The problem with having a rigorous, uncompromising aesthetic is that it makes it very difficult to deviate from it without feeling like you have somehow gone a little soft. So if you want to maintain your experience of my body of work here without feeling the triple-ply softness that is reminiscent of Drake, when you listen to this new EP you should by all means avoid the second version of "Inner Moment Freedom" that contains an actual overdubbed actual guitar solo. Usually I don't do that, so this time I did, unless you don't listen to it, in which case I have maintained an unbroken strict "one-take, all-improvised, no edits, no overdubs" policy for like 25 releases here. (It is the first take of the guitar solo if that makes you feel better.)
There have been many times lately when really all I want to hear is the sound of a guitar with a bunch of wood and metallic stuff shoved through the strings, run through a bunch of delays and a Rat pedal.
And then there is the rest of the time, when I just want to hear the song "Some Guys Have All The Luck." So, one stop shopping here, basically."Skullpile Sunrise" is named after a song by the same name by 90s Charlottesville art-metal band The Middle Way (featuring members of Hedonistic Cravings). We did a show together, and it was also the first show of the (can I say it?) extremely twee indie-pop band Charming. After Charming's set, I looked at their set list and I was very impressed that one of their songs was named "Skullpile Sunrise"; it took me longer than I would like to admit to realize it was actually The Middle Way's set list. But I still think that is one of my favorite song titles of all time.
New Laconia is the name of what I assume must be an extremely dour and lugubrious car service; it is also the name of this new EP.In related news, my recent releases are rocketing to the top of the charts: #1 with a bullet in the "prepared guitar" category, and finally charting in the "free improvisation" category at #27. As DJ Khaled says, we the best. (Again, I point this out only to note that, based on the number of listens I have received, this means that almost nobody is listening to anything. As you were.)
Got out of work early today, so I had time to record this: a final blast of utter impersonality for 2011, in convenient (digital) 7 inch form. Happy new year, everyone! Let's see more of each other in the coming months.
Just in time for the end of 2011, here are not one but two new EPs: the tasteful and understated Labor Palace, and the emotionally unavailable Dungeon Breathing 2. Take them both home today! DB2 also answers the prayers of every one of you who has ever asked "John, when will you stretch one of these songs out to over 12 minutes in length?" You're welcome.
Also, I am playing in New York City at the Cakeshop on Thursday December 22nd, with the fine Teenbeat act Cotton Candy. First of hopefully many performances of this type of music in the near future. Mention this ad to me for a free drink.
After a few weeks off to think about things, try to set out some new guidelines for the next year of this project, get my head together, etc., there was finally an hour to spare and I recorded this EP exactly the same way I have been.I'm still looking forward to working on some different projects, with a few collaborators, doing more composition, etc., but it's hard to deny the immediacy of solo improvisation. The frequency and lack of money involved make these EPs more conversational to me than epic statements of overarching authorial intent, which I do strongly feel is something that is useful in the world today. Not that I haven't been obsessed with "Moves Like Jagger" (in spite of my dislike of all but the disco-era Rolling Stones). Sayin.
The end of the end of the first part of this project, this EP is the completion of a one-year attempt to record and release as many improvised performances as possible, operating completely outside of the commercial arena, solely for the purpose of making music. I haven't promoted it at all, or allowed anyone to pay for any of it; to me these occupy a different space than "records", in the sense that they often make more sense in the background, and are more conversational than they are some kind of pre-planned artistic statement. If you like it, you can listen to it, without a lot of overhead.
I recorded every one of these pieces in my bedroom during the one hour of the week when nobody is at home. There's no mixing, no overdubbing or editing, not even changing the order of the tracks; what you hear is pretty much exactly what happened during that time period, except for technical glitches and stuff like that.
The next phase of the project will involve less frequent releases, changing some of the variables, and going back to performing this type of music live again, after a very long hiatus. See you soon.
