Working with multitudes of perimeters is a crazy ride, not to mention delay channels and other crazed attributes dedicated to each and every sequence, equating to a barnyard of feral cats in heat, jumping around and not coherent of spacetime or cosmological signature. Everything has purpose. Even mistakes.
This is so beautifully serene. The Stag is lost, yet at peace. And the ambience of the whole place, with perimeter alarm chirping in near distance as the signal travels through seemingly humid air, reflecting off marble and crystal chandeliers. Seems like a scene from a Hayao Miyazaki or David Lynch project for sure. May all life know love, and boundless compassion, forever and always 🔥🙏❤️
Someone in my apartment building was practicing Christmas tunes on an Oboe (or something similar). I totally loved it, for it brings back memories when a neighbor’s child was practicing the Violin, and hearing sour note after sour note. My girlfriend at the time hated it, and I adored the free flow of inspiration found within the discord of becoming “one” with an instrument and losing oneself in the process.
Dystopian electronic project Detraction has a new album out. This one fascinatingly introduces pop sensibilities through trip hop beats that weave in and out of the experimental, dense soundscapes. As a concept the whole thing feels like one is retrieving fond moments out of distorted dreams. The final track drones on as if the dreams are becoming more vivid until ultimately they wither away. Detraction juxtaposes joy and dysphoria in a poignant way.
This is a complex album. Production started in October of 2020, then it became a collaboration and then became a type of retrospective when unfinished tracks from 2017 were added and remixed. Umami Land is more or less a meta-album, spanning 4 years of input marked by collaborating with outside influences. It was a difficult recording to archive, and it had many phases in development. At one point it was almost decommissioned, yet the ice thawed and necessary improvements were acknowledged. Umami Land became a conglomeration of forces ranging from past/present/foreign input and output methodologies marked by a cohesive flow of texts, emojis and other goodness. It’s not a perfect album by any means, yet it strives for the Sun. I hope you all enjoy this splendid round of recordings.
A very heavy thanks to Matt Dardis, my prime co-conspirator on two tracks in this venture, and his profoundly-relentless artistry, meticulous track engineering and super-sense of humor. And a heavy thanks to Pat Glassel for letting me remix his ‘Quench the orange sun’ [a] into unrecognizable certainty, and for his grace on opening its release for this album.
All proceeds from this album are going to The Humane Society International until the end of time. Both collaborators wanted no monetary cut from this venture, so I focused on what we all love, that of the welfare of all animals large and small.
Track listing and attributes [b]:
1) Nostalgia (Dubec/2020) 2) [anxiety feeds paranoia] assassins at every corner (Dubec/2020) 3) Ritual (Dardis/Dubec/2020) 4) I’ll always love you (Dubec/2020) 5) On three legs (Dubec/2017-2021) 6) Apophenia (Dardis/Dubec/2020) 7) Everyone referred to him as Colonel (Dubec/2017-2021) 8) Syntax and Memory (Dubec/Glassel/2019)
Esoteric titles/design nomenclatures:
1) Nostalgia 102120 V4 – 8:1:21, 12.52 AM 2) [anxiety feeds paranoia] assassins at every corner 101120 PS v4 4) I’ll always love you 110320 102120 re ps rev 3 – 7:11:21, 12.12 AM 5) On three legs 072917v7 – 8:8:21, 12.50 AM 6) Apophenia/Rebirth (Dardis/Dubec) v2 – 8:5:21, 10.07 PM CUT 7) Everyone referred to him as Colonel 071117 [2021 redux 070421] vol adjust 082721 8) Syntax and Memory (Dubec/Glassel) QUENCH April 23, 2019, 9.24 PM CUT
1) Ritual (Dardis/Dubec/2020) Dardis supplied all source material, and Dubec stretched, reversed, layered, added some tambourine and conceptualized the final mix.
2) Apophenia (Dardis/Dubec/2020) Dardis supplied all source material, and Dubec stretched, reversed, layered and conceptualized the final mix.
3) Syntax and Memory (Dubec/Glassel/2019) Glassel supplied ‘Quench the orange sun’ [a], and Dubec added rhythm, synth, stretch, layering and final mix.
Sometimes time slips by. Sometimes it rewinds, and collects unspent energy. Either way, time is a resource, a curse, a pathway into willingness stillness, and procrastination. Either way, Time is itself and you are just Time in the Making.
It’s happened before, yet how will it happen again? Perhaps it will be done before it has started? Perhaps it’s done and finished? Perhaps it’s finished and no-one will notice. Thus is creation, its own reflection, incomplete science jettisons us straight into absurdity.
Spring is passing! Birds are singing, fish weeping With tearful eyes.
Matsuo Bashō, Narrow Road to the Deep North (Oku no hosomichi, 奥の細道)
Such wonderful introspective qualities in all of Bashō’s work, where spirituality meets the Earth, like lightning creating an arc of light over the horizon. Then there’s Issa (Cup of Tea), another Haiku poet that I love, for his material tends to speak for the voiceless, and transcends the earthly realm, being earthly nonetheless, and like Basho, Issa’s work contains a heavy amount of voidness and beauty.