Videos Surface


I made some Kraftwerk-inspired prints in advance of our repeat performance of the Handcrafted Rhetorics workshop at CCCC in Portland this year. 20 in each of these colorways and 5 on black with white and red (not pictured). Patrick Williams on Twitter made some Kraftwerk-inspired prints for our #4c17 _2017-02-21_12-26-31
If you want one, they’re $5 and available here!

Three poems & some audio at Hot Tub Astronaut

Jess at Hot Tub Astronaut recently published three new poems of mine, mostly written in response to the Poetry Prompt Generator I build for the Found Poetry Review earlier this year.

Also, HTA paired some rehearsal recordings of the sound performance I did in Brooklyn in May as a soundtrack to the pieces, so you have something to listen to while you read some poems based on 100 year old stationery and automotive periodicals.

Hybrid Moments

In order to get a handle on the screen printing set up I’ve got in the basement, I made a couple dozen prints mixing the Misfits skull w/ Otto the Orange. They’re 12 x 12, and you can have one if you ask.

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Do you need to slay all those summer parties? I believe that you do.

Do you have an armamentarium of sick moves you’ve locked away but who scream scream scream to get out? I know that you do.

Do you love the super stoned sounds of the 70s? The elite era of early 80s luxury? Tell me about it. But also SHHHH.

Is there a HOT-DANCE-MUSIC-FOR-STRUTTING-sized hole in your life? I know that there is.

For that purpose, I provide for you, free of charge, a mix entitled HOT DANCE MUSIC FOR STRUTTING which includes many of my favorite tracks from fortyish years ago. Now, *a lot* of this music is widely considered “disco,” some is considered “funk,” and some “novelty garbage,” but I love it with all my heart and hope you will too.

HOT DANCE MUSIC FOR STRUTTING is meant to be played LOUD and with ample floor space for your full human physical expression. This is 2+ hours of that shit you feel in the bottom of your soul. These songs are long because you are supposed to forget that there was ever a moment when they weren’t playing. This is wake up call for your asses. Don’t sleep.

The mix includes some well-known favorites as well as some under-considered ghost jams, and owes an enormous debt to Donna Summer’s “Love to Love You Baby,” which was not included. Throw that on after this ends, then start the whole shit again. The night demands it. SUMMER FOREVERRRRR!!1!

In closing, a fun fact: I once listened to Andrea True Connection’s “More, More More” (track 2 on the mix) 17 times in a row. It is hands down my favorite song ever recorded. Like me, it turns 40 this year.

Your friend in sound,

HOT DANCE MUSIC FOR STRUTTING-1.pdf - Adobe Acrobat Pro DC_2016-05-13_13-51-17


Private Hearing / Public Address

On May 1st, I performed two pieces of music in the basement of Unnamable Books in Brooklyn, about a block from where Kelly and I lived in 2002. It was at an Boog City event, theĀ d.a. levy-palooza #3, featuring Nostrovia! Press, Lark Books, and my friend Marthe’s Nous-Zot Press. Marthe invited me along to play music in between the different poem-readers. The event had been planned for the backyard, but setting up my gear in the basement, right next to the HCI section, seemed like a perfect fit.

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The work I performed was a combination of drones, field recordings, and synthesizer burbles and sequences I’ve been working on over the past few months. Most of the inspiration for the pieces came from the start-up chime that plays in my hearing aids each morning, something that no one else hears. I sampled that, and worked it into a composition with my microbrute synth, my Suzuki omnichord, a little transistor radio, my telecaster and ebow, a 20 year old Akai S20 sampler, a little Volca Beats drum machine, and lots of effects boxes I’ve collected over the years (including a Electro Harmonix Freeze pedal, that really shaped the sound on these). Here’s an image of the set up I dragged across New York State:

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Along with the hearing aid samples, I drew audio from my “True Confession: I Wore a Wire” project, my 2005 ambient album For Fora, a recording of a hospital recovery room, chopped audio from this video of Kelly and me in Iceland, and a few other places, like the non-playing parts of a recording of me on acoustic guitar and a recording of me typing poems and secrets.

I haven’t performed my own music out in front of people for a while; probably just DJ sets since about 2006, and definitely not without other musicians on stage for very long time. I think that really influenced what I put together, and how I prepared. Most generally, these pieces are about different ways of hearing, what we hear when we are alone, or think that we are, and all of the sounds that come in between the “content” of our lives. The melodic portions of both compositions were concerned with matching the notes in the bizarre and comforting hearing aid chime, and trying to replicate its dissonance (while still remaining listenable for a crowd of poets).

I ended up doing two 15 minute sets at the event, and my final rehearsals for those are posted below. “Private Hearing” was first, then “Public Address.”

I was pretty happy with the result; no one left the basement while I was playing, and it all reverberated off of the books and basement walls in a pretty satisfying way. One glitch was that someone put their purse down on a surge protector and knocked out the power to half of my gear before I started, but that was fairly easily resolved. Also, I think I did a better job closing out the second piece cleanly live than the rehearsal recording shows. People were really attentive to the field recordings and interested in the Omnichord. I’d like to be in a situation to play something like this much, much louder, but that will have to wait for another venue and audience.

WordPress Adapted from: Esquire by Matthew Buchanan.