Tests from the droning, slurpy, mushy, ugly/lovely end of Time Town.
You can order the American edition split cassettes directly from me.
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.
Been working hard on another volume of Joyless Noise. Submitted a finished track called “Fog Dial” to the awesome Psycho Raidio. And, yes, that is the way it is spelled. It’s a channel that streams music to play played alongside a killer boardgame called Psycho Raiders. But that’s another story…
I’m hoping to have Joyless Noise, Volume 3 competed and available by Xmas. In preparation for this, and in joyless celebration of cheapness in a cheap world, I’ve changed all my Bandcamp music back to a free/pay-what-you-want model. Piles of music and hard work out there for anyone who cares or wants it.
I’m gonna stack some players up for your listening (dis)pleasure. Try playing them all at once. At work. Or to run off people who won’t leave your house. Or as a soundtrack backing up you doing something bad.
I’m happy to let you know that my latest recording is now available! It’s the second volume in my Joyless Noise series, and it’s on my Bandcamp site for listening or downloading for a simple, virtual one-dollar bill. This one was mostly created with two analog synths–an Arturia MicroBrute & a Moog Voyager (a nice pair!), but I threw in a little lush nastiness with Wolfgang Palm’s Wavemapper and an Ensoniq Fizmo. There are four tracks on Joyless Noise, Vol. 2, and a couple of them are quite long developments. As with Joyless Noise, Vol. 1, I’d encourage folks to listen at jacked-up volumes or through some nice headphones to get the full effect. Art & design was once again created by Austin Gaines, who always kicks ass and always nails the spirit of the music each and every time.
As always, I appreciate your ears and your support.
Endless Tunnels is my latest recording of deep drone pieces, and it’s available now from the good folks at Montreal’s GBS Records. This past weekend was pretty busy, with us laying down 3 new No songs at Sarcophagus Studios in Auburn, AL with Jamie Uertz (Hematovore) . . . and it completely slipped my mind that Endless Tunnels was about to be out there howling its deceptively far-away howls into the voids between human ears (or not!). But, yep . . . it’s swirling away there in the thin darkness of the web, doing its deep dark thing.
This is my second full-length for GBS (alongside the radio performance EP Without Hope), and is very linked to its predecessor, I Wonder What Ever Became Of Me. Once again, I used Boulanger Labs’ amazing csGrain granular processor/filter to manipulate live sound, but this time, instead of playing the Moog guitar through it, I used an Arturia MicroBrute, which is an amazing little analog synth. These were great sessions, where I was able to really feel swallowed up by the sound being created live there in the recesses of my basement. It works well at all volumes, but, as always, I’d recommend listening to it as loud as you can stand through a good system that you sonically trust. There’s a possibility of a future limited cassette release as well. More on that soon! Until then, feel free to listen, download and enjoy!
I have enjoyed myself immensely making music this year. I’ve gathered up all the noise I’ve created in 2013 and put it here for full streaming. I hope you have a blast listening, and might want to pick up copies/downloads for your ears. Most things I personally release outside of what is put out there by other labels are priced from $1 to $5. Every little bit really helps me in being able to continue doing one of the few things that I truly love.
I deeply appreciate everyone who has supported all my work along the way. I can never thank you enough.
Below are players for everything I’ve done in 2013! Fire ’em up, enjoy…and thank you!
I Wonder What Ever Became Of Me: Deep, deep drone on Moog guitar, live through csGrain.
Baghouse – 3/16/13: Time-bending improvisation on Moog guitar with Baghouse from Athens, GA.
Fantasy Violence – Frangments: Instrumental electronic music created completely on a pair of iPads via Dropbox with my friend Christopher Davis (Battle Path) from TN. Limited edition tapes here.
Mothmeat – Instrumental acoustic guitar music with my friend Drew Martin (BPM, Distant Kin).
Migration Of The Device – Originally conceived to be on half of a split lp. Could happen one day. Until then, there are these 4 digital incantations. Massive electronics & curses.
Suckbuddy – Two Lips: 2nd release by my buddy Keith Goodwin (Liquid Brick, Pferd) and I wiring up our synths and making one huge instrument.
Borne Down Upon: My third solo recording of dark electronic music. Completes a trilogy of recordings that I began in 2011. My favorite of the three.
Without Hope: Longform drone on the Moog guitar. Recorded live on the air on WUOG in Athens, GA.
All this, plus even more racket can be found at jeffmcleod.net. Thanks for listening!
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…
Even though I’m nearly done with a full-length recording that I hope to make available by November/December, I’ve got a new 4-song release now available that I finished much earlier this year. I began work on these songs in late 2012, and their ultimate destination was to be on a vinyl split with an awesome artist on an equally awesome label. But, as these things go, for a variety of reasons well beyond my control, it seems that this isn’t going to happen. At least not in time for me to get this music out there before I begin finishing up my full-length. I won’t bore you with any of the details any further, but I’m moving forward and releasing this one on Bandcamp today . . . before it gets lost in the glut of other musical output.
It’s called Migration Of The Device, and it’s in line with the electronic-oriented style of things that I’ve been doing for the past few years on other solo releases. This one, however, is quite different than the last couple (2011’s Under Dim Self and 2012’s Scalps Of Gods) in the respect that I employed some freshly-outside devices for inspiration towards the texture, mood and lyrical content (all of which is on the release site, if you want to see) of the 4 pieces. Oddball personal tarot spreads and readings from a variety of occult texts were sources of great inspiration for this collection, and I really think they shine darkly and smartly through the sonics that I was able to conjure.
In short, I’m completely happy with it! It’s a quick (20+ minutes), noisy jaunt through a few months of my life. I’m so glad to finally get it out into the cold light of day . . . and I’m equally elated to be able to move on to another recording well on it’s way to being finished. This is part of musical closure for me . . . these four songs being precursors to something even bigger & better that is nearly completed. Both of these writing and recording sessions have allowed me to move my music and my ideas into a new area that I’m excited about. Details on all this stuff are coming very soon.
You can listen to and download Migration Of The Device on my Bandcamp site, as well as all the other releases. Downloads of this new one come with a packet of drawings and photos from the recording session. As always, I truly appreciate your support and I hope you enjoy what I’ve made. More is definitely on the way…
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.