two upcoming performances in San Francisco

brief update to highlight two upcoming performances in San Francisco (wow!).

the first will be this Saturday, April 30th, at Abode Books, with Jonathan Piper & Eric Derr from San Diego, grein (duo coming together from Boston/Seattle), and fellow locals Sally Decker & Brendan Glasson.

the second will be part of the Gravity Spells II festival at The Lab. I will be performing on the 3rd night of the festival, May 21st, with visuals by Anna Geyer.

collage of new work for Radio Sygma

I was asked by to create a mix, having just been asked by Hi-Vis to make mix, so…I made a different kind of mix. Collaged from a range of different recordings, from synthesis to light noise, location and field recordings, and messy areas in-between. Locations and approaches (and approaches to locations), A non-linear sonic dairy documenting different excerpts, edits, and location recordings, superimposed over each other, accepting discontinuities and small collisions.

mix for Beyond/Below

every once in a while I get asked to contribute a mix, and I was definitely cheered to get a request from
for the Beyond/Below series. lots of friends on this one.

Beyond / Below 48 by Billy Gomberg. Received January 2022.
Photo by BG

“We’ve lived in San Francisco for 4 years now (we moved on February 1st 2018). I have been a parent through that duration which is its own ride, and this has drawn me out of art and music and “adult life” circles that we were used to back in Brooklyn. I have let this undo my relationship to what I am listening to and when, and what if anything needs to be said about it. The way different air, different trees and an enviable proximity to the ocean work to lighten things that maybe used to act more crucial.

There are a grip of real life friends in this mix, and a lot of sound from the outside world, and the world that exists beyond the couple square miles I tend to inhabit. One track from Andy and one track from Andy & I as Fraufraulein which I think is a first for mixes I’ve made, I don’t know how else to thread my listening from myself outwards without genuinely starting there, the sound we have made for ourselves (here) as an origin or at least a signpost. So yeah, a mix of locations and some are real and some are abstract and some are in-between.”

Abby Lee Tee – At The Beaver Lodge II – The Kits Are Alright
anne-f jacques – poudrerie – échaudage
Andy Guthrie – Gyropedie – Hill, Mountain
Alyssa Moxley – Underdrift – Night smoke over the caldera
Marja Ahti – Still Lives – Ashes Over Hatching Eggs
Max Hamel – Sounds of Summer: Field Recordings of Solar Electronics – Side B (excerpt)
Josh Mason – Utility Music – San Francisco, 9 April, 1970
Kindohm – VR Sunset – New Beaches
Olli Aarni – Värejä hangella – Nokoset bussissa (edit)
Horaflora – Eaves Drop – Lunacy In The Garden Of Forking Paths (excerpt)
Kevin Corcoran-Giacomo Salis-Paolo Sanna – Sul filo – Ombra (excerpt)
fraufraulein – solum – 6
International Sangman – Death Roads & Spirit Ways – Dub 321
Etelin – Frisson – Purple with Bloom
Sydney Spann – Sydney Spann – Oceanic-E.L.M. – Fog Off Cedar Bonnet (excerpt)
Christian Michael Filardo – Rare Volume – Volume 1
Shuta Hiraki – 絹雲 Cirrus – 周辺 outskirts
Melissa Pons – Wolf Soundscapes – Gerês

Wilderness And Luxury bandcamp album image

Wilderness And Luxury (CS/digital, Dasa Tapes, 2022)

Wilderness And Luxury is my first album of creative music since 2018’s Beginners, and like last year’s Fraufraulein tape Solum, feels to me like creative practice and language catching up with my life in California. In other ways, I hear materials that I’ve been working with for years finding new expressions and clarity.

As ever, a poetry of personal language and public topographies, a potential for our inner language and responses to find a relationship together. A reckoning of the distance between people, shaped by our engagement with the world around us. Over the past 4 years of my life, I began to understand this topography as wilderness and luxury.

Similar to how Solum brought into relief the required changes of our relocation on how Andy & I create collaborative music, the materials and processes we have stuck with, and those that have lost connection, or are in ways unavailable to us right how, Wilderness And Luxury is my language changed. I think all of the electronic material was recorded on the floor of our bedroom in February and March of 2020, with headphones, over the low vibration noise of the large kitchen exhaust fan, above our ceiling, from the restaurant below our apartment.

The sunrise will flood our windows, we can see the trees from the same view, and on clear nights the colors of sunset reflect onto the city to our east. The sound of recycling and compost trucks wakes me most mornings, but the bus stops at the far end of the block are not as insistent. Climbing the small hill that crests our street, the mountains are visible across the bay. I spent a lot of time over the past two years out in this topography with our child, just going where we go and seeing what we see. The trees and the water is so close, a city has laid itself through and upon this, then wrapped itself with the same trees and water.

The selection, editing, mixing and sequencing of what has become Wilderness And Luxury took place mostly through the spring and early summer of 2020, with small adjustments as I lived with this work. Some of the field recordings are from our time in California, some are archival.

If you are not into bandcamp, or paypal, or venmo, or money, please hit me up and I will get you music.