This past week, I was part of an excellent showcase shared between the local Austin audio institutions Elevator Bath and Somatic. I've finally gotten to the point where I have played enough shows in the friendly confines of Austin that I can't photographically remember them all, but this one was a standout nevertheless. As a kind of "deck-clearing" exercise, the set was largely composed of material from my "conflict trilogy" of releases ("U.U.U.U." / "Progressive Lycanthropy" / "A Desperate Expediency"), and therefore some of the loudest and most bracing material I have at my disposal. Local stalwart Lee Dockery made a good recording of the event which I may excerpt for the provisionally titled "Where's The Evidence?" live / life document that I'm now assembling.
The material selection for the night was maybe a bit of a perverse twist, since this was meant as the release party for my somewhat milder La Production Interdite release, but it was something I felt was necessary all the same. My current material-in-progress with the Felix Feneon Memorial Choir will steer further away from the maelstrom / deluge aesthetics I've gotten used to in live environments, given that it will rely more strictly on manipulations of the human voice. I've already collected a number of stellar guest contributions for this one, and will soon start looking at a reliable label partner through which to release this.
Speaking of La Production Interdite, mostly positive reviews are coming in so far, which you can read, for example, here and also here. Furthermore, LPI has been integrated into a recent episode of my friend Don Campau's excellent "No Pigeonholes" podcast, streamable here. It goes without saying, there's plenty of other good material to feast on in the latter.
I am hoping to get back into the writing game very soon. For those who just started following me on Medium.com, it may seem like I've already decided to abort that mission just as it got started, but I promise you that's not the case. Live music, recorded music, and additional research for my next book with Barbara Ellison are certainly taking up much of my non-working hours, but I still have a few shorter written pieces that need just a little more time lingering in the fertile soil of the compositional phase before they get edited and pass the final trial of "will anyone actually benefit from reading this". As always, more to come soon...