary recorded with my friend Jim Tankersley many years ago. But back to the recently-finished Now . . . now.
The first of the last is the third in a series of Joylessly Noisy musicks. Joyless Noise, Vol. 3 is the most joyless of the bunch, I believe. It’s also the least noisy, but that doesn’t mean that it’s any less unfriendly.
Downloads of Joyless Noise, Vol. 3, of course, are free or pay-what-you-want.
The second of the last is a split cassette release with Montreal’s Drub on Cuchabata Records. Two sides of intense drone. My track takes up side B (the empty black side). It’s a 28-minute grind down into an emptiness called “Thoss.” The tapes are available from the Drub site and through the player below. They’re a hand-numbered edition of 50, and include a digital download of the recording. You can order from the above folks, or contact me directly in the U.S. I should have my copies later in the month. Downloads, once again, are free or pay-what-you-want.
I’m also in the process of doing a better job of updating my personal website, as well as trimming it down to something very minimal. Feel free to visit there any old time, and write to belittle me as I fail to update it again for 3 or 4 months.
I’ve got a new short story up on The Five Hundred writing group site. It’s called Normal Horrible. I’ll go on and tell you that there’s a crummy oversight in proofreading on my part that completely ruins the story. Feel free to write me and make me feel shitty about that also.
That’s it. Mostly just some music to help you through the holidays.
I’ve just released Borne Down Upon, my latest recording, on Bandcamp. While I’ve worked on these 9 songs since April of this year, this is really the culmination of a total of 3 recordings, the first (Under Dim Self) of which I began in January of 2011 and the second (Scalps Of Gods) released last year. On each of these, I’ve attempted to create unique soundworlds using synthesizers, sampling, programming and the occasional “normal” instrument (i.e. the guitar . . . which is really only on that first one from 2011 . . . and is actually the not-so-normal Moog guitar). Equipment failures, the passing of a long-time friend, leaving my job of 11 years and just general living in a world that I really feel disconnected from from have all come into play during these last few years of work . . . and it’s all there, if not a bit abstracted and warped into different shapes. Each release has a sidebar with complete lyrics, if you want to read along while listening–and each download comes with a packet of many drawings completed during the sessions, along with alternate cover art images.
I believe that Borne Down Upon is the strongest of these three recordings, but they all hold special places in my mind. I’m very close to the work, and I’ve put every bit of myself into them, working very hard to create things that are interesting to listen to multiple times, with many small layers working towards the larger whole. On this latest one, I limited myself to only working with 8 tracks, instead of the normal 16, and I found that to be as fun and challenging as way back when I was working with a Fostex cassette 4-track and all of its own limitations. There are only synthesizers, programmed drums and vocals on Borne Down Upon. I eschewed custom sampling for this one, opting instead for sounds created from scratch in a different manner. I think it’s really good. I’m glad to be done with it. I’m glad to be done with all of these recordings, honestly, but completely proud of them.
The amazing Neal Williams has done all the artwork for these, and his work has been so spot-on and intuitive to the root of each of them that I want to offer my deepest thanks to him for that. His work is always amazing and perfect, and I encourage everyone to see his stupendous work at his website.
I hope you enjoy Borne Down Upon. I appreciate the support and interest from all the folks out there who’ve encouraged and helped me during these last few years. You know who you are. Beyond you few fine humans, Borne Down Upon, and all of these songs I’ve written and recorded over the last three years, are dedicated to no one, nothing, never & nonsense.
In the new year, I shall bring you much noise…
First off, thanks to all the fine music lovers in Canada, Germany & Norway who have downloaded and ordered from me lately. It’s so exciting to see music reaching people in far away places. But, I have to ask . . . America where are you? It saddens me that my own country shows very little interest, but the stats I see do not lie.
I’ve recently stopped offering much of my music for free for a variety of reasons . . . the primary being that I pour everything into what I do: my energy, my love, my hate, my thoughts, my feelings, my time and, yes, my money. My favorite artists probably feel much the same way, and I always try to support them as directly as possible, whether that be by paying for downloads, physical media, going to shows when they’re out on the road and even just showing direct interest in where they are going with their work.
But, free or not, I see a real lack of interest from here in the states. I can’t help it . . . it makes me feel bad. Where are people here who are looking for fringe & challenging musics? I certainly understand that what I do isn’t the most palatable thing in the world (most of the time), but damn.
Despite this, I will continue. I’m working on so many things that I hope will see the light of day soon, vibrating your earholes within the year, with any luck. I hope that I can reach someone out there the same way that things reach me.
I am here. Where are you?
Three places to begin listening and supporting:
C’mon. Have you forgotten what it’s like to seek out, find and hear something that really turns you on? Maybe you have.