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WITTR

First a few pictures of Joey and I doing shit on First Friday. Got good response / attention… still sorting this out, but it was satisfying to do and people be damned, which feels right for us.

(pics to follow. too fucking tired, internet too fucking slow.)

I don’t really know where to begin. I’ve got writers block, had for days, and now I just blew two more speakers on the guitar cab I just bought to replace the one I blew two speakers on last week. Playing electric guitar is awesome but owning electric guitar equipment is a load of shit. Fuck The World.

Let’s go with this dream I had to kick it off.

I first found this place myself, I walked across this rotting wooden bridge / walkway thing, it led to a high light place with tunnels and mysteries and then my friends were there. Together we tried to cross back across the bridge, but even though we went slowly and one at a time, big pieces of boards kept falling off. It was something like a 12 foot drop into piles of softish earth and leaves, maybe up to 20 feet at the highest point. One girl fell down and managed to land without hurting herself or even losing her balance.

A piece had gone missing so you had to jump at this one point and when it came to the last four people, myself and another person I don’t know or can’t remember in the rear, the first two jumped and brought down this huge section, falling with it. It looked like a far drop and timbers were spinning all around them while jagged rotten teeth flared out from the torn wooden pilings; a sawdust blizzard glimmered the air in sun specks and a cloud redolent in smell of an old New England barn. As they were hitting the ground and sorting themselves out, we began (or I did at least), to hear sirens in the distance. Time became thick and viscous, events come with a rushing and a saturated multitude that I have as much interaction with as does a twig in a river, pouring over a cataract.

Friends scatter like the pigeons when I open my door at prime. Into the woods they take off, the two fallen, perhaps injured, they
go away too and there is shouting that echoes up from the table of land below off the peeling maples and up to us, lain flat on the damp boards now with iridescent green moss lighting up our cheekbones and nose tips, fuzzy if you pause for just a moment and let your optic chasm be fully revealed to light, soaking in nanometer detail and then you can see the terrifyingly opulent texture that infests a bald layer of scum so thin as to barely be there. And just a moment before we were staring at the breaking downward trusses which supported this now swaying spine, the splinter and crumble of flashing white wood and its softer rotting skin or else corrupted members of the support gone fully to spongy dead weight. I crawl backwards along the damp board, in retrospect I should have just taken my chances and jump but in this moment of fear I hesitated. One, three and now six police in plainclothes have run by the end of our shielded wooden trench, the handrails being atop solid walls of ply. The seventh, in a blue collared polo shirt and dark brown pants (or did I just make that up? was it a white turtle neck and brown longcoat?), catches us and turns in.

We give it  up instantly, silently standing. I at this point lose all track of this forgotten other person who was hiding up there with
me, I think another cop pulls them away to a separate destiny by the woods. I actually gesticulate for silence and care from the arrestor and he complies. This walkway is rotten and we must be very quiet now because I am giving up without a fight anyways and I just can’t hear your brash yelling right now. So please, and thank you. I go with him, time buckles and we are already at the holding place. It is an elementary school. Broad shallow staircases that double around a vast square chasm and then join overhead backlit by two story windows. Blonde plaster walls, lofty cold ceilingboard, cinderblock and brick to the roots far below by institutional grey concrete floors and similarly painting pipes who everywhere run and are painted to match the walls but house boiling black water and find their source in a knot, contained in a sunken concrete tub with reinforced walls deep in the earth, a great boiling shell, encrusted with jewely dials and gauges, attended by a lightbulb (new kind, tall smooth rectangle described by
folded glass pipes filled with gas) headed balding man with tiny lozenge shaped spectacles who hovers over a chessboard and a green thermos filled with coffee. It is probably bad coffee I guess now.

His name is Billy or Mr. Bill and he grew up in this town and went to this school and never really left after graduating. He is really quite good at chess.

They interrogate us in classrooms, I am remet with my friends and continually encouraged by them to try escape, a window, a bathroom break I must have hypnotized a cop to allow, alone in the womens, possible fucking with myself through my pants before sneaking away up a linoleum hall. Stacatto footsteps beat the autumn light in a race to make you dread the dying world because they are the death that’s imminent. Somehow away we get.

Palaces of yellow leaves reigning from peeling white/black columns attend our solemn march away from this bad place, vast sheer
cubical shape heaved from the earth unwilling. People are being shot within, spirals of blood are being allowed to circle drains and leave rooms and a simple solution to the problem of a mess and this is all that it is fucking looked at as by the shooters. Don’t climb in behind those dead lights and look out. All too human.

Dry-mouthed I awake and gulp water from my clear plastic gallon. I face the window, sky is deep blue of dawn coming. Hangover is coming but I doze off again once my thirst is satiated.

This was the night after the night after the Wolves in the Throne Room show at my house, during which I had an even more vivid but shorter dream where I put on a pair of pants only to find that they were crawling with corpse-eating millipedes and maggots because I had been storing a raccoon carcass in them and forgot and just put them on anyways.

So what to say? Well, here are some videos somebody shot. That will help and also delay me actually writing anything.

http://www.youtube.com/user/briangenepool

(or http://www.youtube.com/watch?v=eZisYJjzkt8&feature=channel_video_title if that doesn’t load).

Anyways. Well, that was the most well attended show with the largest amount of the most complicated equipment that I’ve ever run, but for the most part WITTR + Brandt the tour manager and Matt from Backstabbers Inc. (acting driver) had their shit together and ran their own show. I made sure there was enough power supply and that it stayed on, did crowd control and herded people and cars into the appropriate spaces so that the show would continue without interference. The original venue cost $300 (an aside about that in a second…), but since this is my place I didn’t charge anything but asked that Wolves give up $100 to spend on food so people could eat for free if they wanted. Falls of Rauros graciously did this food run / cooked huge amounts of food at their home and brought it to you all, so thank them. And buy their fucking amazing album, which I have had on repeat since last Saturday. For that matter, after you’ve bought their album (bindrunerecordings.com) if you have money left over, buy the album Summit by Thou and then Celestial Lineage, the new one from WITTR, in that order (being the order of least established and needing money and support, to most established). I will say before my aside that it is rare that I see a show where all of the major bands have albums out, new ones, that I am actually excited about. Wolves are cool, they have never been an end-all mind-blow influence to me but I have a lot of respect for what they do and there are moments of spine-shivering on all their records. I may like the new one most after Diadem of 7 Stars… not sure yet.

++++++++++++++++++++++++++++++++++++++

The aside: if anyone knows this Dude (in every negative sense of the word) Jason Simcock, where to get at him or how to make him hear, let it be known: he almost fucked this show into non-existence. I happened to have a ready venue and a wish to have this show in the first place, I happen to have known about it for months now and happen to have had my phone on me and been free from work enough to make shit happen and then have nice enough co-workers to pick up all my slack by leaving early on Saturday and showing up Sunday having had only 3 hours of nightmare filled sleep, but IF NOT for ALL of those things, I am not sure that Wolves in the Throne Room would have played anywhere in Maine on this tour or any other one. The reason for that is Jason Simcock.

He demanded $300 up front which was extorted from WITTR (don’t worry, they can afford it, but they are on a tour budget and this is a very shitty thing to do), wedged himself between Ryan Fairfield (who was the original promoter who agreed to take on the show and had to do so from the Waterville area, which I am certain made it harder to judge this douchebags character accurately) and Deering Grange Hall, even though he didn’t need to be in the way. And in fact, his being in the way only served to obscure the fact that the Grange Hall had at some point lost its permit to host concerts, a fact which Jason Simcock neglected to tell anyone until THE DAY OF THE SHOW.

Let’s go over this again: extorted payment up front. Overcharged. Did nothing other than profit. Failed to inform Ryan, Wolves or anyone that Deering Grange Hall had lost its permit to have shows until it was waaaaay too late to book an alternate and then DID NOTHING to find another venue. Jason Simcock is now blackbooked. No one in Maine will book shows with this fuck, no one will host shows that this fuck tries to book. He is out. Smashing is not out of the question. End transmission.

+++++++++++++++++++++++++++++++++++++++

So things were hectic, trying to back that fucking full-sized RV plus trailer into my humble dirt lot was shitty but patience won the day. No real problems with power, had to run 4 cords from 3 rooms to spread it all out over enough breakers, only tripped one. People were by and large very cool and happy to be there, which I predicted they would be and it was a beautiful night with a nearly full moon. It was good to spend some actual time talking to Nate W. from Wolves, he is doing mostly exactly what he wants to be doing and is currently succeeding, he’s into farming and good organic food, so we talked about that since I work at a place that focuses on such things. I was interested to learn about the strategy of this tour, which stands out to me as unique among touring arrangements. Nathan and Aaron have been putting this huge PA together for a number of years for the main purpose of being able to do a band-controlled mostly underground venues tour of the U$A.

Instead of asking a guarantee and splitting profits in some way, the band takes all financial risk and responsibility and in turn reaps all reward (or all loss. Most of us know how it feels to ‘pay to play’ when you drive to a show that doesn’t cover your gas expense, but it is something else to be at the level of acknowledgement / popularity Wolves is at and still willingly encumber that risk). They have to take in around $1400 a day to stay afloat, calculated for paying the two non-coms, Thou, gas, buying a venue, paying local bands / the promoter and eating. They did at least break even in my front yard, which is saying something for a last-minute venue change to an off-the-map unofficial venue. I gave instructions to Ryan and friends on what angle to take if armed intervention arrived, but it didn’t matter. Here is nowhere, that’s why I live here and love it. Nobody wants to be here, no hipsters (except when a show like this happens, of course, but whatcha gonna do?), no cool kids, nothing but trash and woods.

Let me say again thank you to Ryan Fairfield for taking on the stress of this show, being held responsible for the promotion and therefore the money to a certain extent (which I absolved myself of because I had enough shit to do with jumping this in 18 hours into a viable event and because I had offered to take a part in things early on and twice more during the summer, but Ryan took full responsibility) and also to his good fucking friends who ran the door and kept an eye on trouble.

Shows like this happen because people give a lot of time and effort, usually without recognition, into making them right. This is what makes a scene thrive, dedication and strict anti-bullshit action.

I guess I will just let people’s pictures and memories carry the story, I didn’t let myself enjoy the show until the last hour and I don’t want to try to describe it. Let’s say it was a personal high in my life, a top 10 moment for the time being. It fucking ruled, so many of my friends were there and had an awesome time, it was really awesome to see so many people have good or even potentially moving experiences right where I base my life. Rad.

From weeks of profound psychological stability erosion and gambling security and home with opportunity, comes a week of acceptance, awesome conversational catharsis and really surprisingly deep sparking (I did not know it could feel so reconstructive and trusty and empowering to acknowledge truths in someone you love and have them acknowledge truths in you… with such natural compassionate accuracy) and then future-time embracings of life and adventure.

And then Deering Grange Hall or the booker loses their fucking mind at the last minute and the result is Thou and Wolves in the Throne Room playing in my front yard instead. With fire. And bones. At my fucking house. Tomorrow night. Because this is our fucking town and we are like a Sarlaac pit, a fucking event horizon for cool shit. So come get crucial at the point of no return.

Blackberry Hole

Bollard.

One of Portland’s small-scale papers, The Bollard, did a feature story on Thompson’s Point last month that included a tear-down of Prime Studios and photographs of my front door. I responded in writing to Chris Busby and he agreed to publish my response in the September issue.

Below is the final version after it went through his editorial surgery, which mostly tightened it but also subtly modified a few sentences in ways that I am not totally happy with. We went through 4 drafts, some content and ideas in the final I must give credit to Owen McKenzie for, from conversation.

Also below are my last reply to his edits and my submitted final version, which is the best cut in my opinion. I am going to try to get that version circulated as widely as possible so people can see the discrepancy and think for themselves. Overall the published version says 80% of what I wanted to say, with slightly less impact and eloquence than I wanted it said with. Oh well, that’s editors for you.

So again: version to be published 1st, my final comments on Chris’s edits 2nd, my ideal final version last.

 

Hi, Gregory. I was able to incorporate these comments into the final draft. It’s attached.

Cheers,

C

[hed] Flushing a psychic toilet

[subhed] An op-ed by Gregory Souza

 The cover story of your August issue [“That’s Our Dump!”] features photos of the door to my practice room at Prime Artist Studios on Thompson’s Point. The use of those photos and the end of the article, where Anders Nielsen writes, “by the fall of 2013, the biggest dump in Portland may be the biggest attraction in town,” were telling.

Clearly, the trashed and chaotic fringe space that is Prime, from the perspective of the author, is a wasteland to be done away with. Forget all the bands that practice there — they’ll “find other rooms to get loud.” It’s going to be harder than that, but that’s not the central issue. The message is: development is superior, disorder is to be cleansed. Every place should eventually be exploited to look like the fucking Maine Mall.

Can there really be no place for freaks to just exist? No place that can just be a wreck, to host chaos and disorder and people disenfranchised by the bullshit of society in general and the pathetic, mewling “arts” scene of Portland in particular? Because these people are present, and that misery is real, and that chaos has to be taken out somewhere, but the sociopathic perspective persists — stamp out every emergence of dirt and grime.

I know that Portlanders like to consider themselves progressive, living in a “cool” city, etc., but the fact remains that there are no galleries of any integrity in this city — galleries showing work that would at least force uncomfortable questions. Nobody is saying anything real about the world, only showcasing pedantic speculation and trendy entertainment.

Serious work most often comes from the fertile ground of ruined, marginal spaces, where artists are free from any pressure to be productive or have anything look appealing or be safe for neighbors. Prime Studios is such a space.

To me, Portland’s music scene — with very few exceptions — is weak, insular and unoriginal. I hold to that opinion even though I make music and I am trying here and still believe that this place has lots of awesome potential. Ninety-five percent of bands in Portland are either regurgitating someone else’s original idea, playing “local hero” for kicks, or writing escapist backdrops for depressed drunk people to help them forget life, when instead they should be learning how to take over life and make it what they want.

 The trashy, unwanted space that is that corner of Thompson’s Point has been home to many fruitful chance encounters with musicians for me. It has been a space where my ideas can breathe and get tried out freely, where I’ve met other dissatisfied people and formed bands with them.

The space is gross. It’s dirty and trash has usually littered the parking lot. Kids from a local band left their trashed touring van abandoned there for several years until it became a bum toilet. We had it towed away when I most recently started renting at Prime again this spring. We picked up a lot of the trash and cleared the brush and stumps that Portland Trails had dumped on the property (without permission, as far as I know, but whatever). The place has been an edge space that no one gave a shit about, but free for those who chose to go there to vent whatever energy they couldn’t elsewhere. My friends and I helped to “improve” the property in our own way, make it more awesome to hang out for ourselves, a shrine to all that is ignored and feared.

So yeah, maybe Anders’ impression of the appearance was correct, but there was no thought given to what else that meant or why it had become that way. It doesn’t matter if it is picked up and tidy or not. That is window dressing to the real content, and though I know that America as a society has chosen to exclusively base its soul in a worship of window dressing, know this: It is necessary for every community to have such a space. It’s a psychic toilet.

What’s not valuable to me is another cookie-cutter parking lot with rotting, soulless buildings sucking up power and being used only half the day, forcing property into one, and only one, possible form: development for the profit of already rich people.

Portland is the end of the line. What bands will tour up here, and on the way to where? And if they do come, how will that help foster a “scene” around here? People drive up, park, see the distractions and then drive home. A big concert hall controlled by some giant development nconglom, located off-peninsula and run in an impersonal manner is not going to bring fresh air into our creative community. It’ll just siphon money to more “real” (MTV-approved) bands from away.

 And above and beyond all this, why is Maine so into groveling for tourists’ money? Tourism is fucking heroin. This development is another vein to get that shit in, not the start of a cure for anything.

A few pathetic jobs is nothing. And I’m not talking down: I have survived on pathetic, tourist-appeasing jobs for seven years. I am not “better than” people who earn a living this way. I am them. But every day I was painfully aware of how I was not improving myself, not learning to stand on my own two feet, and how much it sucked to wake up with scuffed-up knees and a sore jaw from dicks I don’t even enjoy sucking. Once going out to get drunk every night, surrounded by sad people who want to forget, became stale and old, I started to make changes.

So I did learn to stand up and now I feel better and think the rest of Maine should as well. Tourism is fickle, like fashion. It doesn’t help Maine’s economy in the long term. Entertainment revenue is subject to the whim of individuals. Moreover, it doesn’t put our state or our people in charge of anything. It’s just crawling around looking for a handout, with costumes on.

If Thompson’s Point were being developed into a manufacturing facility, I’d be stoked. But nothing gets made. Development that gets us further into a dead-end economic structure is the advancement of the problem.

The way we evaluate spaces in the city is subjective and needs checking and examining by opposing opinions. What’s good for money can be bad for everyone. Cleaning up can often mean destroying something priceless and irreplaceable. (I will never let this city live down tearing out Union Station in exchange for a strip mall. FAIL.)

“One man’s trash is another man’s treasure” is a platitude, but it needs to be said. And really, if you think that a windy, dead-end development with crappy, neo-modern, mishmash buildings near nothing and mostly empty is going to be a new, hip cultural center for Portland, you’re fucked. Not that I think such a place is even worth fuck-all, because what that translates to out of white-people-speak is shitty rows of snotty coffee shops and hipster bullshit fashion emporiums — nothing creative or constructive at all.

 

 

[tagline] Gregory Souza’s latest musical project is a band called Feral. He splits his time between Portland and Turner.  

 

- Hide quoted text -
On Aug 28, 2011, at 5:44 PM, G. Souza wrote:
- Hide quoted text -

Alrighty! Here we go for another try, I will try to address your points about the last edit:

Headline article -  noted, didn’t really give it much thought.

“majority” – true, I exaggerated because I was all fired up. a lot of bands do, people will get the point.

confusion over the music scene critique -  I talked this one over with another brain from my collective and rewrote this paragraph. I write from a very particular perspective and I think I have a hard time remembering that other people don’t consider power dynamics and pessimism / misanthropy in the same way I do. Therefore, I tried to emphasize that I do have scorn for a lot of music here, that probably the inverse is true, but that overall we are all getting screwed by this deal. that seems more to the point of the article.

poland spring – i disagreed with you but after talking it out with somebody else, i came to see that you are right: the article needs to stay focused and i’m undermining my central point by distracting people. that one is a whole ‘nother article i suppose.

title change – I dig it, it’s true, gross, clever.

ending / platitude v cliche -  I think the reiteration of the phrase ‘one man’s trash…’ is kind of smarmy. the point rings like a goddamn hammer without it. also, i must insist that i refer to that as a platitude v. a cliche, because it is a statement that people use in the most banal contexts to stand in for genuine observation and which i personally find shallow, but which here is truly redolent of the scene: this place is being declared a trash heap and it houses the damn jewels that make long winters in portland tolerable and even fun from time to time. jus’ sayin.

Hope this works for you! if not, lemme know and we’ll go again.
Same as last time: attached plus in body of email below.

G
[hed] Flushing a psychic toilet

[subhed] An op-ed by Greg Souza

The cover story of your August issue [“That’s Our Dump!”] features photos of the door to my practice room at Prime Artist Studios on Thompson’s Point. The use of those photos and the end of the article, where Anders Nielsen writes, “by the fall of 2013, the biggest dump in Portland may be the biggest attraction in town,” were telling.

Clearly, the trashed and chaotic fringe space that is Prime, from the perspective of the author, is a wasteland to be done away with. Forget all the bands that practice there — they’ll “find other rooms to get loud.” It’s going to be harder than that, but that’s not the central issue. The message is: development is superior, disorder is to be cleansed. Every place should eventually be exploited to look like the fucking Maine Mall.

Can there really be no place for freaks to just exist? No place that can just be a wreck, to host chaos and disorder and people disenfranchised by the bullshit of society in general and the pathetic, mewling “arts” scene of Portland in particular? Because these people are present, and that misery is real, and that chaos has to be taken out somewhere, but the sociopathic perspective persists — stamp out every emergence of dirt and grime.

I know that Portlanders like to consider themselves progressive, living in a “cool” city, etc., but the fact remains that there are no galleries of any integrity in this city — galleries showing work that would at least force uncomfortable questions. Nobody is saying anything real about the world, only showcasing pedantic speculation and trendy entertainment.

Serious work most often comes from the fertile ground of ruined, marginal spaces, where artists are free from any pressure to be productive or have anything look appealing or be safe for neighbors. Prime Studios is such a space.

To me, Portland’s music scene — with very few exceptions — is weak, insular and unoriginal. I think 95% of it sucks, but I make music anyways. By the same token, I think a substantial (more than 60%) part of Portland hates the music I make, but it’s irrelevant almost. No one I know playing makes any money, none of us get health benefits for entertaining you and there won’t be any music of any kind if society doesn’t support this kind of space. Everyone loves music but musicians only lose money doing the work.

The trashy, unwanted space that is that corner of Thompson’s Point has been home to many fruitful chance encounters with musicians for me. It has been a space where my ideas can breathe and get tried out freely, where I’ve met other dissatisfied people and formed bands with them.

The space is gross. It’s dirty and trash has usually littered the parking lot. Kids from a local band left their trashed touring van abandoned there for several years until it became a bum toilet. We had it towed away when I most recently started renting at Prime again this spring. We picked up a lot of the trash and cleared the brush and stumps that Portland Trails had dumped on the property (without permission, as far as I know, but whatever). The place has been an edge space that no one gave a shit about, but free for those who chose to go there to vent whatever energy they couldn’t elsewhere. My friends and I helped to “improve” the property in our own way, make it more awesome to hang out for ourselves, a shrine to all that is ignored and feared.

So yeah, maybe Anders’ impression of the appearance was correct, but there was no thought given to what else that meant or why it had become that way. It doesn’t matter if it is picked up and tidy or not. That is window dressing to the real content, and though I know that America as a society has chosen to exclusively base its soul in a worship of window dressing, know this: It is necessary for every community to have such a space. It’s a psychic toilet.

 What’s not valuable to me is another cookie-cutter parking lot with rotting, soulless buildings sucking up power and being used only half the day, forcing property into one, and only one, possible form: development for the profit of already rich people, once again with tax-payers taking the risk.

Portland is the end of the line. What bands will tour up here, and on the way to where? And if they do come, how will that help foster a “scene” around here? People drive up, park, see the distractions and then drive home. A big concert hall controlled by some giant development conglom, located off-peninsula and run in an impersonal manner is not going to bring fresh air into our creative community. It’ll just siphon money to more “real” (MTV-approved) bands from away.

And above and beyond all this, why is Maine so into groveling for tourists’ money? Tourism is fucking heroin. This development is another vein to get that shit in, not the start of a cure for anything.

 A few pathetic jobs is nothing. And I’m not talking down: I have survived on pathetic, tourist-appeasing jobs for seven years. I am not “better than” people who earn a living this way. I am them. But every day I was painfully aware of how I was not improving myself, not learning to stand on my own two feet, and how much it sucked to wake up with scuffed-up knees and a sore jaw from dicks I don’t even enjoy sucking. Once going out to get drunk every night, surrounded by sad people who want to forget, became stale and old, I started to make changes.

So I did learn to stand up and now I feel better and think the rest of Maine should as well. Tourism is fickle, like fashion. It doesn’t help Maine’s economy in the long term. Entertainment revenue is subject to the whim of individuals. Moreover, it doesn’t put our state or our people in charge of anything. It’s just crawling around looking for a handout, with costumes on.

If Thompson’s Point were being developed into a manufacturing facility, I’d be stoked. But nothing gets made. Development that gets us further into a dead-end economic structure is the advancement of the problem.

The way we evaluate spaces in the city is subjective and needs checking and examining by opposing opinions. What’s good for money can be bad for everyone. Cleaning up can often mean destroying something priceless and irreplaceable. (I will never let this city live down tearing out Union Station in exchange for a strip mall. FAIL.)

“One man’s trash is another man’s treasure” is a cliché, but it needs to be said. And really, if you think that a windy, dead-end development with crappy, neo-modern, mishmash buildings near nothing and mostly empty is going to be a new, hip cultural center for Portland, you’re fucked. Not that I think such a place is even worth fuck-all, because what that translates to out of development-speak is a shitty row of snotty coffee shops and hipster bullshit fashion emporiums — nothing creative or constructive at all.

 

In the air.

This is the most unsettled time I can recall knowing. I am pretty much willing myself to not freak out and commit to something, out of fear and desire for comfort, on a daily basis. My living situation is up for grabs, many of my friendships have been rocked by traumatic events or emotional stress, the duration of my time in Maine is questionable which in turn throws into question the nature of my work at Local Sprouts and my ability to continue making music and trying to build a forge, or accumulating anything else at all for that matter. In short, everything is tangibly, utterly relative right now.

Any value I shift on any of these axes moves everything else around in complicated and unpredictable ways. I am trying to z-out my need for long-term plans without throwing away my belief in the value of making them when it is possible. Right now it seems impossible. Work on the album has been suspended for at least another week as I don’t have a reliable place to record right now… I am pretty sure I could continue to do it at the house in Turner (I don’t know for sure because I haven’t been ‘home’ for more than 12 hours in the last 16 days), but I am trying to settle issues in Portland first.

My back-up practice space is questionable. I called the realty company managing the take-over of Thompson’s Point and got a reasonably firm answer that Prime will be open until March 2012, and that we’d have 90 days notice at worst. Which makes that an option. Working on getting Joey’s truck to be my main vehicle. Touring 3 or 4 buildings in South Portland to look at buying, with Bob… not sure what his timeline is yet but should know Friday.

First Friday is tomorrow, trying to pull together some street art with Joey, spent some time at the Round House making sweet video pieces with LLL. Talk to me in a week, is basically all I have to tell you. Shit needs to get worked out.

Fruits of the routine:

Closest of them all to done, with rough drums, guitars, vocals.

Sentient Blood v5drumvA

First swing at getting drums to this song. The production is too fucked to make it work, so I’m doing a whole retake…

Rapist’s Sonv7cdrumv1 3

…which starts here. Two new guitar tracks.

RapistsSonRedov1

Not lined up, but just a sketch of the next song you haven’t heard yet.

AwakenedByDyingdrumv0

Here are final guitar takes of this one.

AwakenedByDyingfinalv1

Enjoy listening!

Pictures to follow.

Also, have a magical spell:

10,000 animal cunts
one mind in a savage inner curling,
furs all out to face the world
sink in a bottomless pit of grey pleasure
it becomes dizzying nausea
violet sky with horrible holes in it
an abuse to quiet tyrants

And Bill Hicks on the Austin stage, lets himself get cornered at last, shows the underbelly: to let us know that if we stopped funding war, we could feed and clothe the world many times over and use the remainder to explore the Universe together as one humanity. His face is savage and raw, the laughter of the audience comes reflexively but he’s not telling a joke, it’s not funny. A hail of imaginary bullets silence his proposal he smashes his body into the floor and it’s lights out. Great people get destroyed and the mediocre and appeasing continue on to rule this world.

The woman I am seeing in Portland and I decide to call it quits on our love affair. There are reasons from her history with other men and there are reasons with my limited willingness to be a part of her life. I am compromised to her by being fully committed to music and to Joanna and to Local Sprouts. It’s probably the best and most honest ending I’ve ever achieved in any romantic and sexual relationship, all angles considered. This week clears the air with 3 women in my life, one way or another. Grudges, love, money.

My room in Portland is a wet dream for some teenage self. Slayer XX split open to a Jarboe interview, microphones and input decks perched on food wrappers, snaking cables carouse the floor Baroque to the eye, spilt and unwanted but glutted upon (wasted) pints of fancy ice cream loll beside patchwork clothes and hoodie with the head of a raccoon sewn into its crown, my bed is a grey foam camp mat and the 0 〬 sleeping bag gifted to me by my rapist father, the last gift before the end of us talking (sweet fucking dreams in that), heavy touring bike leaned beside my battlescarred V-4 head and amp (just like the German rocket, first time I’ve thought of that), my best friend’s 140 page xeroxed book about traveling the world marked by one and crammed in several copies against greasy old travel bags and crumbling drywall we stripped together 5 months gone when first we moved into this room.

Somehow endless culling has led me to this, throwing away every obstruction gives voice and voice and voice and I try to take care not to step on others but maybe only so that I can run with steps more surely and certainly because I must dive into the ripping black wind, it’s now a scream that I plunge on like coldest water from the fractured flaxen-light empty-air of highest earth, bleached, frozen, soaring. My body burns in water from the above, the empty x-ray chambers of the high atmos-labyrinth, almost out, up and into the breath of life that is the vacuum, the floating tombs that are the stepping stones to untimecurved interstellar plateaus.

Slowly getting a handle on all this lack of fucking. Not looking for more. More wasteful problematic… ah just trying to stay still for a bit. Lay a foundation. Not filled with emotional corrosion and cum.

Tolerance is a crack. Tolerance at its worst is an ethical credit card that bankrupts the spiritual integrity of
any progressive humanitarian movement in society. Tolerance is the weakness of avoidance in place of
the strength of contrast, conflict and resolution. Toleration is a short-term solution to vast and enduring
problems. I think mostly when people tolerate things, it is out of a fear of reprisal and an intellectual
awareness of the logic of cooperation. These bonds are weak to Fear, Panic, Chaos, Strife, Attrition,
Hypnosis, Domination, Lies, Hate, Desire / Lacking / Want, Jealousy and Boredom, which are the very
vanguard of the corrupt, wealthy, power-hungry, vampiric and abusive. Toleration breaks down under
pressure.

Respect lasts only a little longer, but still knuckles under to desperation. Love, soul-knowledge with
total dedication and self-identification, endures far longer. To do something because you must, because
you Love it beyond all reason and doubt and fear, is to do something with true integrity. To know the
ways of other people and not just respect them but Love them as integral to the world is to be locked in
to those people, to shape yourself in their image, to become them and absorb their power, to disappear
within them. It is possible to have profound Hate for the wasters of life and Love when polarized along
this axis.

I have formed such a tight friendship with Jon that this has become a form of Love, of knowledge of
moving in a similar way and direction and method as another conscious being. Rare. Unique to me as
someone into heavy music. Our conversation tonight was mindblowing… we must make use of the full
spectrum of sight, sound, smell, physical disruption, time distortion and smell to bring people to a
completely other state of consciousness with our performances. To shock people into seeing again
and then teach them how to take control of themselves and their environment.
Working together in a group cell, metaphors and symbol layers are building so much faster and more
effectively than ever before alone. This time and place has been a rallying point and now that we are
being forced out, it is driving us to leave and take complete control over our lives and situations. This
is the edge of the Falls.

Pride is so funny. It can fuck you. The 40 hour work week means something so different to me (a
personal dedication and challenge, a technique for self-improvement in an area of weakness :
stability and fruitful routine) than it did to my father (obligation, duty, necessity, family, identity,
providing for others, approval of society). My father used to say that the hardest thing in the world was
waking up every day, day after day, in and out going to work for year after year. I kind of agree, but
the desire to fit in socially I utterly reject and the sense of obligation I can’t share (no kids, don’t believe
in normality or uniformity among ‘social cement’). I have shared in the scorn and abuse and hatred
and rejection of this society so much in just the fulfillment of my desires, that I have no attachment to
it at all anymore, it is simply a force to be navigated. Feelings are gone. To work 40 or more hours a
week is not a badge or a rite of passage or a symbol of anything to me that I rate by other people’s
perceptions of me. It is a personal choice, an organizational style, a convenient mode, an exercise.
When you have knelt in filth and vomited drugs knowing that you were trying for the destruction of
your awareness, when you have knelt in front of strange people and sucked their dicks knowing
you would never meet them again, when you’ve let someone cum on you or more yet, caused
yourself to have an orgasm in front of another human being in exchange for their money, that degree
of vulnerability and exile from society, then you stop sharing in the social pride.

People think they need pride so much. I stopped at the Mobil Sunday morning to get gas before
leaving L/A. The cashier began to ramble about how foolish somebody was for parking their car in
an obstructive location outside ‘her building’. She kept looking past me and craning her neck,
standing on tiptoes to watch other people compound the error. “I’m gonna call the damn tow truck
if they keep doing that, I can’t let that happen outside my building. People get so dumb.” I found
myself annoyed and impatient because she was making me wait to pay while she went on about
“not on MY watch” type shit.
“Good thing it’s not YOUR building, huh?” I said. “I mean, you don’t own it, or this business or any
of this property. You just make wage to stand here.”
She let me pay.

People willingly do the work of devils and abusers and assholes for the warmth of abstract,
externalized pride. Not in anything they themselves have generated or been the source of in
any meaningful way, no, just pride in an arrangement of descriptions and symbols One Citizen
from Our Society might knowingly associate with said person, for their dire sacrifice in the
fulfillment of some grueling official task or agonizing expenditure on some frivolous object (car,
home, suit, game, title). My goal in life is to look good, on paper. People crave pride, I just don’t
see it.

Once you have experienced things as extreme as nearly dying, as sleeping in the places
where you have always been told you would be murdered in your sleep if you slept in them, as
breaking laws all day long, as getting paid to cum, as banging drugs up your skull just to see and
coming out the other side Okay and knowing it was just another possible experience, as
realizing that people you are socially forbidden from expressing love and desire towards those
whom you feel towards, as walking for more than one day in the wilderness without seeing
another human being or saying even a word aloud, as finding out that 90% of America is
abandoned or uninhabited by humans, as being someone who is supposed to fuck people but
begging to be fucked by someone: once you have experienced such things, pride is cheap.

I am supposed to feel shame from The World for fucking up, for falling in my own puke, for lying,
hiding, cheating, stealing, fucking the wrong person, loving to fuck at all, even loving to fuck the
wrong people even though I know its wrong and its a waste of my time and energy but I do it
anyways because it feels good, for feeling good, for being in love with sluts and supporting
their will to share their bodies and hearts and minds with lots of other people besides myself,
for accepting others whole hog dirty filthy failures cheatings past lies and addictions and
abuses included, I am supposed to feel shame from The World, and I don’t at all. I sleep fine
knowing and thinking and examining all this blood and shit and I love all of it, the mad world
of skulls eating skulls eating dicks eating cunts eating cunts eating skulls eating candy with
sentient blood filling that eats stomachs, I love it all.
And I have ethics and spiritual devotion. Constant hammering into shape.

On Loop Trail, Tumbledown

 

Conrad

 

Loop Trail headwall

 

over the top

 

Northwest horizon

 

20 months after hiking Chocurua, Conrad under the moon again

 

 

Webb lake at sunset

 

Ana

 

where we slept

 

sunrise on top

 

in my mind, this cliff associates to the Immortal song, Rise of Darkness

 

went skinny dipping in the morning

 

looking back at tumbledown

 

 

blueberry fields

 

under big jackson

 

snack time

 

recording, week of 8/16-8/19

 

 

sitting with clayton in the MECA lobby, halloween night 2003



It’s been weeks. Updated 8/19

Okay, down to the no bullshit.

Moxie-fest happened and Joey and I trailed behind everyone all day and it was great because we went at our own pace instead of trying jump on the schedule train all sleepy-eyed. Just before that I spent scant hours with one of my best ever friends, not so much trying to catch up as I’ve learned that’s futile after 8 or 9 such partings and reunions over the past 6 years, but just trying to jump right into something engaging and let the things that are going to shake out, shake out. Stay that damn course, it’s the best way to share a piece of your real life with someone who’s coming from a tangent onto it (at least when that someone is so observant and knows you well already).

Off to see the wizard of Moxie

Breakfast at Nezinscot Farm

Dream Moxie Eternal

Jesus is our savior, Moxie is our flavor.

The mysterious "hang drum" built in Russia...

Playing at the water's gate.

When modern architecture manages to be cool.

My hero.

Life.... Life is Life....

Joey and I hike a part of Old Speck

Moss.

Eye Spy Charlie...

Our throne.

Green sleep

Kitten Luciferi!

Oh yeah, Joey moved upstairs at the Bangarang. Which is exciting. Sweet new rooms.

Goomba be's cute.

Anyways, Moxie is piffling compared to what came in the weeks after, namely that Justin packed up to go and then left, putting me in the room alone, but not before Alan Fishman showed up the morning after J’s going away party, when we were all just waking up in our respective vehicles behind the Prime space, to try to parry words with me in a sleepy state. I wasn’t having any of it, but he was a scared and elusive old man, who eventually just threw smoke bombs and left, with the vague assertion that ‘he ran this place’ and that ‘the party was over’.

This was the party in full swing. Sludgehammer Chris and Rodney visit, along with Diabolical Pat. We go swimming and get ice cream, but it is so hot out that as soon as you are out of the water you are dry again and the wind is a heat gun on your face even in a car going 65 mph and blackness can’t exist because the shadows are red and shades of colored vampires twist in agony from the neverending burn of the sun even at 2am and your ice cream is a joke, but friends make it bearable.

Prime in its prime.

Jus, Gary, Rod, Pat

Who's got time to fucking clean up when life never stops?

 

BR#9 complete!

Steps to Hel.

Writings on the wall.

Last breakfast.

 

Eye.

 

The room with Jon.

Wall of Bass.

 

We read between the lines: days living here are numbered. The ensuing weeks have been filled with a struggle first to distract myself from the crush of unwanted change (much harder than other even more drastic ones that have happened this year, possibly because of it being the end of the Prime ‘family’ and essentially the most ideal living situation I’ve ever known) through the aegis of a 70 hour work week including catering in Skowhegan, followed by a sprint to find a new industrial type space to occupy for our purposes.

That is still happening as I write this, but alternatives are being explored. Right now, my whole live-work routine scenario is completely up for grabs, I mean totally in all ways, as I try to grapple with living and travel expenses (for Rites of Darkness and travel beyond, all happening in late November / early December). Sleeping in the back of some vehicle seems probable for the near future; I am content with this so long as I have a place to play music as needed.

(Updated: we’re looking at this space at 28 Katana Drive in SoPo. Googlemaps it if y wanna see.)

Recording is entering the phase where I need to do drums, I have borrowed Jon’s isolation headphones and they work well enough, so I am going to begin that process. I put it off in style this week, declaring an impromptu gin-centric Willy Wonka drinking game night on Tuesday, being hung over and pissed as fuck at everything on Wednesday (okay, not everything, I had some fun between the flat tire, day spent doing nothing, parking ticket and sleeping away the evening) and then spontaneously deciding to do an overnight on top of Tumbledown with Conrad and Anne Thursday afternoon. It was well worth the lost work time, the mountain was at its best, the weather was Wagnerian in beauty yet kindly as ever can be in the mountains of Maine and blueberries were fucking everywhere at our fingertips. Easily a top 5 hike for me.

There are so many pictures it’s dumb, but I don’t have time to upload them now. Wait til tomorrow suckers.

Also, my house is in the Bollard this month and I am writing a reply letter to the editor about the article that misevaluates Thompson’s Point as a space and uses the beauty we inflicted upon our little front yard for shock value in a mostly boring and very one-sided Op. Ed.

Here’s a bonus for being so patient about pictures. If you’re as obsessed with 16-bit RPGs as I am, you will drool over this and put it right on your iThing for daily listening:

http://bluelaguna.net/music/ct/mp3s.php

Happy Moxie Fest!

This week got dunked so hard that it tore a rift in the time-space continuum and Q emerged. And C. Cameron.

I’m not even sure I remember it happening, but here it is, Saturday again. Exciting events included new Sunday brunch hours at my job which allowed me to sleep a reasonable number of hours (more than 5), go for a run and still be on time; having Monday off for Amyrrkan Freedum thereby getting to spend some crucial time with Joey at the Bangarang. We celebrated our independence by stealing samples from an audio 7″ of Planet of the Apes and mixing it with terrible Casio keyboard tones the night before, then waking up and making altars out of each other in the morning. Plans are forming to do this on the street during 1st Friday.

 

 

 

 

 

 

 

 

 

 

So that was that. Magical rites give up super powers, even if you’re embarrassed to admit it. Next up, a bonfire in the woods by a train siding with my studio space boys. I need to scare up some photos from Justin C., but it was a magical night. Was exposed to Blut Aus Nord for the first time and it rocked my fucking universe. Standing in a twilit evergreen forest as fog rises from the ground but not enough to cover the stars… Memoria Vetusta 2 is my favorite album right now, maybe even retroactive best of the year. Tough call since I’m getting buried in a fucking avalanche of awesome bands right now. 3 trains went by in the night and it was fucking awesome to see, lit by the fire. Words fail… but fuck fireworks, that was better.

I’d be having intermittent stomach pain all week, which became constant by the 4th. Tuesday the 5th I had to leave work after a few hours because of the pain, so I went to a doctor the next day and was diagnosed with stomach ulcers. The party has just been that hard for the last 3 months. Can’t say I’m surprised really, I’ve been stewing in alcohol and caffeine, but that’s kind of what summer always is for me. Brain fails, clarity is lost, just plow ahead in a tsunami of excess and action until the first cutting clear days of autumn tear it all down, which I will welcome when it happens.

Serious progress in both production values and in finishing the guitar work for Rapist’s Son. Here it is, 2 days in the making:

Rapist’s Sonv7c

This song was really hard for me to nail down in a couple spots. My original take was good, but the timing in certain parts was a bit idiosyncratic to the way I usually play the piece. There was also a segment that I found too difficult to be worth doubling, which caused me to figure out the best way to double up one guitar and pan it into the other channel as a dropped out segment. Overall the volume is a lot closer to the way it will appear in released form, all tracks were doubled and boosted, some compression was added to dull the clipping. Which is going to be my next major obstacle in recording with these tools, because the combination of the way I pick and the mid-y tone of the Ampeg makes heavily speed-picked parts sound way too plosive. Like june bugs hitting a screen window, if your ear was in a glass jar against the other side. Gotta smooth that out.

Anyways, I’m leaving for the day. Happy Moxie Fest everyone.

 

That week.

You know the one, where everything is a fucking pain in the ass and doesn’t work and your tired and your money dwindles down to almost nothing? Well, I still got something done after battling with microphone placement and being way to tired to play competently. It’s called Rapist’s Son and it’s the third track I’m taking on. #2 is undergoing serious structural alteration.

Rapist’s Sonv1

It’s got serious issues and is far from done, but damn it, the blog is hungry for fodder and I failed to take any pictures. Got my hands in some dirt and made some sweet love, but that’s not sharable through these media, assuming I wanted to. Dirty.

metal imprints

Why does heavy music exist? This is an inquiry I’ve been devoted to since late in my short college career. It’s not a search for justification, it is a fascination. The trend towards louder, deeper, more complex and high-tempo songs was like a gravitational pull. The evolution of the music of antiquity revolved around exploration and discovery of trance states and fundamental musical truths, unearthing the scale, taking the musical properties of the original instruments, gifted from divine inspiration, and working with their inherent power and flaws to hypnotize players and audience alike, to access supra-community experience and knowledge.
The evolution of classical music was the turning of a series of concepts, mathematical and religious, slowly over centuries. The cutting away of impurities between degrees of harmony, the gradual move to homogenization of the scale, the notes.
Rock and roll came from Buddy Holly and Elvis to Canibal Corpse and Watain in 50, 60 years. This of course mirrors the speed of cultural manifestations (let’s hold off on saying evolution…) during that time, but what is needful, desirable, necessary about the ‘extremity’ constantly pushing its way forward from the 50′s to the early 2000′s? Why did that gradient of presentation and style get pushed so hard in the game of attention and popularity?
((mind: we’re talking about within an underground, this is not mainstream culture, probably more like .25 to 1% of the American population… to put my guess in perspective, Pantera has sold 20 million albums total as of last year, worldwide. Morbid Angel’s Covenant still holds the record of highest highest selling death metal record in history with over 1 million copies as of the late 90′s, so one in every 300 people in America may have owned or seen a copy, quite possibly more with bootlegging and file sharing and smoking week in your older brother’s car as he drives back roads, but it’s very difficult to know beyond sales numbers.))
I think that on a biological level, it has served as a way for fans to imprint mental strategies or mechanics for parsing, sorting and managing the complexities of modern life, for the volume of information besieging the conscious mind today in America. I also think that a plateau was hit in the past few years, in terms of speed and complexity, where not only has it become less interesting, but the apparent limits of live performance given currently existing technology have been hit. Heavy music is moving in other ways, there are draws towards nostalgia for period sounds in the genre, a more serious devotion to occult practices, slower more atmospheric work. I don’t see a clear leader trend in sound or style being aped right now, the field is incredibly diverse.
As far as the need for speed serving as a manufactured mental vitamin or training regime, it makes good sense. A sea of people in regular, now bordering on constant, communication with one another and lines to the public maelstrom of random access, accidental ingestion, the sum of human knowledge still doubling every 15 months, faster, we are a brain becoming self-aware. Dumb mud that knows that it knows. The complexity of interactions strains the parts, they need to increase capacity, efficiency. The parts are us, the upgrade is social activity, waves of thought and superstition and lust and belief, these are cultural brainstorms and software.

And rare beauty, art, held out and cherished by many, this is the construction/discovery of truth itself. About the universe, about ourselves. Finding a grotesque beauty, a beautiful dissonance and dirt and decay, this is a way to double on the nutritive value of facts and events. A factory had modern beauty, it’s ruin on the edge of our hollowed soulless town (not community) has more beauty to us in the new world, it’s form yes but also what it symbolizes, what it is acting out. Heavy music evokes decay, purgation by fire, mechanical annihilation. Lyrics, some drift into personal retribution and revenge, but life in epic proportions is the usual fare, social destruction, collapse, calamity, abuse, graft and riot. Forces of nature in the mind and from out.
Finding this beauty the mind becomes aware of a certain subtext to all the machinations of society. Building a housing development is not jobs and progress, its rape and dispair and shoddy construction and banks ripping off home owners, hedge fund managers ripping off investors. The family that lives there is an afterthought, a fucking by-product of this institutional provision they have put their utmost faith, the well-being of their dwelling place, into. It’s a coffin for sucking money, not a home for building strength and knowledge. Seeing this is caused by thinking, being aware. And certainly, heavy music gives rise to spontaneous flights of thought, it is theme to the horrendous cognitive dissonance currently welling from the heart of the ‘America’ idea-complex.
There’s supposed to be all this good stuff, this money and opportunity and equality and instead there is this shit, this rotten food and corporate exploitation and archetypal pigeon-holing, dumbing down and stunting of intellectual exploration, this herding of cattle to slaughter over the course of a lifetime for the wages of their labor. A hatred of all life is what’s at the heart of the lie that spins the American dream, a complete corruption of trust and community. For some, heavy music gives voice to this, clarifies this to the point where it can be seen in all its manifestations always, hardens the mind and the spirit to deal with this, provides the reference material to sweep in the sea of signs and bullshit and information and process it all. And to find beauty and joy in darkness, to find truth in the opposite of what is pushed out by abusers to fill in for truth, to find inner mettle and build your own way in spite of and away from the institutions and organs of abuse.

Sentient Blood

prayer flags.

Today was a good day. I finally sat down with my Mk-122 Portastudio 2 channel digital mixer and learned some of it’s secrets, allowing me to track two guitars by playing along to myself through headphones. In a century old (actually how old is this house?) farmhouse, this entails building an ‘isolated’ area for my amp to sound off into and running 30 feet of microphone cable into an adjacent room to serve as the control booth. Between the lead paint, horsehair plaster and asbestos insulation, it worked surprisingly well. I didn’t have to wear earplugs, which is impressive because in my practice space this machine will deafen me in less than a minute if I’m not wearing protection.

Speaking of my practice space, this week Portland city council voted unanimously on Monday night at 11.50pm to bulldoze every building on Thompson’s Point to make way for a B-string basketball team’s stadium / convention center. This project is simply a hobby horse to allow them to nominally fulfill their grandiose sloganeering about improving the public transit in Portland. I say nominally because even capitalizing 25% of the assessed value of the now approved TIFF grant into public transit infrastructure (an infrastructure, I must add, that is owned by a private corporation, not even the city of Portland, which is so ass-backwards it makes vomit come into my mouth) will do a pathetically small amount to truly link the vital parts of the city efficiently, forget the surrounding communities. After traveling to Washington, Oregon and western Mexico, I am pledged to the removal of all delusions of adequacy people hold for public transit in New England. It doesn’t exist.

In any event, my best friend and I managed to appear to speak publicly before City Council decrying this gross act, but to no avail, despite the additional reasoning of a number of considerably more informed gentlemen. Therefore our illegal home, our beautiful industrial hell / paradisical wetland, will be crushed by early next year at the latest. This will send several of my best friends scattering to the wind, it being their last stake in Maine. Myself likely soon to follow.

Here are some images of this place. It is our intention to maximize its artistic and dream potential over the next month or so, before we are forced out. Radical ideas are welcome, this is a still wild space on the verge of apocalypse.

altar.

Diane in a sunshowerthe inlet.

 

 

 

Chimes.

Our door.

 

 

So please, bring hell before this place is just another parking lot with rotting corporate exploiters on top of it, failing to even reasonably provide income for the city who was duped into hosting it.

Next up, my actions with Feral. I’m moving ahead full force, trying out someone on Bass guitar this week. Not sure how I’m going to move into recording drums for these tracks, but here are guitars and then amended guitars with vocals, plus pictures of the ridiculously improvised recording arrangements. This is how you do it.

Sentient Blood v2

And here is a more finished version of the guitar work, plus vocals. Lyrics follow immediately. I need to borrow some isolation headphones plus buy another kick drum before I can do drums, but fucking believe it: this will happen.

Sentient Blood v4 2

Sentient Blood (lyrics v1)

I thrive in chaos / A hard knife’s inside of me

Heart knows who I am / Spite world-wide mediocrity

Revel in fantasy / of a hero’s death

Abdicate community / Tragic glorious clean

But lives you can’t dream / go on rapturously

Guts in a hole / You faceless clock

Wolf-Dragon emerge / when it hear the chime of misery

The monument’s scourge / Poison wind of gaseous mercury

>>>>>>>>>>>>>>>>>>>>>>

Haunted by visions / domination and solitude

Glowing titan on sky / your body, fog and shadow

Cut your hair, change your name / burn your house, find reverence again

Circle the broken / The damned help themselves to life

>>>>>>>>>>>>>>>>>>>>>>

When as a child I / walked to the woods alone

Intuitive magic spells / tear off my clothes and run

Bones guts and all / they know a world beyond that

Profane prison wave lies / fire is nobody’s thrall

>>>>>>>>>>>>>>>>>>>>>>

Burn – Burn through the White

Black – Be reborn on Night

Abuse – Bite it back and Rise

Heal – Redefine Right

Draw – Bathe in black Light

Crush – Cancer Symbol War

Again, this is played through a ’94 SG-I with stock pickups, Brown Rabbit pedal from Freakshow of Portland, ME, and a ’69 Ampeg V-4 with a ’70 cabinet of same make (4×12), recorded with a US-122 MKII and an AudioTechnica AT20 Condenser on GarageBand with a MacBook. I’ve only been playing guitar seriously since October, so go fuck yourself.

Here are some shots of this awesome and absurd set-up.

the back room

view from the air hockey table

The amp """"ISOLATION"""" chamber (ha ha ha ha ha ha)

 

Condenser mic positioning, off-center Right

 

 

The black obelisk.

 

Cords running to the """"isolation"""" chamber.

 

""""isolation""""" chamber

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