Playing with feedback loops with a slowly shifting pattern. [more inside]
Semi-ambient modern synth pad instrumental with minimalist electronic bass, reversed electric guitar, and some pretty and deliberate vinyl crackle-ish soft static noise and a gentle mix of treated samples. Maybe sort of cinematic? [more inside]
The last of us
Torn [more inside]
Cartoon Music [more inside]
I'm F-ing Around with a still-new-to-me rig And Finding Out about what I can get out of it. Textures and glitchy stuff like I've done here before. [more inside]
A ghostly fox materializes ahead on the forest path and "hmm"s at you. "Hmm? Wait, how are you talking?" "A fox appears out of nowhere and your first question is how it talks? Humans..." "Look, it's my first time outside the bounds of reality." "You have a lot to learn. Follow me."
In 2017, I posted this piece (using the Barbie voice samples from this post. At the time, it capped out at around five minutes due to a limitation in the Sonic-Pi, the software I was using. I've now learned enough SuperCollider to be dangerous and as a result have worked around those limitations, producing a full hour-long piece containing all of the names. This is not that piece. It is a shorter version (a Radio Edit, as it were) that doesn't exceed this site's file size limits. [more inside]
My old computer choked on even basic things, and that killed my interest in making music. This is a lot more fun when I can throw things around without worrying about it hanging for 30-300 seconds.
A doomy electronic track. Think John Carpenter and Drive Like Jehu. 5 tracks of the Jupiter-X and a searing guitar. Heading into a weekend of violence on Capitol Hill in Seattle, feeling an impending sense of unease and resigned confirmation of the conflict to come. A diary entry, a stake in the moment of time. Hoping that predictions are wrong, pouring out my stubborn vulnerability that all my fears are for naught.
Track 2 from my new release Carefully Introducing Problems. Drone/dark ambient/spooky synth/a touch of Berlin School. 100% of proceeds from the album will be donated to Reclaim the Block and Afrorack. Today, June 5, it is #bandcampfriday and I will be personally matching donations. [more inside]
Slow dance to the outbursts of generative electronic folderol. [more inside]
An entry in the April/May MeFiMusicChallenge, inspired by the pandemic. Instrumental, chill track. [more inside]
This is my synth-based anthem cover of the song by singer/songwriter Danny Schmidt. This version is an earlier draft from 2018, mostly from a whirlwind month when I was trying to get as much done before my trial of Ableton Live ended. Me on vocals, synth/loops. Many thanks to not_on_display for the arrangement idea and feedback through multiple iterations. Basically I made this to help myself feel better, and I figure it's something I could share especially now. [more inside]
Instrumental electronic thingy continued. [more inside]
Acid/Techno/Chillout/Ambient electronic music in the style of Chemical Brothers and Kruder and Dorfmeuster DJ Kicks! era [more inside]
A short ride on some eccentric polyrhythms with some soft-synths and a processed vocalization. [more inside]
An ambient/drone piece from my newly released album Float (pay-what-you-want on Bandcamp). I'm breaking a habit of expressing anxiety and foreboding through my music, and aiming to spread some tranquility and wonder instead. [more inside]
Also electronics + piano. A bit more pianistic and melodic; more "pretty" than "driven."
Electronics + Piano. Lots of harmonic and rhythmic drive.
A soundtrack-y, texture-y work-in-progress experiment with generative features in Reason.
Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the town, tell why the glassy lights, The lights in the fishing boats at anchor there, As night descended, tilting in the air, Mastered the night and portioned out the sea, Fixing emblazoned zones and fiery poles, Arranging, deepening, enchanting night. Oh! Blessed rage for order, pale Ramon, The maker’s rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds. - Wallace Stevens
This short (1:16) instrumental ditty is what happened when I started learning a new recording platform that came with loops of instruments I'd always wanted to play or include on my recordings: pedal steel guitar (I was super excited about this especially -- I've wanted to work with pedal steel for a really long time), baritone guitar, and mandolin. And did I mention the bossa drums? Not sure if I went overboard but I had fun and liked the result. [more inside]
Just some four-on-the-floor.
The last song on the album Magic 8 Ball that I made with my bandmate Ari Brown; Now streaming on Spotify, Apple Music, and everywhere else [more inside]
I think I'm getting the hang of this thing. I got most of the way through comping this out and writing a melody when I realized I liked this better. There's singing eventually. [more inside]
Dark ambient "uneasy listening" from my new Bandcamp release, 11 Spells. Software and Eurorack synthesizers.
Here's a demo electronic track. 505 Drum Machine, Nord Lead 1, Arp Odyssey and a Crumar Stratus though a few effects. It's maybe Daft Punk Tron Soundtrack-esque?
From my newly released album of the same name, at starthief.bandcamp.com. Something on a spectrum of drone/ambient/abstract electronica. [more inside]
One of the few times when the melody and the lyrics arrived simultanesouly. I was adding my wife as an emergency contact to my phone and it came to me that this was a new kind of relationship ritual. [more inside]
An experiment wherein a drum-sequencer drives a vocaloid while some psuedo-random oscillators modulate parameters of both. Made in Reason 10.1
An elegy for my stepmother, who passed away from ALS, based on a recurring dream I'd have of seeing her brought back to life in an episode of Star Trek The Next Generation via a transporter glitch. [more inside]
About 10 years ago I had a pretty terrible year. A lot of people thought they knew what was wrong with me & also thought they knew how to "fix" me, but they all turned out to be wrong.
I wrote this in October 2017. Originally it was going to be a lighhearted song about someone I know who used to carry around two bags everywhere they went, one of them a "go bag." In world news, Russia was expelling diplomats, North Korea had tested a nuclear bomb, almost 1000 people were shot in Las Vegas by one gunman, so it became something else, a love song for lovers in a time of fear.
Inspired by a clickbait headline, an ode to deleting my social media accounts. [more inside]
Decided to take a break from pop/vocal stuff to do something instrumental and chill. This be that.
A psuedo-guitar-like ambient song performed on modular synthesizer. This is the third track on my new release Nereus, available on Bandcamp. [more inside]
Happy Valentine's Day! I wanted to make a romantic song built from decidedly un-romantic sounds and images. I mined a lot of half-finished darker, sadder songs that hadn't gone anywhere and assembled a mini-library of static, buzzes, and odd percussion. I did the same with old sad, political or angry poems for the lyrics. [more inside]
For your pleasure (or pain), here's some retro-dancy/electronic melancholia we put together for the CBC song-off.
A slow-building ambient jam / soundscape inspired by VCV Rack. [more inside]
Building a beat around an organ loop [more inside]
Another track from my first solo album. Like a great many of these lyrics, it began as a joke, albeit a sardonic one. President Trump had done something else horrifying and I said, out loud to mrs. eustacescrubb, "he was right. I AM tired of winning!" [more inside]
After co-writing and producing an album for a friend this year I decided, what the hell, Trump is President and we're all gonna die, may as well get over my fear of singing and write a solo album. This is the first compositon that gelled from that effort and made it onto the final album (which album can be heard on Bandcamp here). Recorded entirely in my spare bedroom, using Logic, Ableton, various iOS music apps, and my own human body.