Monday, December 30, 2013

Live from Frame (excerpt)

Here's a short excerpt from my live set at Frame in November. I was fairly happy with the set, considering I accidentally placed some gear in the wrong spot, so I had to troubleshoot on the fly.

GreenhousePB10212 360 2 from bandc on Vimeo.

I have the full version here too, but maybe I'll save that for another time. Maybe not.
My next live performance is Jan 29 at the Centennial Concert Hall at the pre-concert before Glenn Branca. Should be interesting. After that, I plan to do a quick studio session, followed by more work at home.
Currently enjoying: Secret Pyramid - Movements of Night; No UFOs - MPC Tracks vol. 2; Basic House - Oats; Glenn Branca - The World Upside Down.

Sunday, December 8, 2013

Favourites of 2013

Hell yes. I love lists. I know you do too. Here's a list of records that I loved this year.

In no real order.

Coin - Stilled (Opal Tapes)
Such a great release. Coin is the solo project of Michael Vallera, one-half of duo Cleared, and Stilled is six tracks of greyscale, drone-infused minimal techno. Out of all the highly regarded, and fast-selling, releases of Opal Tapes, Coin truly stands out for me. Vallera's drum programming is very dubby and certainly not dance floor ready — and that's a very good thing. Processed guitar and piano and gritty swaths of noise swirl amidst minimal, throbbing drums, perfect for lonely, late-night listens.

Locrian - Return to Annihilation (Relapse)
It's no surprise what a huge fan of Locrian I am, and it certainly isn't shocking that I love this album. Off the top, Return to Annihilation is great because Locrian succeeded in throwing a wrench into the gears of both their fans, who perhaps were expecting more of their patented, suffocating, long-form blackened drone/noise workouts, and those of traditional Relapse listeners. A little head-scratching is always a good thing, and really, if you've been paying attention the evolution of Locrian, the direction of Return shouldn't really be a surprise. Nor should anyone be surprised how fucking good this record is. Locrian have delivered a dark, atmospheric, yet dynamic record with actual songs while still draping everything under a veil of experimentation, tension and terror that owes as much, if not more, to 1970s prog than it does drone or metal - black or otherwise; it's an album that in lesser hands would surely have been impossible.

Secret Pyramid - Movements of Night (Students of Decay)
Such an incredibly gorgeous album. Each track unfolds like watching a time lapse of the night sky as haunting melodies and gauzy drones slowly twist and turn around you. Amir's guitar and synth work is so perfectly blended and processed that at times it's hard to pick out exactly what instrument is doing what. Instead, the listener is left to drift through an expansive universe of sound. Stunning. Also, contact Amir directly to grip a copy of the super limited tape he put out this year

Deafheaven - Sunbather (Deathwish)
I know this will be all over every other best-of list this year, but sometimes there's a reason. Deafheaven have created a record that is at once punishing, abrasive and beautiful. I like this.

Wolf Eyes - No Answer/Lower Floors (DeStjil)
The might Wolf Eyes return. One of things I like most about this record is how spacious and restrained it is. While Burned Mind will probably be one of my favourite Wolf Eyes records (and I fully acknowledge that there are probably hundreds of Wolf Eyes records I've never heard and will likely never hear), they didn't need to make another unstoppable noise juggernaut. Everything on No Answer is tense, constantly being pulled and prodded by scraping metal, murmured vocals and percussion that sounds like an abandoned factory slowly collapsing. The mark of true masters is this ability to hold back and ratchet up the tension. And when Wolf Eyes finally let it go, the results are nothing short of amazing and deafening.

Miles - Faint Hearted (Modern Love)
 I admit to being a bit of tourist, still, when it comes to techno. I'm working on it, I swear. But my gateway into certain strains of techno mainly comes from noise crossovers like Pete Swanson and Dominick Fernow or following certain labels, not from anything that happened in Germany or Detroit. Similarly, my introduction to noise/drone/experimental music came from the heavy bands I listened to ten years ago. Anyways, my point is I'm relatively new. I don't necessarily know all the originators that inspired music by Vatican Shadow or Miles, for example, but I like it, and I'm willing to do the homework, time permitted of course. But OK. What I like about this album is that it grooves in some places, more tranquil in others, and really blown out and noisey too. It's cold, yet really listenable. Plus, as with all Modern Love releases, the vinyl sounds great, especially when it's cranked. This album is no exception. A side note about this album: I trekked all the way out to Brooklyn with my daughter strapped to my back to buy this. Killer store. She fell asleep part way through shopping and the dude working there had to help me do up the head support on her carrier, which was nice, but he was super uncomfortable doing it.

Queens of the Stone Age - ...Like Clockwork
For sure my most-listened to album of 2013. Hands down. I've been a longtime fan of Queens, though I really wasn't too into their last full length. ...Like Clockwork is definitely contender for top three, maybe two, favourite Queens records. Anyone who knows me is aware that I'm a sucker for hooks, and this album is filled with smart, jagged, brain-burrowing hooks. This record also feels so comfortable, like Homme knew that he didn't need to make another Songs for the Deaf, or write another "Super Hit of the Summer." This album is spacious, restrained, mellow and just fucking great. It's also got some incredible guitar tones on here. Again, I'm a mega-fan of Homme's sound, writing and playing, but the tones in here have totally made me re-examine what a guitar could, and sometimes should, sound like, in a rock setting. "I Sat By The Ocean" is for sure my favourite song of the year, and is up there for all-timers.

Side note: I pre-ordered this on iTunes because I wasn't sure I'd love it and want it on vinyl (mistake!). The release date was when my family and I were in NYC, but I didn't find a working WiFi connection until we were in the Museum of Natural History. Our trip was great, but it was also really stressful, seeing as my daughter was two at the time and we all had to deal with some pretty bananas sleep issues in NYC. Far from ideal, but that's how it went down. One afternoon while she napped, I spent a few hours walking Manhatting, buying records, drinking coffee, just being there. It was a great way to de-stress for a bit, and I blasted this album probably three times in a row. This record will always take me back there. 

Acteurs - s/t (Public Information)
Big thanks to Chris Dub Ditch/Prairie Fire for bringing copies of this before they totally went OOP. This reminds me at first of a Wolf Eyes with much nicer, pristine gear if they grew up on krautrock or something. Maybe that's a shitty analogy (Ed: it is). Anyways. This record really grabbed me. The modular synth tones here are really interested and chilly, and the mastering on the vinyl is killer. I also dig the fact that these guys are writing songs here too, instead of just wiring up a bunch of patches and hitting record. I'd love to see this band live, somehow. Sorry, I don't have anything more interesting or profound to say about this LP other than I really like it and it's out of print now but Dub Ditch Picnic STILL has copies available. So get on it.

Kwaidan - Make All The Hell of Dark Metal Bright (Bathetic)
I wrote a fairly extensive review of this record here on my blog, actually, so I likely don't need to say anything I didn't say there. The skill these three players have is staggering, and one of the strongest aspects of this record is how cohesive they sound together. No one steps on anyone's toes or vies for the spotlight. Everyone is too busy listening to what the other is doing. "The Sound of This Bell" is an incredibly beautiful piece. I strongly hope that we hear more from Kwaidan in 2014.

KEN mode - Entrench (Season of Mist)
Full disclosure: I'm good friends with these guys. That aside, Venerable is one of the few aggressive records that I bought and loved this year. As always, brutal, crushing noise-rock heaviness with some lurching breakdowns thrown in for extra destruction. What does it for me is that KEN mode don't just right killer riffs, they write killer songs, and that is huge difference.

TM404 - s/t
Damn it. What an amazing album. Again, acid techno isn't something I grew up listening to, and I guess that's what this is? I don't know. And I don't really care too much about putting a label on things, but all I know is that I love this album and can't get enough of it. The concept behind it is really interesting too. Using a series of Roland 303s, 606s and 808s, Tillander hooked them all together and hit record. Apparently with no overdubbing either, which is totally insane. The results are minimal, yet extremely complex bass lines and beats that intertwine and unfurl with one another in some incredible ways. Thanks to a way pricey and short-lived Euro pressing I had to settle for the digital version, but hot damn I bet this sounds amazing on vinyl.

Autechre - Exai (Warp)
I feel like this record took a bit of bruising, reviews wise. Autechre is one of the first strictly electronic bands/artists that I got into when a friend of mine recommended Confield to me by saying that his friend really like it, but that my friend thought it was super weird and crazy and dumb. I loved it. I digress. First off, the packaging of this 4LP set is beautiful. Anyone familiar with Autechre likely shouldn't be super surprised with the material found on Exai. Totally otherwordly, futuristic electronic music that really sounds like no one else. Plus, at an enormous 2+ hours of music spanning 4 LPs, there's lots to digest, and if you're a fan of Autechre, that's a good thing.

Nine Inch Nails - Hesitation Marks (Universal)
Another childhood favourite of mine that I reconnected with over the last few years. The Downward Spiral remains one of my top albums of all time, but I really stopped paying attention to Reznor after The Fragile. As I made up for lost time over the past few years, discovering how good With Teeth is, it was a happy coincidence that NIN would drop a new one this year. I really like this album. The production, and attention to detail is, as to be expected, pretty amazing, and there's some really good songs on here.

Huerco S - Colonial Patterns (Software)
 A terrific album by an artist I really know very little about, other than he released a tape on Opal and he does lots of DJ gigs. Colonial Patterns has a great, minimal techno pulse throughout, but it's often so minimal and buried beneath hazy synths and stuttering loops, making many of the beats and rhythms pretty woozy feeling, as if it was recorded over and over on a tape that baked on your dashboard for a weekend.

Head Hits Concrete - Hollowed Out Human Husk
Fuck yes. One of my all-time favourite Winnipeg bands make a triumphant return after years of deafening silence. I first got into HHC when I was in high school, and they were one of the bands (along with Propagandhi and Malefaction) who really changed the way I saw the world poltically and socially. Mike Alexander is a truly gifted, ferocious vocalist and lyricist who's writing delivers as great an impact as does the finger-snapping riffage HHC doles out. A particular standout here is "Phoenix," which deals with one of the most horrific, disgusting accounts of abuse and murder I've ever read in the news (Manitoba or otherwise). Alexander's outrage and disgust is front-and-centre, but so is his grief and sadness — a surprising tenet for a grind band, and one that will linger with you long after this 7" has ended.

Cloudrat - Moksha (Halo of Flies)
There are very few aggressive, heavy, whatever bands that really grab my attention anymore. Maybe I'm old. Maybe go fuck yourself. But I increasingly feel that if I want something loud and pissed off, I have plenty of options with the old stand-bys of my record collection. Cloudrat is one of the exceptions this year. And maybe it's partially due to the fact that Cloudrat is exactly the kind of band that would have totally blown me away when I was nineteen — and in no way is that a bad thing: this band totally has totally blown me away at 29. Blending the manic speed of grindcore and the crushing heaviness of His Hero Is Gone-esque hardcore with some incredibly powerful vocals and intelligent writing, Cloudrat do not fuck around. Highly recommended.

Mutoid Man - Helium Head (Magic Bullet)
Brodsky from Cave In and Koller from Converge? Ok, so this this way-to-brief album is a bit of trump card for me, but god damnit. Mutoid Man is the perfect distillation of each member's previous outputs, only coated in meth and fired into space. Brodsky's riffing is some of his fiercest yet, and Koller's penchant for off-kilter, metronome-overloading transitions results is a truly fantastic record that sounds like no one else. But as frenzied and chaotic and heavy as Helium Head is, there are some serious hooks in here that will be lodged in your head for days.

Side note: As the vinyl release for this was delayed, I've just been streaming this beast on Rdio. That's kind of shitty, I know, but it won't be long until I lay this wax upon my table.

Monday, November 18, 2013

Review Love for Cold Wires

It's a bit early yet, but here's some lovely words about Cold Wires courtesy of Anti-Gravity Bunny, which, if you don't read regularly, you should. This list also compiles some incredible records that you should check out.

More soon. Thanks for listening.

Tuesday, November 5, 2013

Cold Wires Tape Available Now

Physical copies of Cold Wires are now available. I have copies available (send me an email greenhousedrone (at) gmail (dot) com if interested), and they're also available direct from Prairie Fire Tapes. Thanks for all the support and for all those who came out to the release show on Friday. It was really fun.

No shows on the horizon just yet, but I'm certainly up for it. Get in touch. The plan is to start on some recordings as soon as possible.

Current listening: Rainforest Spiritual Enslavement - Folklore Venom; Sutekh Hexen - Becoming; Coliseum - Sister Faith; Autechre - Exai

Thursday, October 31, 2013

Video from send+receive

Happy Halloween folks.

First off, the release show for Cold Wires is tomorrow night, Nov. 1, at Frame Gallery. Kvik and Solar Coffin are playing - and releasing albums - too. It's going to be a fun night. Come out and support Prairie Fire Tapes before they cease operations for the next little bit. Show starts at 10pm.

 Second, here's an excerpt from my set at send+receive a few weeks ago. Video courtesy of the talented Robert Szkolnicki. I think some weird compression happened when I uploaded it to Vimeo, which is why things look a bit jerky. Maybe I actually look that way, I don't know. Anyways, it was such an honour to play at this festival. I opened for Sons of God and Tony Conrad, and they were both totally incredible. After this weekend I'll have some cassette copies of Cold Wires, and they'll be available from the label too, so you know, get in touch if you want one. Thanks for listening.
Greenhouse - Live at send+receive 2013 pt.2 from bandc on Vimeo.

Wednesday, October 23, 2013

Stylus Interview, updates

I'm still vibrating from send+receive. An absolutely stunning festival, with some unforgettable performances (here's looking at Le Revelateur, Tony Conrad and Charlemagne Palestine).

Stylus Magazine did an interview with my about my work and the festival. You can read it here.

Up next: Cold Wires release show at Frame here in Winnipeg with Solar Coffin, Kvik and Crabskull (DJ Set). It's going to be a great night. Don't miss.

Also: my fucking amp is broken.

Current Listening: Rainforest Spiritual Enslavement - The Plant With Two Faces; Julianna Barwick - Nepenthe; James Blackshaw and Lubomyr Melnyk - The Watchers; Huerco S. - Colonial Patterns

Tuesday, October 8, 2013

Cold Wires - Album Release Info

My latest album, Cold Wires, is available for streaming and download purchase now via Prairie Fire Tapes. The physical release is a few weeks away, but it will be a limited edition cassette version of 40 copies. If you're interested, get in touch with me here, or keep an eye open on the Prairie Fire website.

If you're interested in reviewing a copy, please send me an email.

I'll be playing a release show on Nov. 1 at Frame here in Winnipeg, more details when I have them.

I'll also be playing at send+receive festival on Friday here in Winnipeg, with Sons of God and Tony Conrad (!!!) at the Atomik Arts Centre. This festival is absolutely incredible, so if you're in Winnipeg do not miss out. View the full program here.

Monday, September 9, 2013


I am incredibly honoured to be playing this year's send+receive festival here in Winnipeg. Send+receive is a festival dedicated to sound art and experimental music, and 2013 marks it's 15th anniversary. No small feat in Winnipeg, let me tell you. This festival is truly one-of-a-kind, and the artists they bring in are jaw-dropping. This year is no exception: Charlemagne Palestine and Tony Conrad, among many, many others. I really can't believe I'm playing this.

Full details over at

In other news, "Cold Wires" will be released on cassette by the fine folks at Prairie Fire Tapes this fall.

Until then, I'll be rehearsing as much as physically possible.

Current listening: nin - hesitation marks; Neko Case - The Worse Things Get... - Mike Shiflet - The Choir, The Army

Thursday, August 8, 2013

Review: Stave - Reform

Courtesy of the Flinco Sound System imprint, who are responsible for great releases from Locrian, Wrnlrd and Haptic, comes Stave. Stave is the solo project of Jonathan Krohn, who's previous projects I'm unfamiliar with, but I am really enjoying this release.

Sonically, Stave deals in dark, cold, industrial-infused techno. Highly repetitious, Stave's drum patterns clatter like pieces of rebar dropped through the steel girders of some half-abandoned skyscraper. Kick drums echo through concrete basements, and synths coat everything in gradient of ever-darkening grays. Everything is gritty, soaked in reverb and delay, and is sounds like Krohn set up his gear in an abandoned construction site at midnight, cranked the volume and hit record.

"Tower9," one of the more aggressive tracks here, employs a sinister drum beat amidst some highly distorted blasts of bass, before Krohn masterfully drops everything, leaving the listener with only a ghostly synth line.

At only 7 tracks, the tracks of Reform cover a fair bit of ground. The shimmering, channel-jumping hi-hats and concussive kicks on "Stave" are nearly dubby, while the glacial "Disc1" nearly forgoes rhythm, save for some minimal clicks, for gorgeous, forboding, droning synths. Though even at it's most serene, tension is never far away. Krohn's skill as a producer and attention as a sound designer is something he's clearly been sharpening for quite a while, but his ability to ratchet up the tension and shroud everything in a bleak, dead-of-night industrial landscape is what I find most engrossing. Perfect for making your walk home tonight infinitely more harrowing and snapping the summer humidity.

Stave is released by Flingco Sound System, though it appears they have already sold out. Perhaps keep your eyes peeled on Experimedia for some copies to show up. I know I will.

Tuesday, July 16, 2013

Summer update

I don't have a ton to report on, other than it's summer so there is always a hundred different things going on.

"Cold Wires" is slotted for a fall release on cassette. More details when I have them.

I've also been recording more material, with the intention of having another release ready to go as well. I've been trying out some new gear configurations and so far I'm pleased with the results. We'll see how it goes, though.

Currently enjoying: "Dhalgren" by Samuel Delaney; Locrian - Return To Annihilation 2xLP; Savages; Miles 2xLP; Deafheaven - Sunbather 2xLP; Angel Olsen - Half Way Home

Monday, June 24, 2013

Review - Billy Gomberg "False Heat"

Sometimes the simplest ideas are the best ideas: an acoustic guitar and vocalist, a verse-chorus-verse pop song — this isn't to say that incredibly complex concept albums, highly technical death metal, prog rock, mad-scientist modular synths or heady experimental albums are not good ideas. Often they are, and I usually enjoy listening to them. And this isn't to say that there isn't some painfully bad and contrived folk and pop music out there, because there is.

"Simple" is often synonymous with "boring" or "bad" when it comes to music, and while I completely agree that this can be true in a lot of cases, there are bands, albums and artists that are simple and are far from boring or bad. But simple idea, song or album certainly does not occur at the expense of practice and mastery, and this is an important distinction to make, and it is certainly a distinction evinced by Billy Gomberg's "False Heat."

The two tracks on "False Heat" are side-long improvisations utilizing synthesizers, "a temporarily empty room with a guitar amplifer, and open window and no live computer treatment." The idea is so simple and the results are impossible beautiful. Side one begins with some barely audible, but very heavy, bass frequencies, room noise and analog hiss. Gomberg's synths gradually climb into higher registers, slowly shifting like the sun moving across the empty room they occupied.

Side two has a bit more motion, with shuddering tones dropping amidst Gomberg's glass-like bed of sustained, though subtly changing, notes. While very minimal and slow-moving, Gomberg is adept at introducing new notes and textures, making these tracks quite engaging and dynamic; he's equally skilled at taking them away. To passersby, "False Heat" may indeed sound boring and one-dimensional, but it takes real skill and patience to create sound that is this minimal and restrained on one hand and dynamic and interesting on the other.

I am unfamiliar with Gomberg's previous work, but the patience and restraint on display here indicate his mastery of his craft. "False Heat" may be a simple idea, but the results for the listener are incredibly complex, and in lesser hands, such an idea would indeed be boring and bad. An incredibly rewarding and beautiful record. Highly recommended.

This release is incredibly limited. Available now from Experimedia.

Wednesday, May 15, 2013

Review: Kwaidan - Make All the Hell of Dark Metal Bright

 From time to time, I enjoy writing about records that excite me. Here's one of them.

Kwaidan - Make All the Hell of Dark Metal Bright (Bathetic Records)

Kwaidan is composed of three highly regarded experimental musicians in Chicago: Andre Foisy (Locrian), Mike Weis (Zelienople) and synth-wrangler Neil Jendon. With such a stellar lineup, it's hard not to be impressed with this LP, or to predict what it sounds like. Upon spinning this, I found I was correct in the former (this is indeed a great record) and wrong in the latter: Make All The Hell of Dark Metal Bright does not sound exactly like I thought it would — and in no way is that a bad thing.
The album begins with what I assume is one piece split into three movements: "Three Empty Rooms of Light and Space: Evening Bell, Gateless Gate, and Ostention." This is Kwaidan at their darkest, and listeners well-versed in Locrian's black-smoke sound will find bleak solace in the low, slithering synths, distant droning guitars and lumbering toms.

If this opening piece is the dark, the remaining three tracks are the subtly shifting greys just before dawn, with glimmers of daylight piercing through the gloom. Jendon's synths occupy the lows, allowing Foisy's remarkably clean guitars to float amongst ghostly piano melodies and restrained, yet propulsive, percussion.

The closing track, "The Sound of This Bell," burns the brightest here. Beginning with a fragile, delay-soaked guitar motif, Kwaidan masterfully add layers of hissing synths and shimmer cymbals until the track glows red-hot with searing distortion and feedback.

 But one Kwaidan's biggest strengths is that they've created an LP that is focused, but still manages to maintain that loose, experimental, improvisational feel that is impossible to fake. These are three musicians who know their craft and their instruments, and the chemistry at work between Foisy, Weis and Jendon is undeniable. The degree of restraint on display here is masterful, as Kwaidan slowly and surely ratchet up the tension and dread, and while they do allow a few faint slivers of light to pierce the murk, they offer the listener little, if no reprieve.

At once beautiful and ominous, Kwaidan's debut full-length encapsulates some of the best elements of drone, psych and post-rock but without any of the genre trappings: it's dark without being theatric, and meditative without relying on cheesy, over-played "new age" tropes. I find the music here extremely listenable, but by no means is this easy listening. Kwaidan walk on the edge of beauty and terror, tension and ease, and it is fascinating to hear them veer off in either direction.

This release is vinyl only, and quantities are limited. Go to Bathetic Records and get your copy.

Thursday, April 4, 2013

Dreadful Beauty

Here's a track off "Cold Wires", just to give you a sense of the feel of this release. Certainly more minimal, textured and slow-moving than my past releases. I hope you like it.

Tuesday, April 2, 2013

New Album is Finished

Just a quick post.

The next Greenhouse recording is complete. It is called "Cold Wires." No details regarding release yet, but I hope to have those soon.

I'll also be posting a track soon as well.

If you're interested, get in touch.

Current Listening: Actuers - s/t; TM404; Vatican Shadow - It Stands to Conceal; Dead In The Dirt - Fear

Thursday, February 7, 2013

Live on CKUW

Just a quick little note that I will be playing live on send+receive radio on CKUW here in Winnipeg on Sunday. 2-4 pm.

For those that don't know, send+receive is Winnipeg's (and Canada's) premier experimental music/sound art festival, but they also do a radio show every Sunday.

You can tune in here, or if you miss it, the episode should be backlogged and available for download after the fact.

This is part of CKUW's FunDrive, so if the mood strikes you, call in and donate.

Tuesday, February 5, 2013

Live at NGTVSPC, Feb. 1, 2013 - video

Here's a series of short clips from my most recent live performance at NGTVSPC. Massive thanks to Robert Szkolnicki for the footage.

Greenhouse Live at NGTVSPC 3/3 from bandc on Vimeo.

Greenhouse Live at NGTVSPC 2/3 from bandc on Vimeo.

Greenhouse Live at NGTVSPC 1/3 from bandc on Vimeo.

Sunday, February 3, 2013

Live: NGTVSPC, Feb. 1, 2013

Here's a few photos from Friday night's show. Huge thanks to Robert Szolnicki for the terrific photos. Check out his work on his blog.

I was really happy with how this set turned out. It was my first live performance trying some new signal routing and processing approaches, and thankfully the results were what I hoped they would be. Video and audio coming soon.

Big thanks to NGTVSPC for being an amazing venue. Also, I'm still jazzed from Solar Coffin's debut performance. Unreal modular synth drone duo. Check them out over at Fletcher's Midori imprint.

Sunday afternoon listening: Solar Coffin - s/t cs; Ogham - "I" cs; Indicator, Indicator - "s/t" EP; My Bloody Valentine - misc. "mbv" tracks on their YouTube channel to make sure I like it before paying $16 goddamned dollars for mp3s.

Live from one year ago

I'm going to be posting some live video and photo courtesy of Robert Szolnicki from the Feb. 1, 2013, show, but before I do, here's some footage from almost a year ago, courtesy of Robert. Robert's the best.

Monday, January 28, 2013

Sink or Swim: small update

Just a quick little note that I'm still in the process of new material for an as-yet untitled, release. I have no plans for the actual release yet at this point. All I can say is that I'm excited by the new material, and that it's a bit different from my previous work, both technically, sonically and texturally. I hope you like it. I hope to post a snippet soon.

For those of you in the Winnipeg area, I'll be playing a set this Friday at NGTVSPC. I'll be trying out some new approaches I've been working on at home. Sink or swim.


Current listening: Kevin Drumm - Tannenbaum; Mike Shiflet - The Choir, The Army; Pan Sonic - A; Genesis - The Lamb Lies Down on Broadway

Sunday, January 6, 2013


Productive day of recording yesterday. New material is shaping up. It's not ready yet, but I'm really excited about it.

Currently enjoying: Andy Stott - Luxury Problems; Fermentae - Alllusions; Pinkish Black - s/t; The Evens - The Odds; Pile - Dripping.