From: "Jessica Murray" <death.to.koalas@gmail.com>
To: sennheiser.ca
yeah,
they seem to have just shorted permanently, and i'd kind of feel better
about letting sennheiser fix them then taking them to a random shop.
i found this order form:
http://www.sennheiser.ca/live/download/Sennheiser_Repair_order_form.pdf
....but
i don't have a credit card and, despite my previous rhetoric, i do need
to watch the price very carefully. they're obviously well past whatever
warranty my dad bought in the early 90s. do you have any licensed
repair centres in windsor, ontario i could just take them in to and pay
out cash for? if not, i'm wondering if you could give me a quick price
quote and let me send you a check.
the symptom is that
one of the ears is deaf. there's two possible causes, and i'm not sure
which one is dominant. one of the ears has been a little loose, solved
by jiggling it a bit. also, the base seems to have a short in it, solved
by rotating it. it's the second of these that i've been doing more
often. either way, there's two shorts in the wire.
if
i'm going to do this, i'd prefer to just replace the entire copper wire
altogether, from the phones right down to the plug. i don't want to do
it twice, kind of thing. how much do you think that would cost?
Thursday, November 7, 2013
ok. they're not as bad as i thought - coming from a quality source,
and with the noise reduction turned off. they're not replacements for
the 440-II's, but given that i'm just running everything through the
same filters *anyways* (same source...i'm doing it track-by-track but i
haven't deviated from the base algorithm of custom izotope patch + nr), i
think i can use them while i'm waiting for them to get fixed. so i
shouldn't get slowed down at least.
i'll also say that they died on me once before and came back. i wonder if it's temperature related, even. i'm going to let them sit for a few days and see if they come back.
....and, now to wade through all kinds of audiophile nonsense trying to get a straight answer about how important the wiring is in the sound...
i'll also say that they died on me once before and came back. i wonder if it's temperature related, even. i'm going to let them sit for a few days and see if they come back.
....and, now to wade through all kinds of audiophile nonsense trying to get a straight answer about how important the wiring is in the sound...
i got a response back from sennheiser. they are indeed long out of production, and the response i got basically told me that if i want a similar sound, i'm fucked - they don't make anything remotely like this model anymore, so i'm better off trying to get them fixed than replacing them.
he also explained that if i end up getting new ones, i want to focus on open back models. after doing a little googling, i think he's right - and i think that the fact that most of the headphones i've tried have been closed back might be the biggest sound degradation issue i've been unable to get over. that muffed sound seems to be defined by this difference. but that's going to cost me probably close to $300.
it's imperative, though. i can't do anything without headphones.
the pair i got back in january are just not useful for recording. even at the time, i remember wishing that i would have got a gift certificate or something. they turned out to be ok for the laptop. but they run on a battery that turns on a "noise reduction". batteries in headphones isn't a good idea at all. but, that's secondary to all the processing at the headphone stage. i need headphones with zero processing - clean reproduction. those ones are made for people that want to listen to mp3s on their cell phone, not people that are recording or mastering things.
...and when you turn off the battery they're just glorified ear buds. i'm going to try them though....
he also explained that if i end up getting new ones, i want to focus on open back models. after doing a little googling, i think he's right - and i think that the fact that most of the headphones i've tried have been closed back might be the biggest sound degradation issue i've been unable to get over. that muffed sound seems to be defined by this difference. but that's going to cost me probably close to $300.
it's imperative, though. i can't do anything without headphones.
the pair i got back in january are just not useful for recording. even at the time, i remember wishing that i would have got a gift certificate or something. they turned out to be ok for the laptop. but they run on a battery that turns on a "noise reduction". batteries in headphones isn't a good idea at all. but, that's secondary to all the processing at the headphone stage. i need headphones with zero processing - clean reproduction. those ones are made for people that want to listen to mp3s on their cell phone, not people that are recording or mastering things.
...and when you turn off the battery they're just glorified ear buds. i'm going to try them though....
:(
seem to be gone, and it's an emergency. no headphones = no recording. or, for right now, no remastering. which basically means no reason to continue to exist.
i'm going to try and get them fixed, but if i can't then i may have to sell some gear to get new ones. having one pair of good headphones is more important than having two guitars.
hopefully, i can get them fixed, though. that means plans for a telephone and border clearance are going to have to be put on hold for another month, maybe two.
and that i'm going to have nothing to do but read for the next little bit. ugh.
i don't feel i'm at fault. i left them in a safe space, woke up, and caput.
there's two problems. one of the ear plugs is a little weak, but it hasn't been a problem lately. the larger problem has been at the base, which has been solved by spinning the jack around. it seems like it may be a contact problem inside the base, but i have to admit that i'm not intuitively grasping what may be wrong with it.
seem to be gone, and it's an emergency. no headphones = no recording. or, for right now, no remastering. which basically means no reason to continue to exist.
i'm going to try and get them fixed, but if i can't then i may have to sell some gear to get new ones. having one pair of good headphones is more important than having two guitars.
hopefully, i can get them fixed, though. that means plans for a telephone and border clearance are going to have to be put on hold for another month, maybe two.
and that i'm going to have nothing to do but read for the next little bit. ugh.
i don't feel i'm at fault. i left them in a safe space, woke up, and caput.
there's two problems. one of the ear plugs is a little weak, but it hasn't been a problem lately. the larger problem has been at the base, which has been solved by spinning the jack around. it seems like it may be a contact problem inside the base, but i have to admit that i'm not intuitively grasping what may be wrong with it.
Wednesday, November 6, 2013
demo #22: screwed up
this was meant to be really catastrophic sounding, with fuzzed out guitars really saturating the sound. while it seems to exist in the same genre as other early post-rock bands that started off around the same time, it would actually be a few more years (mid '99) before i learned that the genre existed and was rapidly developing an audience. i point this out to avoid easily constructed misconceptions about where the sound in the track came from. while it's certainly happening in parallel to the developing post-rock sound, and is perhaps best categorized that way, i was not yet aware of it. i was still just an alt rock kid, at the time.
there were drums recorded, but i mixed them out because i found they added too much lift to the sound. the intended aesthetic was catastrophic: dreary, claustrophobic, hopelessly noisy. it's sort of meant to be a bit of a lucid experience, looking back at myself through a haze. who knows what an oobe actually sounds like, but this is a guess. so, the drums were just getting in the way of that. the absence of a rhythm may give the impression of slowing the track down, as well. headphones are a good idea to get the swirl and compression.
lyrically, this is actually one of a handful of songs that is explicitly related to feeling transgendered. you have to read into it a bit to get that. it could be about anything, really. but, gender issues are what it was *actually* about. that's not something i talked to anybody about for several more years. i was probably more of a dour realist then than i am now; by 16, i had actually resigned myself to the seemingly clear truth of there not being anything i could realistically do about it, except write mopey songs about feeling like i was living a lie.
recorded in march, 1997. remastered on nov 6, 2013.
there were drums recorded, but i mixed them out because i found they added too much lift to the sound. the intended aesthetic was catastrophic: dreary, claustrophobic, hopelessly noisy. it's sort of meant to be a bit of a lucid experience, looking back at myself through a haze. who knows what an oobe actually sounds like, but this is a guess. so, the drums were just getting in the way of that. the absence of a rhythm may give the impression of slowing the track down, as well. headphones are a good idea to get the swirl and compression.
lyrically, this is actually one of a handful of songs that is explicitly related to feeling transgendered. you have to read into it a bit to get that. it could be about anything, really. but, gender issues are what it was *actually* about. that's not something i talked to anybody about for several more years. i was probably more of a dour realist then than i am now; by 16, i had actually resigned myself to the seemingly clear truth of there not being anything i could realistically do about it, except write mopey songs about feeling like i was living a lie.
recorded in march, 1997. remastered on nov 6, 2013.
demo #21: circus
so, we all know what the most important thing that happened in the 90s was....
yes. oj. you were expecting this, admit it.
i feel that, despite the myriad of angles and analyses, the most important question of all was never asked: what would homer j simpson think about the trial of orenthal j simpson? this answers that question, by exploring the optics around the whole thing from the perspective of homer.
seriously.
ok, so maybe the oj trial wasn't actually a joke, but it certainly seemed like it was. and that's actually kind of what i'm trying to get across here. i watched far more cnn than the average 16 year-old (note the particularly egregious decision to rhyme "menendez brothers" with "unabomber"), but i was still mostly getting my news on the topic from conan. on that level? it was, in fact, a joke.
thinking back, we were all so ridiculously obsessed. the school (this is the second half of grade 10) actually arranged to have live televisions on every floor to broadcast the verdict. classes were suspended to watch, then cancelled to discuss. like, did that even happen for the fucking moon landing?
so, i'm sort of mocking the whole thing. yet, i'm also mocking the idea that it was somehow turning oj into some kind of role model. 'cause it definitely wasn't. well, unless, maybe, you think on roughly the level of homer j simpson.
i spent a lot of time trying to clean the audio on this up and eventually concluded that i can't do much besides boost the mids. if you listen closely, there's some neat guitar harmonies, but they're really buried and i just can't get them out. i don't remember most of the lyrics, exactly, and can't really make them out well.
there is a frank zappa sample at the beginning of the track.
recorded in march, 1997. remastered on nov 6, 2013.
yes. oj. you were expecting this, admit it.
i feel that, despite the myriad of angles and analyses, the most important question of all was never asked: what would homer j simpson think about the trial of orenthal j simpson? this answers that question, by exploring the optics around the whole thing from the perspective of homer.
seriously.
ok, so maybe the oj trial wasn't actually a joke, but it certainly seemed like it was. and that's actually kind of what i'm trying to get across here. i watched far more cnn than the average 16 year-old (note the particularly egregious decision to rhyme "menendez brothers" with "unabomber"), but i was still mostly getting my news on the topic from conan. on that level? it was, in fact, a joke.
thinking back, we were all so ridiculously obsessed. the school (this is the second half of grade 10) actually arranged to have live televisions on every floor to broadcast the verdict. classes were suspended to watch, then cancelled to discuss. like, did that even happen for the fucking moon landing?
so, i'm sort of mocking the whole thing. yet, i'm also mocking the idea that it was somehow turning oj into some kind of role model. 'cause it definitely wasn't. well, unless, maybe, you think on roughly the level of homer j simpson.
i spent a lot of time trying to clean the audio on this up and eventually concluded that i can't do much besides boost the mids. if you listen closely, there's some neat guitar harmonies, but they're really buried and i just can't get them out. i don't remember most of the lyrics, exactly, and can't really make them out well.
there is a frank zappa sample at the beginning of the track.
recorded in march, 1997. remastered on nov 6, 2013.
RE: point form update
From: the initial landlord
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
Jessica, I have just started this morning to read my e-mails since last week....sorry. I see your many e-mails. I will stop around this morning some time before noon to look at all the concerns.
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
Jessica, I have just started this morning to read my e-mails since last week....sorry. I see your many e-mails. I will stop around this morning some time before noon to look at all the concerns.
Tuesday, November 5, 2013
re: point form update
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
so, sorry, for (3) i was wondering if i should just go ahead with that or not...?
To: the initial landlord
so, sorry, for (3) i was wondering if i should just go ahead with that or not...?
point form update
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
hi.
sorry about those rambly emails. i'm a reading person, and sometimes forget that other people aren't. so, you wanted this in point form...
1) the handle is really unusable. my options are between ice cold and steaming hot showers. the point in the middle that would be normally chosen is the point where the shower turns off. i've realized that if i turn it just a tad to the hot side then there's just barely enough flow to have a hot shower, but it's a problem on two levels - (a) i'm really showering in little more than a trickle and (b) it really is ridiculously hot. and that's coming from somebody that likes unusually hot showers. if it's too hot for me, it's absurd! so, i'm wasting all kinds of hot water...
i guess i can take a look at it myself, if you want. i have no idea how it works, though, so i'd be fumbling around trying to figure it out...
2) the little bit of moisture on the ground seems to just be condensation, probably magnified by the ridiculous temperature. i think the caulking is a little weak at points and could probably benefit from a second run. but that's not imperative. the shower is *not* leaking right now.
3) to clarify about the windows - they seem ok. i don't think they need any work. but i'd like to put some plastic around them anyways. it could save you a bit on heating, but what i'm more interested in is locking the heat in to boost the air temperature, whether it makes a difference for the thermostat or not.
j
To: the initial landlord
hi.
sorry about those rambly emails. i'm a reading person, and sometimes forget that other people aren't. so, you wanted this in point form...
1) the handle is really unusable. my options are between ice cold and steaming hot showers. the point in the middle that would be normally chosen is the point where the shower turns off. i've realized that if i turn it just a tad to the hot side then there's just barely enough flow to have a hot shower, but it's a problem on two levels - (a) i'm really showering in little more than a trickle and (b) it really is ridiculously hot. and that's coming from somebody that likes unusually hot showers. if it's too hot for me, it's absurd! so, i'm wasting all kinds of hot water...
i guess i can take a look at it myself, if you want. i have no idea how it works, though, so i'd be fumbling around trying to figure it out...
2) the little bit of moisture on the ground seems to just be condensation, probably magnified by the ridiculous temperature. i think the caulking is a little weak at points and could probably benefit from a second run. but that's not imperative. the shower is *not* leaking right now.
3) to clarify about the windows - they seem ok. i don't think they need any work. but i'd like to put some plastic around them anyways. it could save you a bit on heating, but what i'm more interested in is locking the heat in to boost the air temperature, whether it makes a difference for the thermostat or not.
j
Fw: Neue Anfrage aus dem Sennheiser Kontaktcenter vom 2013-11-03 [##SVS-Web-SK]
From: sennheiser.ca
To: <death.to.koalas@gmail.com>
Thanks for writing.
Twenty years would be just about right.
There have been a number of successive generations to the 440 over the years, and if you're looking for an exact replacement, you'll be looking for a long time!
First: In that style range, there are no more supra-aural models. Doughnuts rule. The only supra-aural types are the more miniature 2** series. Pretty good headphones in their own right, but perhaps a bit petite for your requirements.
My recommendation, based on style, type and sound quality, not necessarily price or specs, would be HD 428 or HD 448. These are closed back models, as opposed to yours, but they acquit themselves well in overall sound. Wearing comfort and weight are about par.
If you need open style, you really have no choice but to move up to the 500 series. The 518 would make the most sense here. Quite a bit larger in style, these are considered *High End*.
All of this having been said,
Why not fix yours? You can get pads, you can get cables, you can't get capsules, but if they're still working, why ditch them? You know better than I do what shape they're in, but I'll put that out there.
(Interesting email address. Good thing I'm not a zoologist. My sister is, though.)
Kidding aside, need more info? Please let me know.
To: <death.to.koalas@gmail.com>
Thanks for writing.
Twenty years would be just about right.
There have been a number of successive generations to the 440 over the years, and if you're looking for an exact replacement, you'll be looking for a long time!
First: In that style range, there are no more supra-aural models. Doughnuts rule. The only supra-aural types are the more miniature 2** series. Pretty good headphones in their own right, but perhaps a bit petite for your requirements.
My recommendation, based on style, type and sound quality, not necessarily price or specs, would be HD 428 or HD 448. These are closed back models, as opposed to yours, but they acquit themselves well in overall sound. Wearing comfort and weight are about par.
If you need open style, you really have no choice but to move up to the 500 series. The 518 would make the most sense here. Quite a bit larger in style, these are considered *High End*.
All of this having been said,
Why not fix yours? You can get pads, you can get cables, you can't get capsules, but if they're still working, why ditch them? You know better than I do what shape they're in, but I'll put that out there.
(Interesting email address. Good thing I'm not a zoologist. My sister is, though.)
Kidding aside, need more info? Please let me know.
Monday, November 4, 2013
Sunday, November 3, 2013
demo #20: unintelligible
silly self-deprecating pop-punk-noise thing. musically, this is pretty tight. neat bassline. the percussion, i clearly remember, was tapped out onto a wood desk with two bic-style pens. try it. it's fun.
well, actually, i should add a few more words because it otherwise seems rather pointless.
i was at the time talking about starting a punk band with a friend of mine, named matt. there was actually a song recorded with matt on vocals and bass and myself on guitar (i can't remember the name of it, and don't have a copy of it). the name of the project was meant to be "second class citizens", with an acronym stylized as 2CC. nothing else came of it.
but i had initially written this song for that purpose and demoed it out to show him. that kind of explains why it's different than the other stuff on these early demos.
eventually, it became clear that the project wasn't developing, so i just added my own vocals. as the song was meant for matt to sing on, i didn't have any thematic concept attached to it. so, what i did was take random words out of the dictionary. it was honestly just a close-your-eyes-pick-a-page-pick-a-word process. then, i added the chorus in reaction to the random dictionary process.
....except the bridge. that's an nwa reference.
i guess you could maybe pull something accidentally insightful out of it regarding my view of lyrics in mainstream punk (or grunge) at the time. it could be interpreted as a parody, but i wasn't consciously thinking of it like that.
recorded in march, 1997. remastered on nov 3, 2013.
well, actually, i should add a few more words because it otherwise seems rather pointless.
i was at the time talking about starting a punk band with a friend of mine, named matt. there was actually a song recorded with matt on vocals and bass and myself on guitar (i can't remember the name of it, and don't have a copy of it). the name of the project was meant to be "second class citizens", with an acronym stylized as 2CC. nothing else came of it.
but i had initially written this song for that purpose and demoed it out to show him. that kind of explains why it's different than the other stuff on these early demos.
eventually, it became clear that the project wasn't developing, so i just added my own vocals. as the song was meant for matt to sing on, i didn't have any thematic concept attached to it. so, what i did was take random words out of the dictionary. it was honestly just a close-your-eyes-pick-a-page-pick-a-word process. then, i added the chorus in reaction to the random dictionary process.
....except the bridge. that's an nwa reference.
i guess you could maybe pull something accidentally insightful out of it regarding my view of lyrics in mainstream punk (or grunge) at the time. it could be interpreted as a parody, but i wasn't consciously thinking of it like that.
recorded in march, 1997. remastered on nov 3, 2013.
i wish you could hear how good these phones sound, though....
....i just compared them to a newer model of sennheisers i got last year and they're just not on the same level...
when i put the 440-IIs back on, all i could think was "why did i ever take them off?".
it was like taking a pair of ear plugs out.
like switching from grey-scale to colour.
like walking out of the city and taking a breathe of fresh air...
like, the way they're able to separate the fuzz guitar in the middle section of mountains made of steam so that it's directly harmonic to the guitar part is...it's almost impossible, really....there's *no* blur....
and, then when the bow comes in, i can clearly hear the buzz on the fucking string. spectacular!
i'm wondering if the model name is a coincidence or a hint.
something about these sennheisers, though, is that they don't have those big muffy ear pieces - and that's an asset, as i find they muffle. all the new phones come with all this noise cancelling stuff that fucks with the signal. no. i want clear, crisp, perfect reproduction...
about five or six years ago, i picked up a pair with some funny digital processing in them that reduces more or less to a boost on the high and low; it was meant to compensate for mp3 compression, and it did give the sound a nice boost through an mp3 player. but, they were impossible for mastering. that's what i'm trying to avoid.
but the market has changed. back in the 80s and 90s, people bought high-end headphones to listen to record player and cd player signals through high end amps. so the focus was on reproducing the signal exactly. that's sort of rare nowadays; the market now is for mp3 players, laptops, djs...
...and because the sources suck, the phones companies have come up with all these digital tricks to try and make their product sound better. basic reproduction is a niche market, now.
....i just compared them to a newer model of sennheisers i got last year and they're just not on the same level...
when i put the 440-IIs back on, all i could think was "why did i ever take them off?".
it was like taking a pair of ear plugs out.
like switching from grey-scale to colour.
like walking out of the city and taking a breathe of fresh air...
like, the way they're able to separate the fuzz guitar in the middle section of mountains made of steam so that it's directly harmonic to the guitar part is...it's almost impossible, really....there's *no* blur....
and, then when the bow comes in, i can clearly hear the buzz on the fucking string. spectacular!
i'm wondering if the model name is a coincidence or a hint.
something about these sennheisers, though, is that they don't have those big muffy ear pieces - and that's an asset, as i find they muffle. all the new phones come with all this noise cancelling stuff that fucks with the signal. no. i want clear, crisp, perfect reproduction...
about five or six years ago, i picked up a pair with some funny digital processing in them that reduces more or less to a boost on the high and low; it was meant to compensate for mp3 compression, and it did give the sound a nice boost through an mp3 player. but, they were impossible for mastering. that's what i'm trying to avoid.
but the market has changed. back in the 80s and 90s, people bought high-end headphones to listen to record player and cd player signals through high end amps. so the focus was on reproducing the signal exactly. that's sort of rare nowadays; the market now is for mp3 players, laptops, djs...
...and because the sources suck, the phones companies have come up with all these digital tricks to try and make their product sound better. basic reproduction is a niche market, now.
sent to sennheiser support (via online form)
sent to sennheiser support:
hi.
i've had a pair of hd 440-II's for about twenty years now. that's two thirds of my life. these 440-II's have followed me everywhere - from bus rides to high school in the 90s with a cassette player right into recording studios for mastering processes. every piece of music i've ever connected to or created has been heard through these phones.
after 20 years, they're getting a little shorted, and i feel it's time to replace them.
i would like to replace them with another set of 440-IIs. otherwise, the world would just sound entirely different. better specs, worse specs - it wouldn't matter. my recordings would all sound wrong; my favourite records would become alien. my universe would just implode in on itself...
yet, they appear to be discontinued. i am very distraught by this thought.
and, so, i have two questions:
1) do you have any hd 440-iis sitting around somewhere?
2) if not, what is the closest model?
if you end up answering (2), i would like to request that you take the time to run the question by some engineers that can answer it properly, rather than try and sell me on something. i'm not looking for the phones with the best specs, or the cheapest phones or any other such thing - i am looking for phones that can replace the 440-ii's with the least amount of variance.
thank you,
jessica
hi.
i've had a pair of hd 440-II's for about twenty years now. that's two thirds of my life. these 440-II's have followed me everywhere - from bus rides to high school in the 90s with a cassette player right into recording studios for mastering processes. every piece of music i've ever connected to or created has been heard through these phones.
after 20 years, they're getting a little shorted, and i feel it's time to replace them.
i would like to replace them with another set of 440-IIs. otherwise, the world would just sound entirely different. better specs, worse specs - it wouldn't matter. my recordings would all sound wrong; my favourite records would become alien. my universe would just implode in on itself...
yet, they appear to be discontinued. i am very distraught by this thought.
and, so, i have two questions:
1) do you have any hd 440-iis sitting around somewhere?
2) if not, what is the closest model?
if you end up answering (2), i would like to request that you take the time to run the question by some engineers that can answer it properly, rather than try and sell me on something. i'm not looking for the phones with the best specs, or the cheapest phones or any other such thing - i am looking for phones that can replace the 440-ii's with the least amount of variance.
thank you,
jessica
why does this model of headphones have to be discontinued? FUCK.
they're still kicking, somehow. but, they're dying a slow death and i need to replace them. i really, really, really want to replace them with the same model. even if i get something with drastically better specs, it's going to sound different, and it's going to throw me for a loop. these are literally the only headphones i've ever had to record with.
any headphone geeks out there reading this? suggestions for something that sounds similar? anybody happen to even have a pair?
sennheiser hd-440 IIs.
guess i'll look on ebay. but if you have a pair or know somebody that does....
they're still kicking, somehow. but, they're dying a slow death and i need to replace them. i really, really, really want to replace them with the same model. even if i get something with drastically better specs, it's going to sound different, and it's going to throw me for a loop. these are literally the only headphones i've ever had to record with.
any headphone geeks out there reading this? suggestions for something that sounds similar? anybody happen to even have a pair?
sennheiser hd-440 IIs.
guess i'll look on ebay. but if you have a pair or know somebody that does....
Saturday, November 2, 2013
an adventure
i was just sitting here, very late on a friday night, reading a book, and something sort of triggered your memory.
i don't know if anything ever triggers my memory, or if you've burned everything that might, or if that's even possible - if you can ever really contain the smoke that rises, phoenix-like.
this isn't meant to be a flowery email.
i just wanted to say that you and i need to go on another adventure one day, somewhere, somehow...
i think we will, once you can get out of that blasted orb...
j
i don't know if anything ever triggers my memory, or if you've burned everything that might, or if that's even possible - if you can ever really contain the smoke that rises, phoenix-like.
this isn't meant to be a flowery email.
i just wanted to say that you and i need to go on another adventure one day, somewhere, somehow...
i think we will, once you can get out of that blasted orb...
j
demo #19: confusion
continuing on with the theme of exploring mental illness, in this song i'm trying to get in the head of somebody who has difficulty controlling the penis and ends up resorting to self-mutilation. in a sense, it's a sarcastic allegory on the question of thinking with one's cock. in another sense, it's a transgendered teenager carrying out a sort of morbid fantasy.
musically, this is the first song-oriented keyboard-driven track in my discography. it's not the last one, but these tracks are relatively rare, coming from me. production wise, it's also a huge step forwards.
recorded in mar, 1997. remastered on nov 2, 2013.
musically, this is the first song-oriented keyboard-driven track in my discography. it's not the last one, but these tracks are relatively rare, coming from me. production wise, it's also a huge step forwards.
recorded in mar, 1997. remastered on nov 2, 2013.
Friday, November 1, 2013
demo #18: bipolarity
the idea here was to jump from the "super happy fun song" to a very dark ambient piece, thereby emulating a deep mood swing - and setting the tone for the rest of the demo. i think i pulled this off remarkably well, for a 16 year-old.
the super happy fun song consists of me playing the same guitar pattern through different patches on my zoom 1010 multieffects pedal - a spectacularly terrible all-in-one digital effects pedal, but the source of essentially all the effects on my first several demos. the super happy fun, though, doesn't quite feel genuine. it seems to become saturated and overtaken by it's own monotonous pretension, eventually imploding into itself....
the second half of this is my first attempt at effects-based ambient music. it's just a few simple patterns on the keyboard, and a lot of effects work. that's the 1010 again. nothing fancy. no computers.
i should point out that i had to sneak into my sister's room to use the keyboard (and her electric metronome).
recorded in march, 1997. remastered nov 1, 2013.
the super happy fun song consists of me playing the same guitar pattern through different patches on my zoom 1010 multieffects pedal - a spectacularly terrible all-in-one digital effects pedal, but the source of essentially all the effects on my first several demos. the super happy fun, though, doesn't quite feel genuine. it seems to become saturated and overtaken by it's own monotonous pretension, eventually imploding into itself....
the second half of this is my first attempt at effects-based ambient music. it's just a few simple patterns on the keyboard, and a lot of effects work. that's the 1010 again. nothing fancy. no computers.
i should point out that i had to sneak into my sister's room to use the keyboard (and her electric metronome).
recorded in march, 1997. remastered nov 1, 2013.
windows
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
hi again.
the windows aren't perfect, and i overheard the conversation you had about the people upstairs; i wouldn't ask for new windows. but, they do need to be weather-sealed. i'm happy to just go around with saran wrap, but i thought i'd ask if you have some other idea before i do that.
j
To: the initial landlord
hi again.
the windows aren't perfect, and i overheard the conversation you had about the people upstairs; i wouldn't ask for new windows. but, they do need to be weather-sealed. i'm happy to just go around with saran wrap, but i thought i'd ask if you have some other idea before i do that.
j
Thursday, October 31, 2013
Re: shower - success. i think. but the handle needs some attention.
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
also: there's a water coming from the ceiling in the bathroom tonight, and it's been raining again all day.
i don't know how it makes any sense, but everything seems to be random except the rain...
j
To: the initial landlord
also: there's a water coming from the ceiling in the bathroom tonight, and it's been raining again all day.
i don't know how it makes any sense, but everything seems to be random except the rain...
j
Re: shower - success. i think. but the handle needs some attention.
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
aaaaaaactually, i just checked a second time and the caulking may be a little bit weak right over the spot it was previously leaking. that could explain that bit of moisture.
j
To: the initial landlord
aaaaaaactually, i just checked a second time and the caulking may be a little bit weak right over the spot it was previously leaking. that could explain that bit of moisture.
j
shower - success. i think. but the handle needs some attention.
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
hi.
i just got out and i didn't notice any actual leaking.
i'm going to * this mildly, though. see, it's a little damp (very, very mildly) on the tile in the same spot as it was before. it doesn't seem to be leaking from the shower. i don't know if that's a reason to be concerned or if it's condensation from the wood ceiling or even just me dripping. i'll keep you updated, i guess.
i did notice some kind of little insect, though, as i was looking around. i've seen bugs around there before and just killed them. this one got away, though - and seemed to disappear into the concrete. i wasn't sure if it was an ant or a baby centipede. it was fast. is it possible that there could be some ants in the concrete causing the leak?
google suggests this is possible, but only if there are existing cracks in the concrete. i don't know. i know i saw something appear to disappear into the concrete.
*but i also know i see things sometimes and shouldn't rely too heavily on isolated experiences*. i was thinking about that being a possible problem, and that's when i tend to imagine things. it's actually reasonable to suggest that the reason i couldn't kill it is because i hallucinated it.
so, i guess i'll have to let you know if i see that a second time...
i have seen the odd ant in here, all in the living room near that little storage room, but i've lived in basements most of my life and know it's not really unusual to see what they call 'explorer ants' - even in brand new, finished basements. they're just looking around, and won't come back if there's nothing there to get. it's important to get them when you see them, but it's not necessarily a sign of infestation. the fact that i leave all my food in the fridge should dissuade them. the best way to avoid bugs is to not leave food out...
the handle, though, needs some kind of fix. i sort of assumed that you just had it oriented backwards, which i wouldn't care about, but it's worse than that. the way it was before was how you'd expect it to work - off when it's to the far right, then moving from cold to hot as you turn it to the left, reaching maximum flow somewhere about halfway. somehow, the blend between hot and cold seems to have been broken. *when you turn it to the left it's pure cold, and when you turn it to the right it's pure hot, with no way to blend the two*.
the way i got around that today was to rely on the amount of time it takes for the water to turn from cold to hot. so, i'd turn it really cold for a bit, then pull it back to a very low flow on the hot side and wash while i was waiting for it to warm up. then when it got too hot, i'd turn it back to cold and repeat.
but that's not just ridiculous, it's also really wasteful, and requires a very mild flow to be workable. i don't know how this works, and it doesn't really matter to me if it's lined up right (i don't care if hot means cold), but i think it's really important to get the blend of hot/cold working again so that the temperature is actually adjustable.
j
To: the initial landlord
hi.
i just got out and i didn't notice any actual leaking.
i'm going to * this mildly, though. see, it's a little damp (very, very mildly) on the tile in the same spot as it was before. it doesn't seem to be leaking from the shower. i don't know if that's a reason to be concerned or if it's condensation from the wood ceiling or even just me dripping. i'll keep you updated, i guess.
i did notice some kind of little insect, though, as i was looking around. i've seen bugs around there before and just killed them. this one got away, though - and seemed to disappear into the concrete. i wasn't sure if it was an ant or a baby centipede. it was fast. is it possible that there could be some ants in the concrete causing the leak?
google suggests this is possible, but only if there are existing cracks in the concrete. i don't know. i know i saw something appear to disappear into the concrete.
*but i also know i see things sometimes and shouldn't rely too heavily on isolated experiences*. i was thinking about that being a possible problem, and that's when i tend to imagine things. it's actually reasonable to suggest that the reason i couldn't kill it is because i hallucinated it.
so, i guess i'll have to let you know if i see that a second time...
i have seen the odd ant in here, all in the living room near that little storage room, but i've lived in basements most of my life and know it's not really unusual to see what they call 'explorer ants' - even in brand new, finished basements. they're just looking around, and won't come back if there's nothing there to get. it's important to get them when you see them, but it's not necessarily a sign of infestation. the fact that i leave all my food in the fridge should dissuade them. the best way to avoid bugs is to not leave food out...
the handle, though, needs some kind of fix. i sort of assumed that you just had it oriented backwards, which i wouldn't care about, but it's worse than that. the way it was before was how you'd expect it to work - off when it's to the far right, then moving from cold to hot as you turn it to the left, reaching maximum flow somewhere about halfway. somehow, the blend between hot and cold seems to have been broken. *when you turn it to the left it's pure cold, and when you turn it to the right it's pure hot, with no way to blend the two*.
the way i got around that today was to rely on the amount of time it takes for the water to turn from cold to hot. so, i'd turn it really cold for a bit, then pull it back to a very low flow on the hot side and wash while i was waiting for it to warm up. then when it got too hot, i'd turn it back to cold and repeat.
but that's not just ridiculous, it's also really wasteful, and requires a very mild flow to be workable. i don't know how this works, and it doesn't really matter to me if it's lined up right (i don't care if hot means cold), but i think it's really important to get the blend of hot/cold working again so that the temperature is actually adjustable.
j
Wednesday, October 30, 2013
record runner valued customer card
i also found a debit card for steves that has roughly $50 on it, iirc.
remastered inri000 re-release completed
these are the first demos i recorded, written 1994-1996 and recorded in the second half of 1996. this corresponds to the end of my 15th year and the beginning of my grade 10 school year. on the one hand, it's an intriguing document of a socially maladjusted teenage punk. on the other hand, it's a 15 year-old kid learning how to use a recording studio (and how to play the drums). influences are displayed on my sleeve just a little too loudly at times.
i was attempting to create something that could be described by the words disturbing, schizophrenic, unique, bizarre, twisted. looking back, i think i succeeded more than i realized at the time. this is a difficult listen that would be appealing to fans of very early nirvana, very early sonic youth and soundtrack-era swans, as well as fans of the more difficult passages present in mid-90s nine inch nails. i manage to maintain a strange sense of melody, though. in truth, my current adult self is somewhat impressed with my teenaged self at this current point.
that being said, it should not be forgotten that i was fifteen. i am at times rather crude, and i display a childlike understanding of certain issues. most poetry written at the age of fifteen is not particularly insightful. again, though, i surprise myself at points.
this is the first time i'm publishing these demos in any form. i've remained frighteningly self-conscious of them over the years. over the last seventeen years, the audience has been limited to a single friend, an aunt, a sister and an ex-girlfriend. initial reactions suggested i take some time to perfect my performance skills, particularly my drumming skills. however, this indicated a lack of understanding of my intent in the overall sound. the playing is quite purposefully abstract with the aim of exploring mental illness.
the demos were initially dub-mastered onto a 110 minute tape that would have flipped after the eighth track. that tape was at some point recorded into a soundblaster and compressed very heavily; this is the only source of the material that i still have. so, i had to decompress the files from those 128 (or worse) kbps mp3s and run them through some digital mastering equipment in an attempt to "undo" the compression. what that is is a half-effective trick to recover data that is in actuality forever lost. nonetheless, i should point out that while these files were recorded entirely in 1996, they were substantially digitally modified in late 2013. as always, please use headphones.
credits:
j - guitars, effects, bass, drums, vocals, keyboards, tapes, sounds, percussion, production.
released December 25, 1996
i was attempting to create something that could be described by the words disturbing, schizophrenic, unique, bizarre, twisted. looking back, i think i succeeded more than i realized at the time. this is a difficult listen that would be appealing to fans of very early nirvana, very early sonic youth and soundtrack-era swans, as well as fans of the more difficult passages present in mid-90s nine inch nails. i manage to maintain a strange sense of melody, though. in truth, my current adult self is somewhat impressed with my teenaged self at this current point.
that being said, it should not be forgotten that i was fifteen. i am at times rather crude, and i display a childlike understanding of certain issues. most poetry written at the age of fifteen is not particularly insightful. again, though, i surprise myself at points.
this is the first time i'm publishing these demos in any form. i've remained frighteningly self-conscious of them over the years. over the last seventeen years, the audience has been limited to a single friend, an aunt, a sister and an ex-girlfriend. initial reactions suggested i take some time to perfect my performance skills, particularly my drumming skills. however, this indicated a lack of understanding of my intent in the overall sound. the playing is quite purposefully abstract with the aim of exploring mental illness.
the demos were initially dub-mastered onto a 110 minute tape that would have flipped after the eighth track. that tape was at some point recorded into a soundblaster and compressed very heavily; this is the only source of the material that i still have. so, i had to decompress the files from those 128 (or worse) kbps mp3s and run them through some digital mastering equipment in an attempt to "undo" the compression. what that is is a half-effective trick to recover data that is in actuality forever lost. nonetheless, i should point out that while these files were recorded entirely in 1996, they were substantially digitally modified in late 2013. as always, please use headphones.
credits:
j - guitars, effects, bass, drums, vocals, keyboards, tapes, sounds, percussion, production.
released December 25, 1996
demo #17: suicide
the second part of the two part suite that ends this mess.
it's probably predictable that i ended with a song about suicide. i had to fast forward a section, though, because i don't want to get sued. it remains legally sketchy in a way i'm very self-conscious of.
i guess there's been a lot written about this, and it was a long time ago. that being said, maybe this is interesting in the sense that it's one kid's reaction to it - albeit a few years later, so there was a bit of time to process it.
recorded in december, 1996. remastered on october 30, 2013.
it's probably predictable that i ended with a song about suicide. i had to fast forward a section, though, because i don't want to get sued. it remains legally sketchy in a way i'm very self-conscious of.
i guess there's been a lot written about this, and it was a long time ago. that being said, maybe this is interesting in the sense that it's one kid's reaction to it - albeit a few years later, so there was a bit of time to process it.
recorded in december, 1996. remastered on october 30, 2013.
demo #16: viewless
this is the first section of a two-part suite that ends this demo tape.
i was simply being incredibly facetious through the track, to the level that i think my point got lost in the sarcasm. ignored youth, and whatnot; not the tv, so therefore not worth listening to.
musically, this is a bit of a step forward into a bigger type of epic rock. the production is awful; i corrected that when i re-recorded it. the tape, here, gets mangled and blurry at points entirely on purpose.
recorded in december, 1996. remastered oct 30, 2013.
i was simply being incredibly facetious through the track, to the level that i think my point got lost in the sarcasm. ignored youth, and whatnot; not the tv, so therefore not worth listening to.
musically, this is a bit of a step forward into a bigger type of epic rock. the production is awful; i corrected that when i re-recorded it. the tape, here, gets mangled and blurry at points entirely on purpose.
recorded in december, 1996. remastered oct 30, 2013.
Tuesday, October 29, 2013
listening to lee ranaldo's last night on earth...
this may be a little out of fashion right now, but maybe that's exactly why it's so refreshing to hear.
Monday, October 28, 2013
on the death of lou reed
well, that's a shame.
i'm not much of a fan. i don't really see how the velvet underground were, sonically, that different than the byrds. i don't hear the novelty, i just hear rather substandard mid-60s hippie folk bullshit. nor was i able to connect with reed's later music or writing very well - it just moved so slowly, and with such pomp. really, i'd consider him to probably - bar none - be the single most over-rated artist of the 20th century.
however, i can hear and acknowledge the direct and substantial influence he had on a large proportion of the artists that i hold in the absolute highest regard. michael stipe. sonic youth. swans. throbbing gristle. peter gabriel.
i guess he's like that distant grandfather that you only met a few times and didn't really connect with, but that you heard stories about your whole life. i may not feel his absence, but i think i can feel his departure - whether actually or merely as a symbolic date, an era very seriously just ended.
http://www.chicagotribune.com/news/chi-lou-reed-dead-20131027,0,4221650.story
i'll acknowledge that part of it is a generation gap. i'm so far removed from the 60s pop sound that....it's just entirely alien. i have no first hand experience. neither of my parents listened to this stuff. nor did my grandparents. it was something i'd seen in movies, and never had much of an attachment to.
so, the subtle and supposedly revolutionary differences that existed between the byrds and the vu are just glossed over as minor production differences, which is in truth what they actually are; the velvet underground are only radically different from the byrds if you've been living a reality saturated with byrds-like pop, mass produced as a product, for the last five+ years. if you have no measurable consciousness of anything at all until 15 years after they broke up, and no reference point to approach the era with, the vu and the byrds seem to be remarkably similar.
certainly, the velvet underground seem to have more in common with the byrds than they do with any punk band.
i've tried. a few times. but in the sense that it acts as a precursor to 70s, 80s, 90s acts i like, it fails because it's far more rooted in an era that i don't remotely understand - the 60s - than it is in anything that i do.
i guess it's sort of ironic. you put on an old beatles or hendrix or floyd or crimson record and it still sounds modern. it could have been recorded last week. however, you put on the velvet underground and you're instantly transported to 1966. it is far more tied to it's temporal surroundings than any of the other major, influential acts of the period.
influential or not, they sound far more like their era than they do like anything that followed - meaning that you have to understand and/or like 60s hippie folk pop in order to connect.
...and that it should be understood more in relation to what existed around it, which is what it was in truth a part of, rather than in relation to what followed from it, which it in truth was not a part of.
to put it another way...
the vu are often understood in terms of what they were reacting against. in order to really understand a reaction, you have to understand the whatever that's being reacted against. that's the part of the whole thing that falls apart and that i suspect may fall apart for most people in the long run. i was never normalized to the byrds, the mamas and the papas, the animals and whatnot (i was normalized to the beatles, the who, the pink floyd, frank zappa, led zeppelin, cream, hendrix, king crimson, yes, genesis... ), so the jump from normal to abnormal is entirely lost on me - it just all sounds the same.
but that inherently links them to the 60s, and seals their fate as a "60s folk band" rather than some kind of proto-punk act.
zappa is not a bad comparison as he did the same thing to heavy blues on some level. a flower child may not really hear the difference between zappa and zeppelin, but somebody that likes "progressive music" would instantly.
i'm just showing my ignorance, right? why don't i go listen to those old byrds records over and over so that i can understand them properly so that i can react to the velvet underground properly? if i had any respect for the classics....
but, can't you see that i'd be intimately familiar with those byrds records if they had any legitimate claim to being labelled classics?
so, why should i go listen to bad pop music from an era that ended before i was born in order to properly understand the reactions to it?
see, these are some of the problems inherent in canonizing the velvets. i don't think the music holds up on it's own, and the context is too convoluted to reconstruct. the canonization is premature; within a generation, they will be forgotten.
well, maybe not forgotten entirely, but reduced to a footnote as an influence on more radically creative music.
just to point a last thing out - a lot of the things that the vu get credit for were actually done by pink floyd first, or borrowed from people like reich and xenakis. i don't doubt that the velvets were directly influential. but even if you strip out the "it really just sounds like a byrds 8-track that got warped in somebody's car" criticism, there's *still* not much novel there....
it's really floyd that gets the "first underground rock band" award. and if you've never heard early floyd from this period, you probably wouldn't recognize it.
this is a taste, afaik the only thing that ever made it out to record.
(note that floyd would cite zappa, who would cite varese. but also that there was a fair bit of free jazz produced in the period.
i know, i'm missing the point, it's the lyrics.)
ok. to be balanced. and to backtrack to the "official narrative" of the velvets influencing punk. it's convoluted. i think it should be largely rejected, except in the local scope of the velvets influencing the new york "downtown" scene.
see, you can give the velvets and their members some credit for helping form a bridge between the beat movement and what got labelled the new york punk movement, although it's never been clear to me exactly what new york "punk" had in common with british punk or detroit "proto-punk". don't get me wrong. i like a lot of bands that came out of new york in the mid to late 70s, although maybe more so the stuff that came out in the very late 70s and early 80s. if you toss out the stuff like the ramones, new york "punk" was always very consciously difficult in whatever form it took. that makes it rather unpunk, relative to the initial british meaning of the term.
it's not like i'm the first person to draw a contrast between british and american punk. but it's less pronounced if you're discussing the ramones v. the clash, or the damned, or the sex pistols. there are a lot of similarities there. but going a little under the surface, if you try and draw a comparison between patti smith or television and crass then it's clear you're not in the same genre anymore. "punk", in this context, becomes a sort of buzzword without meaning. the new york "punk" scene, in this context, is hard to understand as anything other than an art rock scene grasping onto a trendy term. but, it was an art rock scene in an artistically dead society; in england, it was more like over-stimulation. so it's not just different genres, but reactions to fundamentally different pressures. in time, ironically, it was the new york sound that dominated london (see joy division), while the uk sound got shipped out to california.
see, if punk in britain was a mod movement about rejecting prog and getting back to the basics of rock then new york was a different thing altogether, partly because prog wasn't as entrenched in the united states. instead, you had disco. and new york punk was definitely explicitly anti-disco. so, there was a shared sort of theme there, but very different in scope. in new york, it almost seemed like there was a push to become *more* prog in rejecting the vacuousness of disco - which became post-punk/industrial - after it accepted a shared theme of beat-driven music *from* disco. yet, a lot of the early new york bands were more a type of art-rock, and it's that art-rock that eventually developed into what became alt rock through the influence of new york "punk" bands like sonic youth.
(although sonic youth is the exception, here. they were initially punk as fuck, even if they were clearly influenced by psych rock and maybe, in the end, became a psych band.)
all that to say that there's a continuity from ginsberg through to ranaldo that passes through lou reed, and that the velvets had a role to play in keeping that "downtown scene" alive during those dark days when disco dominated. but it's a relatively minor role - a curator role.
but, yeah. i like this. you can quote me on it.
"the banana record? yeah, it sounds like somebody took a byrds 8-track and left it out in the sun."
i know, i know - “i think there was a lot of elegance in the lyrics he wrote.”
yeah, i'm familiar with the material, and i know that's what people get out of it. and i've been inspired by a lot of people that he inspired, so i'm getting a lot out of it second hand. i cited stipe and ranaldo specifically.
it just seems to me like he's writing from behind this sort of dramatic screen that exists, that he's presenting very carefully worded works of fiction and passing them off as experiences. it's not just him, i have this criticism of a lot of folk music. it seems like it's an act, in other words. well, of course it's an act, on some level - all art is, and if i was walking around rejecting everything on that level i'd be rejecting all art, which i'm not doing. it's just that, with him, it seems really transparent. so, you're claiming it's honest and naked and whatnot, but what it strikes me as is very produced to *seem* honest and naked and whatnot. which is sort of the definition of contrived.
i'm kind of arguing in the form of a conspiracy, though. the more evidence you present that it's raw, the more contrived it's going to seem. but, isn't it a conspiracy, seriously, when you really analyze it?
i'm getting kind of meta and confusing, but i think what i'm trying to get across there is clear.
i guess relating to it sort of relies on giving in to the fantasy, and ignoring the truth that it's an act. which i'm not usually able to do.
“i think a lot of his lyrics are really personal.”
well, if you work in the warhol perspective, which is deeply relevant in reed's case, it sort of cheapens it by reducing it to a product. it doesn't help that he's so deadpan all the time - it just sort of stresses the feeling that it's constructed.
”maybe his lyrics don't seem lived in because they're often observational and in the third person.”
i think it's more his presentation, but, putting that question aside, i don't generally find myself at all interested in the subjects he's exploring, either, which is more of a subjective criticism. but i have a general disinterest in music that's focused largely around discussing relationships or largely focused around drug addiction. if i were to name my 100 favourite artists or something, almost none of them would be that type of songwriter or exist in the singer/songwriter/folk kind of category. i could probably ignore the deadpan, perceived lack of sincerity and generally not particularly interesting music if i could relate to his topics of choice a little more readily. when i look at what he influenced that i can relate to, it's often more in the writing style than the subject matter. stipe, for example is quite political; ranaldo is very introspective. stuff like swans and throbbing gristle took the nihilist themes to a different level, and inserted the emotion that reed tends to lack...
i'm not much of a fan. i don't really see how the velvet underground were, sonically, that different than the byrds. i don't hear the novelty, i just hear rather substandard mid-60s hippie folk bullshit. nor was i able to connect with reed's later music or writing very well - it just moved so slowly, and with such pomp. really, i'd consider him to probably - bar none - be the single most over-rated artist of the 20th century.
however, i can hear and acknowledge the direct and substantial influence he had on a large proportion of the artists that i hold in the absolute highest regard. michael stipe. sonic youth. swans. throbbing gristle. peter gabriel.
i guess he's like that distant grandfather that you only met a few times and didn't really connect with, but that you heard stories about your whole life. i may not feel his absence, but i think i can feel his departure - whether actually or merely as a symbolic date, an era very seriously just ended.
http://www.chicagotribune.com/news/chi-lou-reed-dead-20131027,0,4221650.story
i'll acknowledge that part of it is a generation gap. i'm so far removed from the 60s pop sound that....it's just entirely alien. i have no first hand experience. neither of my parents listened to this stuff. nor did my grandparents. it was something i'd seen in movies, and never had much of an attachment to.
so, the subtle and supposedly revolutionary differences that existed between the byrds and the vu are just glossed over as minor production differences, which is in truth what they actually are; the velvet underground are only radically different from the byrds if you've been living a reality saturated with byrds-like pop, mass produced as a product, for the last five+ years. if you have no measurable consciousness of anything at all until 15 years after they broke up, and no reference point to approach the era with, the vu and the byrds seem to be remarkably similar.
certainly, the velvet underground seem to have more in common with the byrds than they do with any punk band.
i've tried. a few times. but in the sense that it acts as a precursor to 70s, 80s, 90s acts i like, it fails because it's far more rooted in an era that i don't remotely understand - the 60s - than it is in anything that i do.
i guess it's sort of ironic. you put on an old beatles or hendrix or floyd or crimson record and it still sounds modern. it could have been recorded last week. however, you put on the velvet underground and you're instantly transported to 1966. it is far more tied to it's temporal surroundings than any of the other major, influential acts of the period.
influential or not, they sound far more like their era than they do like anything that followed - meaning that you have to understand and/or like 60s hippie folk pop in order to connect.
...and that it should be understood more in relation to what existed around it, which is what it was in truth a part of, rather than in relation to what followed from it, which it in truth was not a part of.
to put it another way...
the vu are often understood in terms of what they were reacting against. in order to really understand a reaction, you have to understand the whatever that's being reacted against. that's the part of the whole thing that falls apart and that i suspect may fall apart for most people in the long run. i was never normalized to the byrds, the mamas and the papas, the animals and whatnot (i was normalized to the beatles, the who, the pink floyd, frank zappa, led zeppelin, cream, hendrix, king crimson, yes, genesis... ), so the jump from normal to abnormal is entirely lost on me - it just all sounds the same.
but that inherently links them to the 60s, and seals their fate as a "60s folk band" rather than some kind of proto-punk act.
zappa is not a bad comparison as he did the same thing to heavy blues on some level. a flower child may not really hear the difference between zappa and zeppelin, but somebody that likes "progressive music" would instantly.
i'm just showing my ignorance, right? why don't i go listen to those old byrds records over and over so that i can understand them properly so that i can react to the velvet underground properly? if i had any respect for the classics....
but, can't you see that i'd be intimately familiar with those byrds records if they had any legitimate claim to being labelled classics?
so, why should i go listen to bad pop music from an era that ended before i was born in order to properly understand the reactions to it?
see, these are some of the problems inherent in canonizing the velvets. i don't think the music holds up on it's own, and the context is too convoluted to reconstruct. the canonization is premature; within a generation, they will be forgotten.
well, maybe not forgotten entirely, but reduced to a footnote as an influence on more radically creative music.
just to point a last thing out - a lot of the things that the vu get credit for were actually done by pink floyd first, or borrowed from people like reich and xenakis. i don't doubt that the velvets were directly influential. but even if you strip out the "it really just sounds like a byrds 8-track that got warped in somebody's car" criticism, there's *still* not much novel there....
it's really floyd that gets the "first underground rock band" award. and if you've never heard early floyd from this period, you probably wouldn't recognize it.
this is a taste, afaik the only thing that ever made it out to record.
(note that floyd would cite zappa, who would cite varese. but also that there was a fair bit of free jazz produced in the period.
i know, i'm missing the point, it's the lyrics.)
ok. to be balanced. and to backtrack to the "official narrative" of the velvets influencing punk. it's convoluted. i think it should be largely rejected, except in the local scope of the velvets influencing the new york "downtown" scene.
see, you can give the velvets and their members some credit for helping form a bridge between the beat movement and what got labelled the new york punk movement, although it's never been clear to me exactly what new york "punk" had in common with british punk or detroit "proto-punk". don't get me wrong. i like a lot of bands that came out of new york in the mid to late 70s, although maybe more so the stuff that came out in the very late 70s and early 80s. if you toss out the stuff like the ramones, new york "punk" was always very consciously difficult in whatever form it took. that makes it rather unpunk, relative to the initial british meaning of the term.
it's not like i'm the first person to draw a contrast between british and american punk. but it's less pronounced if you're discussing the ramones v. the clash, or the damned, or the sex pistols. there are a lot of similarities there. but going a little under the surface, if you try and draw a comparison between patti smith or television and crass then it's clear you're not in the same genre anymore. "punk", in this context, becomes a sort of buzzword without meaning. the new york "punk" scene, in this context, is hard to understand as anything other than an art rock scene grasping onto a trendy term. but, it was an art rock scene in an artistically dead society; in england, it was more like over-stimulation. so it's not just different genres, but reactions to fundamentally different pressures. in time, ironically, it was the new york sound that dominated london (see joy division), while the uk sound got shipped out to california.
see, if punk in britain was a mod movement about rejecting prog and getting back to the basics of rock then new york was a different thing altogether, partly because prog wasn't as entrenched in the united states. instead, you had disco. and new york punk was definitely explicitly anti-disco. so, there was a shared sort of theme there, but very different in scope. in new york, it almost seemed like there was a push to become *more* prog in rejecting the vacuousness of disco - which became post-punk/industrial - after it accepted a shared theme of beat-driven music *from* disco. yet, a lot of the early new york bands were more a type of art-rock, and it's that art-rock that eventually developed into what became alt rock through the influence of new york "punk" bands like sonic youth.
(although sonic youth is the exception, here. they were initially punk as fuck, even if they were clearly influenced by psych rock and maybe, in the end, became a psych band.)
all that to say that there's a continuity from ginsberg through to ranaldo that passes through lou reed, and that the velvets had a role to play in keeping that "downtown scene" alive during those dark days when disco dominated. but it's a relatively minor role - a curator role.
but, yeah. i like this. you can quote me on it.
"the banana record? yeah, it sounds like somebody took a byrds 8-track and left it out in the sun."
i know, i know - “i think there was a lot of elegance in the lyrics he wrote.”
yeah, i'm familiar with the material, and i know that's what people get out of it. and i've been inspired by a lot of people that he inspired, so i'm getting a lot out of it second hand. i cited stipe and ranaldo specifically.
it just seems to me like he's writing from behind this sort of dramatic screen that exists, that he's presenting very carefully worded works of fiction and passing them off as experiences. it's not just him, i have this criticism of a lot of folk music. it seems like it's an act, in other words. well, of course it's an act, on some level - all art is, and if i was walking around rejecting everything on that level i'd be rejecting all art, which i'm not doing. it's just that, with him, it seems really transparent. so, you're claiming it's honest and naked and whatnot, but what it strikes me as is very produced to *seem* honest and naked and whatnot. which is sort of the definition of contrived.
i'm kind of arguing in the form of a conspiracy, though. the more evidence you present that it's raw, the more contrived it's going to seem. but, isn't it a conspiracy, seriously, when you really analyze it?
i'm getting kind of meta and confusing, but i think what i'm trying to get across there is clear.
i guess relating to it sort of relies on giving in to the fantasy, and ignoring the truth that it's an act. which i'm not usually able to do.
“i think a lot of his lyrics are really personal.”
well, if you work in the warhol perspective, which is deeply relevant in reed's case, it sort of cheapens it by reducing it to a product. it doesn't help that he's so deadpan all the time - it just sort of stresses the feeling that it's constructed.
”maybe his lyrics don't seem lived in because they're often observational and in the third person.”
i think it's more his presentation, but, putting that question aside, i don't generally find myself at all interested in the subjects he's exploring, either, which is more of a subjective criticism. but i have a general disinterest in music that's focused largely around discussing relationships or largely focused around drug addiction. if i were to name my 100 favourite artists or something, almost none of them would be that type of songwriter or exist in the singer/songwriter/folk kind of category. i could probably ignore the deadpan, perceived lack of sincerity and generally not particularly interesting music if i could relate to his topics of choice a little more readily. when i look at what he influenced that i can relate to, it's often more in the writing style than the subject matter. stipe, for example is quite political; ranaldo is very introspective. stuff like swans and throbbing gristle took the nihilist themes to a different level, and inserted the emotion that reed tends to lack...
Saturday, October 26, 2013
demo #15: permission
see, i was never very rebellious. no, honestly, i wasn't. i just sort of didn't care. it was really never a question of rebelling against authority because the mere idea of authority was clearly preposterous. so, it was sort of more like i found myself laughing at the idea that other people thought they had some kind of "authority" over me....even as i found myself in logical agreement with those supposed "authorities" 95 times out of 100.....
i probably would have rebelled a little harder if my upbringing was more strict. it wasn't, though. authority was just something that never really existed, except as a rough set of largely rational suggestions.
you know those charlie brown episodes where adults are all squeaky and weird sounding? that's what i was thinking. although, again, the downward spiral appears as an embarrassingly strong influence. it's sort of ironic to write a song like this based on lines from some other person's songs. thankfully, we don't need to rely on the ingenuity of teenagers to keep the world spinning.
the backing vocals are my little sister. she was pretty little at the time, too. 12, even. also ironic: i told her what to do and what to say. i at least got *that* irony at the time, though.
i still like the bridge section, though.
recorded in december, 1996. remastered on oct 26, 2013.
i probably would have rebelled a little harder if my upbringing was more strict. it wasn't, though. authority was just something that never really existed, except as a rough set of largely rational suggestions.
you know those charlie brown episodes where adults are all squeaky and weird sounding? that's what i was thinking. although, again, the downward spiral appears as an embarrassingly strong influence. it's sort of ironic to write a song like this based on lines from some other person's songs. thankfully, we don't need to rely on the ingenuity of teenagers to keep the world spinning.
the backing vocals are my little sister. she was pretty little at the time, too. 12, even. also ironic: i told her what to do and what to say. i at least got *that* irony at the time, though.
i still like the bridge section, though.
recorded in december, 1996. remastered on oct 26, 2013.
Friday, October 25, 2013
first night out in windsor...
a few stories to tell. right now? glad i'm at home, in relative safety.
something i learned tonight is that, in windsor, start time means door time. so, showing up an hour after the time on the poster still means waiting over an hour for the show.
in ottawa, we have le cafe de kcuf. in windsor, we have the phog lounge. variations on the same theme. not dissimilar atmospheres.
waiting forever means too many spiked coffees...
at least the music for the wait was alright. meat puppets. mbv. sonic youth. and perhaps it was fitting that the first band started right as 'the sprawl' finished, given my thoughts on this new area to explore.
silent movie type were catchy, noisy and dissonant. not much that's novel, here. but i like the genre. and their record up on bandcamp is pretty good.
they closed the show with a cover of breed, which was sort of nice to hear. i scattered quickly to another show down the street....
there was a band in the 90s called 'man, or astroman?'. this machine kills robots are eerily similar to that band. in every way. 'cept they're not quite as good.
i wish i would have got to see man or astroman?, actually...
actually, i'm going to choose to not tell the stories i was going to tell. there's certain adjustments i'm going to have to make to living in a smaller city. i think this is one of them.
i couldn't quickly find audio for the second band, worry. it's a hard name to google. the audience they attracted seemed to enjoy faux moshing to it, but it was pretty generic hipster music. the hipster genre du jour is something called 'doom', which is a type of heavy grunge that incorporates screamed vocals into it. i'll give this band a tad bit of credit because the drummer was a bit more interesting in a weird sort of way; he was all agent orange while the rest of the band was all sleep. but, at best the result was 'crust', and crust is rarely worth listening to.
extra annoyance: no human could decipher those vocals.
famines, on the other hand, were excellent. it's a shame the place cleared out before they came on. i've seen this before, where local bands take over shows for touring acts and the place clears out when the locals are done. it's just bad research. extra head-scratching is the fact that there was a band down the street that would have brought in the proper audience. i took the walk, but...
famines is dance-punk done right in the after-punk era: rambunctious, hyperactive and entirely bipolar when it needs to be. bonus: moderately intelligent lyrics.
the walk home was a little surreal. i was drunk enough to slur my speech, but not tipsy or in any threat of passing out. cop cars on every corner...
well, there's been some issues in windsor of late. a pretty teenager disappeared (they found a body in the river and will id it this afternoon). there was a gang related stabbing downtown that involved something like ten people. fires. robberies.
that's not the reason the cops are actually there, though. they've been brought in by the bia due to concern about property damage. there was a press release. people are getting stabbed and abducted and arsons are raging across the city and the police department is being driven by a concern about broken windows (to my knowledge, there haven't actually been any broken windows).
regardless, it might be the first time i was happy to see some cop cars. i was a little uneasy walking home, and knew i would be. recent spate of violent crime aside, i'm in a city i don't know very well. and it was well after midnight.
getting out of the downtown core, i noticed a van was following me. it was turning into side streets, u-turning.....eventually it stopped down the street. i crossed the road. it pulled one last u-turn and zoomed off...
the night person at the quickie suggested that the driver may have mistaken me for a prostitute. apparently, a lot of people work up that strip. it's not the first time i've been mistaken, but it usually happens in the summer when i'm minimally clothed. tonight, my make-up was fairly light, and i was wearing my kurt cobain sweater (or at least the sweater that i think of as my kurt cobain sweater). i can't see how i was drawing attention to myself. but maybe it doesn't really matter if i was or wasn't drawing attention to myself.
i also started wondering about a few things walking back. i'm a new addition to the area. change always breeds uncertainty. my largest concern is actually that local criminals might think i'm a cop. i don't have anything for them, especially if i'm walking rather than biking. but the inevitable question is no doubt: what is this nut doing walking alone down the road at midnight? is she really impossibly oblivious to her own safety? if not, who is she working for? etc.
i sort of decided that i just have to keep going out at night regularly in order to create a comfort level. to normalize the locals to my existence. i'm not going to live in fear. it's not in my dna. if they get used to me, i'll begin to blend in. like a squirrel...
getting inside the door was a relief, though. more so than i've ever experienced.
....and, now for zesty cheese....
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2013/10/24.html
something i learned tonight is that, in windsor, start time means door time. so, showing up an hour after the time on the poster still means waiting over an hour for the show.
in ottawa, we have le cafe de kcuf. in windsor, we have the phog lounge. variations on the same theme. not dissimilar atmospheres.
waiting forever means too many spiked coffees...
at least the music for the wait was alright. meat puppets. mbv. sonic youth. and perhaps it was fitting that the first band started right as 'the sprawl' finished, given my thoughts on this new area to explore.
silent movie type were catchy, noisy and dissonant. not much that's novel, here. but i like the genre. and their record up on bandcamp is pretty good.
they closed the show with a cover of breed, which was sort of nice to hear. i scattered quickly to another show down the street....
there was a band in the 90s called 'man, or astroman?'. this machine kills robots are eerily similar to that band. in every way. 'cept they're not quite as good.
i wish i would have got to see man or astroman?, actually...
actually, i'm going to choose to not tell the stories i was going to tell. there's certain adjustments i'm going to have to make to living in a smaller city. i think this is one of them.
i couldn't quickly find audio for the second band, worry. it's a hard name to google. the audience they attracted seemed to enjoy faux moshing to it, but it was pretty generic hipster music. the hipster genre du jour is something called 'doom', which is a type of heavy grunge that incorporates screamed vocals into it. i'll give this band a tad bit of credit because the drummer was a bit more interesting in a weird sort of way; he was all agent orange while the rest of the band was all sleep. but, at best the result was 'crust', and crust is rarely worth listening to.
extra annoyance: no human could decipher those vocals.
famines, on the other hand, were excellent. it's a shame the place cleared out before they came on. i've seen this before, where local bands take over shows for touring acts and the place clears out when the locals are done. it's just bad research. extra head-scratching is the fact that there was a band down the street that would have brought in the proper audience. i took the walk, but...
famines is dance-punk done right in the after-punk era: rambunctious, hyperactive and entirely bipolar when it needs to be. bonus: moderately intelligent lyrics.
the walk home was a little surreal. i was drunk enough to slur my speech, but not tipsy or in any threat of passing out. cop cars on every corner...
well, there's been some issues in windsor of late. a pretty teenager disappeared (they found a body in the river and will id it this afternoon). there was a gang related stabbing downtown that involved something like ten people. fires. robberies.
that's not the reason the cops are actually there, though. they've been brought in by the bia due to concern about property damage. there was a press release. people are getting stabbed and abducted and arsons are raging across the city and the police department is being driven by a concern about broken windows (to my knowledge, there haven't actually been any broken windows).
regardless, it might be the first time i was happy to see some cop cars. i was a little uneasy walking home, and knew i would be. recent spate of violent crime aside, i'm in a city i don't know very well. and it was well after midnight.
getting out of the downtown core, i noticed a van was following me. it was turning into side streets, u-turning.....eventually it stopped down the street. i crossed the road. it pulled one last u-turn and zoomed off...
the night person at the quickie suggested that the driver may have mistaken me for a prostitute. apparently, a lot of people work up that strip. it's not the first time i've been mistaken, but it usually happens in the summer when i'm minimally clothed. tonight, my make-up was fairly light, and i was wearing my kurt cobain sweater (or at least the sweater that i think of as my kurt cobain sweater). i can't see how i was drawing attention to myself. but maybe it doesn't really matter if i was or wasn't drawing attention to myself.
i also started wondering about a few things walking back. i'm a new addition to the area. change always breeds uncertainty. my largest concern is actually that local criminals might think i'm a cop. i don't have anything for them, especially if i'm walking rather than biking. but the inevitable question is no doubt: what is this nut doing walking alone down the road at midnight? is she really impossibly oblivious to her own safety? if not, who is she working for? etc.
i sort of decided that i just have to keep going out at night regularly in order to create a comfort level. to normalize the locals to my existence. i'm not going to live in fear. it's not in my dna. if they get used to me, i'll begin to blend in. like a squirrel...
getting inside the door was a relief, though. more so than i've ever experienced.
....and, now for zesty cheese....
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2013/10/24.html
Thursday, October 24, 2013
24-10-2013: silent movie type @ phog, windsor + this machine kills robots, worry & the famines @ villain's, windsor
their music:
https://silentmovietype.bandcamp.com/
https://thismachinekillsrobots.bandcamp.com/
https://thefamines.bandcamp.com/
review:
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2013/10/24.html
event listing:
https://www.facebook.com/events/168999913304700/
https://www.facebook.com/events/568493106551319/
video:
https://silentmovietype.bandcamp.com/
https://thismachinekillsrobots.bandcamp.com/
https://thefamines.bandcamp.com/
review:
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2013/10/24.html
event listing:
https://www.facebook.com/events/168999913304700/
https://www.facebook.com/events/568493106551319/
video:
so, i can't make it across the river until i get that stupid card. and, because the stupid card is going to cost twice as much as i thought, i have to wait until after the first. i therefore can't write show reviews...
i can point out what i'm missing, though.
this is tonight in detroit. i would have enjoyed this, too.
stupid borders.
one day, we'll tear their system down and set their flags on fire.
patience.
i can point out what i'm missing, though.
this is tonight in detroit. i would have enjoyed this, too.
stupid borders.
one day, we'll tear their system down and set their flags on fire.
patience.
Wednesday, October 23, 2013
Re: out of ideas for the shower
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
i can commit to being there.
j
To: the initial landlord
i can commit to being there.
j
RE: out of ideas for the shower
From: the initial landlord
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
Jessica, sorry..... I had to work this week and I intended to send you an e-mail but one thing came after another. I will set the repair for Saturday morning providing that you will be there and nothing else complicates the timing.
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
Jessica, sorry..... I had to work this week and I intended to send you an e-mail but one thing came after another. I will set the repair for Saturday morning providing that you will be there and nothing else complicates the timing.
Tuesday, October 22, 2013
demo #14: mosh pit song
back when i was a silly kid, i wrote some silly punk songs for other silly kids to be silly kids while listening to them. the tendency dried up when i hit my mid-teens and became sullen and withdrawn and totally into imaginary guitar solos, but there's a handful of these scattered in the old stuff.
the track was obviously sped up for effect. but it's sort of weird that i feel the need to point out that i sped this one up, and didn't feel the need to point out where i slowed tracks down, isn't it?
recorded in december, 1996. remastered on oct 22, 2013.
the track was obviously sped up for effect. but it's sort of weird that i feel the need to point out that i sped this one up, and didn't feel the need to point out where i slowed tracks down, isn't it?
recorded in december, 1996. remastered on oct 22, 2013.
Re: out of ideas for the shower
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
hi.
i'm pretty patient, and very reasonable, so long as things are being worked towards and i'm kept up to date as to what's going on. i know there's a lot of factors involved in getting things together - time, labour, etc. i'm not a demanding person and don't want to be a demanding tenant. however, you had indicated monday or tuesday. it's now tuesday afternoon. when do you expect to drop by?
j
To: the initial landlord
hi.
i'm pretty patient, and very reasonable, so long as things are being worked towards and i'm kept up to date as to what's going on. i know there's a lot of factors involved in getting things together - time, labour, etc. i'm not a demanding person and don't want to be a demanding tenant. however, you had indicated monday or tuesday. it's now tuesday afternoon. when do you expect to drop by?
j
Monday, October 21, 2013
demo #13: guh
more silly teenage angst, intersecting with more rejection of religion and quite a bit of misanthropy. i may make an interesting observation or two, but the reality here is that i sound just as brainwashed as the masses of people i was looking down on...and if i'm going to criticize myself, or feel embarrassed, it's on that level of a lack of originality, rather than the actual content.
this is actually a sort of a neat track, though, musically, i think.
recorded in november, 1996. remastered on oct 21, 2013.
this is actually a sort of a neat track, though, musically, i think.
recorded in november, 1996. remastered on oct 21, 2013.
this new melt banana record is going to be insane to see live
the new melt banana disc is phenomenal. the alvin-joins-ministry thing (i suppose there's already an al in ministry, maybe it's a metamorphosis) is still in place, but there's a massive influence from vision/creation/newsun era boredoms, and it's taken it to a completely different level. this is one of the best INDUSTRIAL records i've heard in a long time.
more to the point, this is going to be awesome to see live. i don't think i'm going to get my stupid card in time. if you're near where they're going, though, i think you want to not miss out on this tour....
more to the point, this is going to be awesome to see live. i don't think i'm going to get my stupid card in time. if you're near where they're going, though, i think you want to not miss out on this tour....
dropping a link to “walkerville mixed tapes”
hi. i've only been in walkerville a few months, and i'm exclusively a studio artist, but here's some stuff to sort through if you'd like to.
https://jasonparent.bandcamp.com/
https://jasonparent.bandcamp.com/
Sunday, October 20, 2013
demo #12: the wonderful noise
i suppose this is my first real "noise" construction. i was going for a sort of an "obliviously insane" feel. like, imagine bach just losing his mind one day down at the cathedral. i think i hit it, overall, but the tools i had available to me at the time weren't the best; this could have been more unsettling than it is, if i did have access to better tools (i was thinking that at the time). this was constructed on a 4-track tascam with the aid of a kawaii and a few effects pedals....there were no computers involved...
the "hurricane" part of the noise was constructed by looping little bits of sound over themselves. this is oversimplified, but basically it: i took every cassette i could find and dubbed them all on top of each other. not simultaneously, but in different bits. so, i guess if you had more advanced wave analysis tools you could deconstruct that...
the rest of the noise is multiple tracks of guitar noodling through multiple effects patches, mostly high feedback.
a part of the composition involved fucking with cords and pressing pause while i was mastering it. i was sort of playing with the fantasy/reality split. i wouldn't have been able to articulate that then like i could now, so i'll just sort of let that be. i was thinking in terms of being awoken out of a dream.
please use headphones.
recorded in nov, 1996. remastered on oct 20, 2013.
the "hurricane" part of the noise was constructed by looping little bits of sound over themselves. this is oversimplified, but basically it: i took every cassette i could find and dubbed them all on top of each other. not simultaneously, but in different bits. so, i guess if you had more advanced wave analysis tools you could deconstruct that...
the rest of the noise is multiple tracks of guitar noodling through multiple effects patches, mostly high feedback.
a part of the composition involved fucking with cords and pressing pause while i was mastering it. i was sort of playing with the fantasy/reality split. i wouldn't have been able to articulate that then like i could now, so i'll just sort of let that be. i was thinking in terms of being awoken out of a dream.
please use headphones.
recorded in nov, 1996. remastered on oct 20, 2013.
Re: [Ticket#2013102010009848] TekSavvy Invoice for account # CID290674
From: Jessica Murray <death.to.koalas@gmail.com>
To: Accounting Department <accounting@teksavvy.com>
that's perfect, thanks.
j
To: Accounting Department <accounting@teksavvy.com>
that's perfect, thanks.
j
Re: [Ticket#2013102010009848] TekSavvy Invoice for account # CID290674
From: Accounting Department <accounting@teksavvy.com>
To: death.to.koalas@gmail.com
Hello
Thanks so much for the email. I have verified in your acccount that you were active on 10/02/2013 meaning your billing cycle is the 2nd to the 1st of every month.However being a prepaid company we do bill five days in advance thats why your invoices are due on the 29th of every month. As per your request we can mae them due the first of every month to accomadate your pays thats no problem so that means your invoice that shows currently owing for 10/29/2013 wont be due till 11/01/2013
Thanks for choosing TekSavvy and please don't hesitate to email us back or give us a call at the number below!
To: death.to.koalas@gmail.com
Hello
Thanks so much for the email. I have verified in your acccount that you were active on 10/02/2013 meaning your billing cycle is the 2nd to the 1st of every month.However being a prepaid company we do bill five days in advance thats why your invoices are due on the 29th of every month. As per your request we can mae them due the first of every month to accomadate your pays thats no problem so that means your invoice that shows currently owing for 10/29/2013 wont be due till 11/01/2013
Thanks for choosing TekSavvy and please don't hesitate to email us back or give us a call at the number below!
Re: TekSavvy Invoice for account # CID290674
From: Jessica Murray <death.to.koalas@gmail.com>
To: accounting@teksavvy.com
hi.
my hookup date was oct 2, 2013. that would suggest to me that my payment date should be on the second of each month, *if* i understand things correctly.
it may seem like a silly thing to point out, and to an extent it is. however, i sort of like the idea of payment being at the beginning of the month rather than the end of it, because i get paid at the beginning of the month. it would simplify my life greatly.
so, i think the invoice should be modified slightly, and would like it to be if it should.
j
To: accounting@teksavvy.com
hi.
my hookup date was oct 2, 2013. that would suggest to me that my payment date should be on the second of each month, *if* i understand things correctly.
it may seem like a silly thing to point out, and to an extent it is. however, i sort of like the idea of payment being at the beginning of the month rather than the end of it, because i get paid at the beginning of the month. it would simplify my life greatly.
so, i think the invoice should be modified slightly, and would like it to be if it should.
j
Friday, October 18, 2013
i had to firmly end things after she asked to drop by
Shelly Teagan
Hey jess. Can i come visit you this week?
Jessica Amber Murray
are you coming down to windsor for some reason?
Shelly Teagan
Oh no. Im just depressed and want to travel a bit.
I might just hang out in guelph
Jessica Amber Murray
erin, i wasn't sure how to bring shit up with you. i found myself in a really difficult position last month. when i say i wish you the best, i mean it in absolute sincerity. even as i was trying to wind things down, i couldn't bring myself to hang you to dry when you needed somebody to talk to. i may or may not have made a good judgement call regarding timing, but it was a thing that was going to happen. maybe we could meet for coffee to talk if you come down, but i'm not comfortable with you staying here. i think i know i'm being paranoid, but there's just this competitive streak you have that really scares me and that makes me feel really vulnerable to being taken advantage of. i just have some really profound trust issues and certain bells went off. i need to follow my gut.
Shelly Teagan
Im a little confused and dont know what youre saying. You dont want to be my friend? Was i shitty recently?
Its ok i get it. I hope youre doing alright.
Jessica Amber Murray
i don't think it's any one thing, so much as a culmination of observations. the approach you're taking to existing in a social reality will probably serve you well in the long run, once you can get beyond the institutionalized daycare system that the elites have constructed for us, and is keeping people chained to their own ambitions pushing into their late 20s. it's exactly the quality that i lack, and has kept me from being able to succeed socially. but, that juxtaposition puts me in a situation where i'm in deep peril in the medium-term because i'm not equipped to respond. it's not that i don't want to be your friend. i actually sort of do. i rather like you. it's that i've come to understand that it's not safe for me to continue along that path, that there's an inevitable endpoint that will cause me harm. i realize you might not fully understand, and i'm sorry if you don't, but i have to keep myself sheltered from certain things. and, i do hope things work out for you in the way that you want them to.
Shelly Teagan
Lol i dropped out of school if that makes you feel better. Also i have no ambitions anymore.
Baha. I seriously dont give a shit about shit.
this elite, institutionalized daycare!!!!!
Jessica Amber Murray
well, that doesn't make me feel better. why did you drop out?
Shelly Teagan
I think i want to go to algonquin and become a technician or something.
Jessica Amber Murray
i dropped out several times and went back, if that makes *you* feel better. i was going into third year when i said "fuck it, i'm going to get a job in a coffee shop and make music". i took the semester off, drank a ton, had a lot of fun and then want back in the fall. yeah. i was kind of getting the impression that maybe you wanted to study something other than music.
Shelly Teagan
I was trying to show you how un-competitive im being. Lolll.
Anyways i might not come to windsor this week. I might go to guelph only, and midland maybe
Jessica Amber Murray
that's very competitive of you :P
you shouldn't try to change yourself for others.
Shelly Teagan
Im confused again. Damnit!
Bahhh i cant win!
Jessica Amber Murray
always trying to win...
Shelly Teagan
Shitt..... nvm. Ok gotta run. My phone is about to shut off.
Jessica Amber Murray
listen, i wouldn't make you sleep outside, either. i just think we should be going our separate ways. good luck.
Shelly Teagan
Lol ok, jess. See ya.
Jessica Amber Murray
and, erin, just one more thing? realize that i'm not happy about this, that it hurts me to do this, probably more than you. now, i'm having this fear that you wanted to come down here to see me, and it's like a stab in the heart that i responded like i did. you know that feeling you get when your emotional hormones just go haywire? but, that's exactly why i had to.
Shelly Teagan
Youre just trying to find reasons to cut people out so you can feel more alone than you already do. Im not taking it personally. I just feel bad that you feel like you have to alienate everybody you know
Hey jess. Can i come visit you this week?
Jessica Amber Murray
are you coming down to windsor for some reason?
Shelly Teagan
Oh no. Im just depressed and want to travel a bit.
I might just hang out in guelph
Jessica Amber Murray
erin, i wasn't sure how to bring shit up with you. i found myself in a really difficult position last month. when i say i wish you the best, i mean it in absolute sincerity. even as i was trying to wind things down, i couldn't bring myself to hang you to dry when you needed somebody to talk to. i may or may not have made a good judgement call regarding timing, but it was a thing that was going to happen. maybe we could meet for coffee to talk if you come down, but i'm not comfortable with you staying here. i think i know i'm being paranoid, but there's just this competitive streak you have that really scares me and that makes me feel really vulnerable to being taken advantage of. i just have some really profound trust issues and certain bells went off. i need to follow my gut.
Shelly Teagan
Im a little confused and dont know what youre saying. You dont want to be my friend? Was i shitty recently?
Its ok i get it. I hope youre doing alright.
Jessica Amber Murray
i don't think it's any one thing, so much as a culmination of observations. the approach you're taking to existing in a social reality will probably serve you well in the long run, once you can get beyond the institutionalized daycare system that the elites have constructed for us, and is keeping people chained to their own ambitions pushing into their late 20s. it's exactly the quality that i lack, and has kept me from being able to succeed socially. but, that juxtaposition puts me in a situation where i'm in deep peril in the medium-term because i'm not equipped to respond. it's not that i don't want to be your friend. i actually sort of do. i rather like you. it's that i've come to understand that it's not safe for me to continue along that path, that there's an inevitable endpoint that will cause me harm. i realize you might not fully understand, and i'm sorry if you don't, but i have to keep myself sheltered from certain things. and, i do hope things work out for you in the way that you want them to.
Shelly Teagan
Lol i dropped out of school if that makes you feel better. Also i have no ambitions anymore.
Baha. I seriously dont give a shit about shit.
this elite, institutionalized daycare!!!!!
Jessica Amber Murray
well, that doesn't make me feel better. why did you drop out?
Shelly Teagan
I think i want to go to algonquin and become a technician or something.
Jessica Amber Murray
i dropped out several times and went back, if that makes *you* feel better. i was going into third year when i said "fuck it, i'm going to get a job in a coffee shop and make music". i took the semester off, drank a ton, had a lot of fun and then want back in the fall. yeah. i was kind of getting the impression that maybe you wanted to study something other than music.
Shelly Teagan
I was trying to show you how un-competitive im being. Lolll.
Anyways i might not come to windsor this week. I might go to guelph only, and midland maybe
Jessica Amber Murray
that's very competitive of you :P
you shouldn't try to change yourself for others.
Shelly Teagan
Im confused again. Damnit!
Bahhh i cant win!
Jessica Amber Murray
always trying to win...
Shelly Teagan
Shitt..... nvm. Ok gotta run. My phone is about to shut off.
Jessica Amber Murray
listen, i wouldn't make you sleep outside, either. i just think we should be going our separate ways. good luck.
Shelly Teagan
Lol ok, jess. See ya.
Jessica Amber Murray
and, erin, just one more thing? realize that i'm not happy about this, that it hurts me to do this, probably more than you. now, i'm having this fear that you wanted to come down here to see me, and it's like a stab in the heart that i responded like i did. you know that feeling you get when your emotional hormones just go haywire? but, that's exactly why i had to.
Shelly Teagan
Youre just trying to find reasons to cut people out so you can feel more alone than you already do. Im not taking it personally. I just feel bad that you feel like you have to alienate everybody you know
i picked up this little one person blender (500 ml) for $10 and it's
pretty much the greatest thing ever. one banana, one peach, a handful of
strawberries and some vanilla soy, all blended up. it's pretty much all
i consume, now.
well, that and tomato sandwiches. and some eggs and pasta every few days for some protein.
well, that and tomato sandwiches. and some eggs and pasta every few days for some protein.
Thursday, October 17, 2013
demo #11: schizoid
this is another one of the creepy tracks where i'm exploring mental illness from the perspective of an isolated 15 year-old; the person in the song is dealing with satanic voices that are keying on traumatic childhood taunting and suggesting violent outbursts as a means of self-defense. this has induced a serious level of agoraphobia.
musically, this is one of the tracks that are a bit of a step up. i'm kind of shifting from learning how to use the studio into actually using it.
recorded in november, 1996. remastered on oct 17, 2013.
musically, this is one of the tracks that are a bit of a step up. i'm kind of shifting from learning how to use the studio into actually using it.
recorded in november, 1996. remastered on oct 17, 2013.
RE: is a passport required for a nexus card? **13-41051** link to **13-40951**
From: "CBSA-ASFC_CONTACT" <CBSA-ASFC.CONTACT@cbsa-asfc.gc.ca>
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
We recommend that you contact the NEXUS Enrolment Centre nearest you for assistance. A directory is available at:
http://www.cbsa.gc.ca/prog/nexus/location-eng.html
Also, you may contact the following NEXUS Canadian processing centres during regular business hours:
• 1-866-496-3987 for British Columbia, Alberta, Saskatchewan and Manitoba residents
• 1-800-842-7647 for Ontario and United States residents
• 1-866-399-5887 for Quebec and Atlantic residents
Should you wish to obtain more information on NEXUS, we invite you to consult the Canada Border Services Agency Web site at:
http://www.nexus.gc.ca
Thank you for contacting the Canada Border Services Agency.
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
We recommend that you contact the NEXUS Enrolment Centre nearest you for assistance. A directory is available at:
http://www.cbsa.gc.ca/prog/nexus/location-eng.html
Also, you may contact the following NEXUS Canadian processing centres during regular business hours:
• 1-866-496-3987 for British Columbia, Alberta, Saskatchewan and Manitoba residents
• 1-800-842-7647 for Ontario and United States residents
• 1-866-399-5887 for Quebec and Atlantic residents
Should you wish to obtain more information on NEXUS, we invite you to consult the Canada Border Services Agency Web site at:
http://www.nexus.gc.ca
Thank you for contacting the Canada Border Services Agency.
Wednesday, October 16, 2013
Re: is a passport required for a nexus card? **13-40951**
From: Jessica Murray <death.to.koalas@gmail.com>
To: CBSA-ASFC_CONTACT <CBSA-ASFC.CONTACT@cbsa-asfc.gc.ca>
i appreciate the response, but you didn't come close to answering my questions.
is a passport required to apply for a nexus card? does having a nexus card come with an implicit assumption of having a passport? can a nexus card be used as a replacement for a passport?
maybe i'll give you a call tomorrow...
j
To: CBSA-ASFC_CONTACT <CBSA-ASFC.CONTACT@cbsa-asfc.gc.ca>
i appreciate the response, but you didn't come close to answering my questions.
is a passport required to apply for a nexus card? does having a nexus card come with an implicit assumption of having a passport? can a nexus card be used as a replacement for a passport?
maybe i'll give you a call tomorrow...
j
RE: is a passport required for a nexus card? **13-40951**
From: "CBSA-ASFC_CONTACT" <CBSA-ASFC.CONTACT@cbsa-asfc.gc.ca>
To: "Jessica Murray" <death.to.koalas@gmail.com>
You may qualify to participate in NEXUS if you are a citizen or permanent resident of Canada or the United States and have lived in Canada and/or the United States continuously for the last three years.
You may not qualify if one of the following applies:
• you are inadmissible to Canada or the United States under applicable immigration laws;
• you intentionally provide false or incomplete information on your application;
• you have been convicted of a serious criminal offence in any country for which you have not received a pardon (for U.S. background checks you may be questioned about your full criminal history, including arrests and pardons, which may exclude you from NEXUS);
• you have a recorded violation of customs, immigration or agriculture law; or
• you fail to meet other requirements of NEXUS.
Effective June 30, 2012, Canadian and American citizens living outside of Canada or the United States or who have recently returned to either country and have not previously been able to meet the three-year residency requirement are now eligible to apply. In addition, certain permanent residents are also exempted from the three-year residency requirement. For further information on any of the above, please visit the NEXUS Web site at:
http://www.cbsa-asfc.gc.ca/prog/nexus/elig-admis-eng.html
Both Canada and the United States must approve your application for you to become a member of NEXUS. If you do not meet all of the requirements, your application will be denied.
Should you require additional assistance, we recommend that you contact the nearest NEXUS Enrolment Centre. A directory is available at:
http://www.cbsa.gc.ca/prog/nexus/location-eng.html
Also, you may contact the following NEXUS Canadian processing centres during regular business hours:
• 1-866-496-3987 for British Columbia, Alberta, Saskatchewan and Manitoba residents
• 1-800-842-7647 for Ontario and United States residents
• 1-866-399-5887 for Quebec and Atlantic residents
Should you wish to obtain more information on NEXUS, we invite you to consult the Canada Border Services Agency Web site at:
http://www.nexus.gc.ca
Thank you for your interest in the NEXUS program.
To: "Jessica Murray" <death.to.koalas@gmail.com>
You may qualify to participate in NEXUS if you are a citizen or permanent resident of Canada or the United States and have lived in Canada and/or the United States continuously for the last three years.
You may not qualify if one of the following applies:
• you are inadmissible to Canada or the United States under applicable immigration laws;
• you intentionally provide false or incomplete information on your application;
• you have been convicted of a serious criminal offence in any country for which you have not received a pardon (for U.S. background checks you may be questioned about your full criminal history, including arrests and pardons, which may exclude you from NEXUS);
• you have a recorded violation of customs, immigration or agriculture law; or
• you fail to meet other requirements of NEXUS.
Effective June 30, 2012, Canadian and American citizens living outside of Canada or the United States or who have recently returned to either country and have not previously been able to meet the three-year residency requirement are now eligible to apply. In addition, certain permanent residents are also exempted from the three-year residency requirement. For further information on any of the above, please visit the NEXUS Web site at:
http://www.cbsa-asfc.gc.ca/prog/nexus/elig-admis-eng.html
Both Canada and the United States must approve your application for you to become a member of NEXUS. If you do not meet all of the requirements, your application will be denied.
Should you require additional assistance, we recommend that you contact the nearest NEXUS Enrolment Centre. A directory is available at:
http://www.cbsa.gc.ca/prog/nexus/location-eng.html
Also, you may contact the following NEXUS Canadian processing centres during regular business hours:
• 1-866-496-3987 for British Columbia, Alberta, Saskatchewan and Manitoba residents
• 1-800-842-7647 for Ontario and United States residents
• 1-866-399-5887 for Quebec and Atlantic residents
Should you wish to obtain more information on NEXUS, we invite you to consult the Canada Border Services Agency Web site at:
http://www.nexus.gc.ca
Thank you for your interest in the NEXUS program.
is a passport required for a nexus card?
From: Jessica Murray <death.to.koalas@gmail.com>
To: contact@cbsa.gc.ca
hi.
i've just moved to windsor. i'd like to get the proper documents to be able to go over to detroit to see some concerts. nothing particularly difficult in the request.
however, i'm finding the reference requirements to obtain a passport to be very difficult. i just don't know a lot of people, nor do i know anybody that could act as a 'guarantor'. finding two references is difficult enough; four is virtually impossible for me. that's not a reflection of my fitness for very short-term cross-border travel, though, it's just a reflection of my social skills.
in searching for alternatives, i've found the nexus card. it seems like this process interviews me directly, rather than asking me to provide references. that's a process that is better suited for me to go through.
i'm just a little confused as to whether a passport is required to apply for a nexus card. i have a valid birth certificate, a valid health card, a valid sin card and various other things (although i never took the time to learn to drive, and consequently don't have a driver's license). i'm unclear as to whether the application is requesting a passport AND a birth certificate or a passport OR a birth certificate.
i'm also a little confused about the longer term usefulness of the nexus card. i've read some things online that suggest that, should i be stopped, i would be asked for a passport. yet, i'm looking to get the nexus card because i can't find the references to get a passport.
so, i guess the question i'm asking is if a nexus card is something i could use as a valid replacement for a passport in the context of just going over for a few hours to catch a show and then coming back.
j
To: contact@cbsa.gc.ca
hi.
i've just moved to windsor. i'd like to get the proper documents to be able to go over to detroit to see some concerts. nothing particularly difficult in the request.
however, i'm finding the reference requirements to obtain a passport to be very difficult. i just don't know a lot of people, nor do i know anybody that could act as a 'guarantor'. finding two references is difficult enough; four is virtually impossible for me. that's not a reflection of my fitness for very short-term cross-border travel, though, it's just a reflection of my social skills.
in searching for alternatives, i've found the nexus card. it seems like this process interviews me directly, rather than asking me to provide references. that's a process that is better suited for me to go through.
i'm just a little confused as to whether a passport is required to apply for a nexus card. i have a valid birth certificate, a valid health card, a valid sin card and various other things (although i never took the time to learn to drive, and consequently don't have a driver's license). i'm unclear as to whether the application is requesting a passport AND a birth certificate or a passport OR a birth certificate.
i'm also a little confused about the longer term usefulness of the nexus card. i've read some things online that suggest that, should i be stopped, i would be asked for a passport. yet, i'm looking to get the nexus card because i can't find the references to get a passport.
so, i guess the question i'm asking is if a nexus card is something i could use as a valid replacement for a passport in the context of just going over for a few hours to catch a show and then coming back.
j
Jessica Amber Murray
hi. you guys have passports, right? could i use one of you as a "guarantor"? i just want to be able to go over to detroit to catch the odd concert. the process to be "allowed" to do that seems really ridiculous, but this is how things work... i hope things are going well with you guys. life here has been different. i went into a little bit of a funk when i got here (the whole process of moving here was just really overwhelming, with everything happening all at once), but i'm starting to get out of it. really, i'm glad i had the time away from people and free of external pressure to reflect, heal and adjust - and enough things to d to keep my mind occupied. it's what i needed. but, yeah, if i can use you as a guarantor it would make this process a lot easier. as it is, i'm going to have to rely on some documentation and argumentation...
The Oldest Aunt’s Wife
no passport enhanced driver license would that help
Jessica Amber Murray
no. i don't even have a g-1. thanks anyways...
The Oldest Aunt’s Wife
no will a enhanced help you get a passport
Jessica Amber Murray
no. or at least i don't think so. i should probably check to make sure though.
The Oldest Aunt’s Wife
we can help
is it an identity
you can put us down as knowing you
Jessica Amber Murray
i'm sorry, i'm not understanding the question. i have two choices. i can get a guarantor (somebody with a passport, i'll check to see how flexible that definition is) + 2 references or i can just go with 4 references. reality is i have 0 references, so going with the guarantor would make it a lot easier to further argue with odsp documents, etc.
i could use you as a guarantor, but not a reference, because you're family.
The Oldest Aunt’s Wife
what does a guarantor have to do
Jessica Amber Murray
i'm under the impression that a guarantor is simply somebody with a passport, and that itself is enough to act as a reference. i have to look further into that... very little of this process is making sense to me, so i'm not really expecting to find a valid purpose or explanation.
The Oldest Aunt’s Wife
let use know if we can help
Jessica Amber Murray
i will, thanks.
hi. you guys have passports, right? could i use one of you as a "guarantor"? i just want to be able to go over to detroit to catch the odd concert. the process to be "allowed" to do that seems really ridiculous, but this is how things work... i hope things are going well with you guys. life here has been different. i went into a little bit of a funk when i got here (the whole process of moving here was just really overwhelming, with everything happening all at once), but i'm starting to get out of it. really, i'm glad i had the time away from people and free of external pressure to reflect, heal and adjust - and enough things to d to keep my mind occupied. it's what i needed. but, yeah, if i can use you as a guarantor it would make this process a lot easier. as it is, i'm going to have to rely on some documentation and argumentation...
The Oldest Aunt’s Wife
no passport enhanced driver license would that help
Jessica Amber Murray
no. i don't even have a g-1. thanks anyways...
The Oldest Aunt’s Wife
no will a enhanced help you get a passport
Jessica Amber Murray
no. or at least i don't think so. i should probably check to make sure though.
The Oldest Aunt’s Wife
we can help
is it an identity
you can put us down as knowing you
Jessica Amber Murray
i'm sorry, i'm not understanding the question. i have two choices. i can get a guarantor (somebody with a passport, i'll check to see how flexible that definition is) + 2 references or i can just go with 4 references. reality is i have 0 references, so going with the guarantor would make it a lot easier to further argue with odsp documents, etc.
i could use you as a guarantor, but not a reference, because you're family.
The Oldest Aunt’s Wife
what does a guarantor have to do
Jessica Amber Murray
i'm under the impression that a guarantor is simply somebody with a passport, and that itself is enough to act as a reference. i have to look further into that... very little of this process is making sense to me, so i'm not really expecting to find a valid purpose or explanation.
The Oldest Aunt’s Wife
let use know if we can help
Jessica Amber Murray
i will, thanks.
i really don't have the slightest idea just how big this sprawling metropolis in front of me actually is.
http://dc.streetsblog.org/2013/07/22/how-sprawl-got-detroit-into-this-mess/
(the corporate tax cuts spurred on by neo-liberal nonsense couldn't have helped)
the new ranaldo disc is really stellar, btw.
http://dc.streetsblog.org/2013/07/22/how-sprawl-got-detroit-into-this-mess/
(the corporate tax cuts spurred on by neo-liberal nonsense couldn't have helped)
the new ranaldo disc is really stellar, btw.
Tuesday, October 15, 2013
you know, i don't mind the border people doing all kinds of inane checks into my history. in the end, they might not like my politics, and it might harm my employment opportunities (if it hasn't already, and i'm sure it has), but i don't expect that to be a serious limit on anything i actually want to do in life. i don't find surveillance to be particularly bothersome, not even at a deep level. i dunno, call me a political voyeur or something...
...but the reference requirements are really quite onerous. if you don't know anybody with a passport, you need to find four people that aren't family and have known you for more than two years and they have to vouch that the information you provide (which is mundane shit like address and work history) is valid.
i couldn't even find one person that's known me for two years well enough to verify that.
nor is it really useful in any kind of...well, anything. security wise, references are stupid. i've been through this argument with employers. do you expect me to give you a bad reference? really, what the process is doing is determining if the applicant has the social skills to build personal friendships or not. that's at least arguably valid in an employment situation. it's of almost no value in a passport situation.
all of this is so that i can walk over a bridge to see a concert, maybe have a few beers. to spend money in the local economy, if you want to phrase it like that.
i'm good at 'splainin'. i can run off odsp documents, write an essay. i'm sure i'll convince them.
...but the whole process is really quite stupid, regardless of the angle it's being approached from.
...but the reference requirements are really quite onerous. if you don't know anybody with a passport, you need to find four people that aren't family and have known you for more than two years and they have to vouch that the information you provide (which is mundane shit like address and work history) is valid.
i couldn't even find one person that's known me for two years well enough to verify that.
nor is it really useful in any kind of...well, anything. security wise, references are stupid. i've been through this argument with employers. do you expect me to give you a bad reference? really, what the process is doing is determining if the applicant has the social skills to build personal friendships or not. that's at least arguably valid in an employment situation. it's of almost no value in a passport situation.
all of this is so that i can walk over a bridge to see a concert, maybe have a few beers. to spend money in the local economy, if you want to phrase it like that.
i'm good at 'splainin'. i can run off odsp documents, write an essay. i'm sure i'll convince them.
...but the whole process is really quite stupid, regardless of the angle it's being approached from.
demo #10: mellon collie & the infintesimal wing
i wish i took the time to clean this up a little more, but i don't think i thought i'd be sitting here 17 years later talking about it...
so, i'm trained as a blues guitarist. everybody knows that the way to prove you're a real blues guitarist is to do a cover of little wing. that's just how it is.
however, i kind of felt a generational disconnect. i mean, i love hendrix and everything; that's kind of obvious, if you listen. i just felt little wing needed a bit of a punk rock update, and i thought it might be neat to merge it with a more contemporary piece - the opening track on the smashing pumpkins' double disc opus.
so, that's what this is. mellon collie and the infinitesimal wing.....
recorded in nov, 1996. remastered on oct 15, 2013.
so, i'm trained as a blues guitarist. everybody knows that the way to prove you're a real blues guitarist is to do a cover of little wing. that's just how it is.
however, i kind of felt a generational disconnect. i mean, i love hendrix and everything; that's kind of obvious, if you listen. i just felt little wing needed a bit of a punk rock update, and i thought it might be neat to merge it with a more contemporary piece - the opening track on the smashing pumpkins' double disc opus.
so, that's what this is. mellon collie and the infinitesimal wing.....
recorded in nov, 1996. remastered on oct 15, 2013.
RE: out of ideas for the shower
From: the initial landlord
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
I will come by and we will figure out how/ when we will get this done.
Please be patient, I will have to go and look where I can buy another shower that will fit just in case when we pull it out it gets destroyed.
To: "'Jessica Murray'" <death.to.koalas@gmail.com>
I will come by and we will figure out how/ when we will get this done.
Please be patient, I will have to go and look where I can buy another shower that will fit just in case when we pull it out it gets destroyed.
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