This is a list of some works in progress that should see the light of day in something like the order they are listed here.
*I Saw Sonora Hypnotized
4 of the tunes on this 6 song LP are about the westward expansion of US colonization in the 19th century, hitting on the role slavery played in the Lewis & Clark expedition, Zebulon Pike’s scouting-under-capture of the present day Southwestern US (when it was part of the Spanish Empire), William Becknell and the Santa Fe Trail, and the role violence against Chinese immigrants and Native Americans played in the 1849 Gold Rush and the founding of the city of San Francisco as we presently know it. There’s also a song called A Chorus Line based on the Busby Berkeley film Gold Diggers of 1933 that deals with sexual predation, and a song called Cold about a character with a Midas touch that turns everything to ice instead of gold.
Lyrics to 4 of the 6 songs date back to around 2006, and home recorded parts have been kicking around for a few years in the home studio. The collaborative phase of this project began with recording Oud and arranging song structures with Scott Solter in Mid March. Things continued out in Portland OR at Type Foundry Studios on April 1-3 with Joe Plummer (Cold War Kids, Modest Mouse, Shins) on drums, Atlanta’s Noah Estrella on bass, Scott Solter on Optigan and upright piano, Brandon Eggleston engineering, and me on guitars and iPad synthesis. There were lots of Lewis and Clark references around Portland, from 76 gas stations to national parks, and we had lots of conversation about why Portland is such a white city, with references to Klan activity in the state of Oregon during the time of its ongoing colonization, (see the Oregon chapter of the book Hooded Americanism.) Memories were also fresh from a show I played in San Francisco right after Thanksgiving, where I saw an exhibit at San Francisco MOMA about the gold rush era of 1849, and was reminded how much of contemporary SF iconography trades on the Gold Rush, much as my native MA trades on colonial era Pilgrim icons and racist mythology including but not limited to the original “Thanksgiving.”
We did an additional day of drums with Rob Chamberlain in Durham on Memorial Day weekend, on the eve of his departure for summer tour with his duo Evil English. We had fun using some choice steel drum and percussion stuff I picked up at the amazing Revival Drum Shop in Portland, along with a discarded spin dryer Scott rigged up as a kick drum. I spent the summer adding guitar, synthesis, bass, loops and editing/premixing at home. Vocals came next in early fall here at the ranch. More recently, we did a day of viola and violin with Justin Blatt in the final session at Scott’s studio on Orient St in Durham, which recently moved across town. We plan to wrap this one one up by early 2019 after I do some more vocals, Alex Lazara does some piano, and Wendy Allen adds some backing vocals. Check back for release details like fall 2019 probbbbly.
* Pure Night Plus
This eternally forthcoming CD will compile early analog releases that were never released digitally, either physically or virtually:
Pure Night – originally came out on Shrimper as a vinyl LP in an edition of 750 copies.
R.I.P., D.I.Y. – originally came out on Shrimper as a 7″ 5 song EP, (or “EB” as it was misspelled at the time!)
River Boat / Into the Sunset / Six Shooters & Canyons / Bandit Kitty EP – 4 song side of a 7″ originally released on the Roadcone label. Other side of original release featured songs by Sandra Bell.
Stars and Songs – First full cassette release on Shrimper from 1993.
I Had a Dream I Was Down By the Ocean – First song I released on Shrimper, from the Hardcore Acoustic cassette compilation.
There will be a few outtakes, as well as liner notes by myself and Adam Green of Moldy Peaches.
* Gnawing on the Bone
Basic tracks have been recorded for this new instrumental album, which was originally conceived of as a collection of acoustic guitar instrumentals in the vein of John Fahey and Derek Bailey. Dennis Callaci of Shrimper suggested I make a record like this after I sent him a tape of instrumental guitar pieces. His original thought was to include it as a second bonus CD packaged with the reissue of Pure Night mentioned above, so I wouldn’t feel to self-conscious about measuring up to Fahey’s ghost or perhaps those of solo jazz records by folks like Anthony Braxton. (And you thought indie labels didn’t do A&R!) But then I decided to do it as a separate record because I wanted to make a slick music video for it with Hype Williams based on the following clip I found online:
I watched the whole thing – but I never got my 5 bucks, which the person who posted this on youtube promised to pay to anyone who watched this clip to the bitter end. Oh well.
Also, on the Folk Implosion front, reissues are in the works for our material from the Kids soundtrack, as well as vinyl repressing of our early 4 track material.