So on Christmas morning I broke my hand. I’ve ridden bicycles off of hillsides, I’ve jumped out of an airplane, and I’ve crashed cars. Never have I broken a bone. However, on Christmas morning on the way back from the convenience store where i picked up milk, I broke my hand. I draw pictures for a living, and if this were my right hand that i broke, this would be a much more precarious situation. But since it’s my left hand, the worst part about the whole deal is that I can’t play the guitar for six weeks. If you know me at all, you know that that’s still a pretty bad worst part. I’m sitting right here in my extra bedroom full of music gear and I’m just really bummed about this.
In fact, I first suspected that i’d broken the hand when, after injuring the hand, I was testing the damage to try to figure out what i’d done. I thought maybe I’d dislocated a finger or bruised something. But the fact that I could move the fingers enough to fret some strings and even play some painful pentatonic scales told me that this wasn’t the fingers. And the fact that the pain went from about a 2 to an 11 when I tried to fret a barre chord told me that this was probably worse than a bruise. Something was definitely wrong.
A few X-rays later and it was official. Because of the nature of the fracture, I didn’t need surgery, but I got a nice black cast.
The upside to all of this is interesting. I’ve been meaning to find time to do some much-needed housecleaning with the hundreds of recordings I’ve made over the last year or two. Samples, phrases, pieces of songs… When the guitars are calling, it’s hard to take the time to listen to and catalog and edit that which one has already done. But with this forced time off, it’s a perfect time to see what’s there and maybe even do something with it. The other good thing is that I’ll be spending more time with the synthesizers and samplers, which I spent a good deal of time neglecting in 2012. Just last night I recorded an hour or so of modular sample-playing with the Tyme Sefari and Phonogene and some oscillators. So not all is lost.
But damn, six weeks seems like a long time right now.
I was listening to the rain two nights ago as I realized it was the solstice. So to celebrate, I recorded several minutes of the rain falling from my bedroom window and added some music to go with.
This is basically three parts. The background layer of the recording of the rain is the backbone of the whole thing. I made some drips and drops with the synth, which are heavily reverbed and echoed. And then there’s the guitar, which the sparkly blue Jazzmaster recorded directly into Ableton with an El Capistan delay pedal.
The idea was to merely create a soundtrack for the weather and for the sense of this night — the longest night of the year.
Happy Christmas everyone.
I played a live performance on November 27 in New York City. This was the first time I’ve performed with anything more than an accordion in a live and public setting, and as small and esoteric as it was, it was thrilling.
My performance was part of a Disquiet Junto set at apexart, an art gallery just below Canal Street in Manhattan. Six contributors to the Disquiet Junto were asked to perform two works: one being something we’re currently working on, and another being a piece based on an earlier Junto, in which field recordings from department stores were utilized “to create pieces that interrogate the atmosphere and sounds of a department store as described in an Émile Zola novel.”
For the first part, I continued my explorations of my baritone ukulele sampled and looped with the Phonogene and the Tyme Sefari. This segued into the second part, for which I mainly used the Teenage Engineering OP-1 and its four tracks on the tape player. I’d previously loaded four earlier Junto field recordings from other Junto members, and layered them to create the chaos and mechanically-inspired noise of the Zola department store.
There were six performances that evening, of which I was the second. I was preceded by Kenneth Kirschner, and followed by Arcka, Ethan Hein, Joon Oluchi Lee and Roddy Schrock, and Tom Moody.
apexart shot video of the event and posted in on their website. I reposted it to Vimeo, which is here.
If you would rather just the audio:
Videos from each of the performances are on the apexart site, and is worth the time. Each artist used different tools and created something quite different from one another. I hope to get to do this kind of thing again. A lot. In fact I think I need to write a post specifically about playing live with this kind of equipment. Thanks to Marc for having me out, and to Arcka for sharing the ride and for the photo at the top of this post.