sorting things out

you’re nine. have some wine.

a few weeks ago this blog turned nine years old. kind of nuts to think next year it’s gonna be ten. WHERE DID ALL THAT TIME GO? WHERE?

i don’t know if there will ever be another year like the first few, when i posted pretty much every other day. those were crazy times. but you never know. i’m just glad i got through those few middle years of being kind of “meh” about the blog and have once again committed to using this as a place to talk to myself. and motivate myself. and dance with myself.

these days i don’t like to go weeks without saying anything here if i can help it. but i had a valid excuse this time, i swear! i was sick.

it never fails. i’ll be ramping up work on something, getting ready to head into the home stretch, and then out of nowhere a mega-cold will knock me out for at least a week or two and mess up my ears for a while, so even doing any significant mixing work is pretty much impossible.

i don’t get sick often (knock on laptop screen). maybe once every year or two. but when i get sick, i get sick. in italics. i’d say about every third album i make, the coughing and sneezing and muffled hearing is bound to come calling before i’m finished, disrupting my momentum.

maybe it’s just my body’s way of giving me a break when i won’t take one on my own. i don’t know.

whatever the case, it’s awfully nice to have my ears back now, and to be able to sing without hacking up a lung. i wish this one time my ears had been given a free pass, because i could have put a huge dent in all that remastering work while recording was out of the question. what can you do?

a couple o’ things that may be interesting:

a day or two before that cold showed up, i was almost finished remastering CHICKEN ANGEL WOMAN. one of the few songs left to revisit was “95 streets to the right (is where i will find the heart of you)”. and i couldn’t find that song anywhere. the title wasn’t scrawled on any of my backup CDs.

i knew there was no way i didn’t back the song up. it had to be somewhere. for more than a decade now i’ve been backing up everything, whether it’s worth keeping or not. on one backup CD there was something called “dream songs”. when i saw that, i was pretty sure i remembered recording fragments of a few bits of music i remembered from dreams and then, instead of making a new song, just recording “95 streets” there too.

i’ve gone through a lot of different brands of recordable CDs over the years — maxell, TDK, sony, verbatim, ridata, and a host of others i don’t remember offhand. most of them have held up. whether it’s got audio or data on it, i can grab a CD that’s almost twenty years old and know it’ll still work without any issues.

before i started getting taiyo yuden CDs for the most important stuff (and TDK for the slightly less important stuff), i liked verbatim. around 2007 or 2008 they changed the way they made their recordable CDs, and they became pretty glitchy and useless. maybe the printable ones are better. i don’t know. i just know the “regular” kind degraded so much, they were only useful for making rough mixes, and even then i couldn’t play them on most systems because they were more or less defective. i don’t buy those anymore.

you know what’s coming.

for some reason i’ll never understand, i used one of those CDs to back up “95 streets”. as you’d expect, it was toast. it would get halfway through transferring the data back onto the mixer, and then it would freeze up.

i dug through another box of backup CDs and found an alternate, backed up to a different brand. that one worked just fine. right about then i was pretty happy i always back up everything at least twice, just in case one CD goes janky on me.

and hey, i’m getting a new camera tomorrow. that calls for more dancing.

the cheap pentax point-and-shoot and the little flip video cameras have served me well, but it feels like it’s time to step things up a bit.

i almost did this a year ago. i was getting frustrated with how grainy the video i shot with the flip cameras would get in low light situations. more than that, every time i filmed myself talking to the camera i would have to get it very close to my face to get the best, most present sound possible out of the tiny built-in microphone. without a flip screen to show me what the framing was like, i would usually end up cutting off part of the top of my head (sometimes creating the illusion of a receding hairline) or the bottom of my face (leaving my chin feeling shunned). and that drove me nuts, though i learned to live with it.

i did a lot of research, trying to find better cameras that would do better in low light but wouldn’t break the bank. you can spend a ton of money on a great camera. i’m never going to be a real filmmaker. something that costs thousands of dollars would be wasted on someone like me. so i was looking for the best bang for the buck possible.

i found some videos made by ray ortega and was impressed not only by their quality, but by his willingness to share information with viewers. i sent him an email, outlining what i was trying to do and what i was looking for. i didn’t expect to hear back. he wrote a long email in response, making suggestions and giving some very thoughtful advice. (huge thanks go out to him for being so kind and eager to help a stranger.)

then i decided it wasn’t the right time to spend the money. and maybe i wouldn’t know what to do with a better camera anyway. maybe i was fishing outside of my pond. so i sat on it.

with YEAR OF THE SLEEPWALK inching closer to the finish line now, i started thinking again about how frustrating it was going to be to try and get the framing right for my narration bits, which will end up forming a pretty large part of the album’s video companion piece. with the few segments i’ve filmed of myself talking so far, sometimes i’ve had to go back and do it again four or five times before i get a take where i’m not cutting some part of my head off or moving out of the frame without meaning to. even using a small mirror to try and see what the camera sees only helps so much.

one suggestion ray made in his email was to use a better camera to film the bits of me talking and any interviews there might be with the other people involved in the making of the album, bumping up the quality of those parts and making for an interesting visual contrast with the older recording footage shot on the flip cameras. the more i thought about that, the more it seemed like a really good idea.

after a lot of mulling it over, i decided a canon T5i was the way to go. it has its fans and its detractors, but for the price and the ability it will give me to take pictures and shoot video at a level of quality far above anything i’ve ever done before, i look at it as a bargain, and almost a no-brainer. plus it’s new. i gave some serious thought to a used canon T3i, but it’s always nice to have a warranty. because you never know.

when it comes to video, i won’t be relying on a built-in camera microphone anymore, either. i grabbed one of these over the weekend.

it’s a zoom H1 microphone/recorder. for such a cheap little thing, the sound quality the H1 captures is pretty outstanding. it’ll be worth the minor inconvenience of mounting it somewhere nearby but out of the camera’s field of vision, dumping the audio on the computer, and syncing it up with the video. another option would be recording my voice in the “studio”, mixing it all proper-like, and using that as the audio. but this will be much simpler and less time-consuming, and still a huge upgrade in sound quality.

so if you notice a marked improvement in the clarity of the self-shot pictures and videos that show up here from time to time, that’s why.

i expect there to be a bit of a learning curve, but i’m looking forward to figuring out how to get the most out of that new camera. and it’s not like the little flip fellas are going anywhere. when i’m shooting in-studio footage they’re still probably going to be the best choice. they’re small enough to position in odd places, i don’t have to worry about knocking them over (it’s happened before, and they don’t seem to care one bit), and it’s easy to forget they’re even there, which hopefully makes other singers and musicians feel a little less self-conscious about being filmed.

2016, you elbowed my spleen.


i’m not sure how it’s 2017, and yet another year has gone to the graveyard of years.

2016 was another one of those years in which i didn’t get as much accomplished — or finished, at least — as i hoped. but looking back at it, maybe it was a little more productive than i thought. at least three major projects saw the light of day: natalie’s album (which i recorded and played a lot of things on), the first O-L west album (a tag-team effort with steve), and ron’s new album (which i got to play a small supporting role on). and a good amount of meaningful work was done on other things that didn’t hit the finish line.

i think you’re supposed to outline your goals at the beginning of each new year, and then you’ll be visited by three spirits in various stages of undress. at least that’s what the fortune cookie told me. so, some goals for 2017:

  • finish YEAR OF THE SLEEPWALK. i think i’m in a place now where i can finally take that one off the back burner and give it the attention it deserves. there are a few more people i’d like to try and get over here to contribute some playing or singing, but most of the work that’s left now is just stuff i need to do on my own.
  • finish THE ANGLE OF BEST DISTANCE. yeah. i know. but i need to finish that beast someday, and it’s not an impossible job.
  • compile a second volume of out-takes and misfits. there’s a ton of material for a collection that would pick up where the last one left off, stretching from CHICKEN ANGEL WOMAN to the present.
  • finish off the next papa ghostface album. that one’s coming along pretty nicely and shouldn’t be too difficult to tie up in the next twelve months.
  • take care of the rest of that whole “remastering a bunch of albums that were mastered too loud the first time” thing i started with good intentions and then abandoned when all the protracted construction noise got to be too much.
  • maybe make good on the occasional threat to write an album that returns to the “avoiding repetition and rhyming at all costs” approach.
  • never trim the beard again (this won’t happen, but still).
  • contemplate the mysteries of life.

i think most of that is doable.

the ideal thing would be to get at least four albums finished for the year, two of which have been a while in the making. of course, as we all know, announcing your plans is a good way to hear several giant pastries laugh at you.

’tis the season to be seasonal.


that whole “blog heating up at the end of the year” thing hasn’t really happened. sleep demons have been doing their energy-sapping thing, and there hasn’t been a whole lot to report. there are at least a few bits of things that resemble news, though.

the next papa ghostface album is farther along than i thought it was. a lot farther along. we’ve got eleven songs recorded in one form or another. some still need work. others just need their mixes tweaked a little. and there are quite a few songs we’ve been playing around with and talking about recording, where all we need to do is sit down and…you know…record them.

between what’s already been recorded, what’s yet to be recorded, and whatever surprises fall out along the way, i think we’re headed for an album that’s a little more sprawling than STEW was. and you know how i like to sprawl.

some of those surprises are already showing up. a few days ago i was mixing a solo song. i felt this urge to slather the acoustic guitar in a thick, chewy chorus effect. i knew it wasn’t right for the song, but i liked the way it sounded. thought it might be worthwhile to try building a different song around that effect.

my brain has a habit of taking thoughts like that and running with them before i can even get my shoes on. that happened again here. i came up with a chord progression that was a little bit wonky, a song more or less wrote itself around those chords and the sound of the chewy chorus effect, similarly chewy effects were added to most of the other tracks (i think the bass was the only thing i left alone), and once gord added some insane textural noise guitar to put the musical cherry on top, i mixed it and it was done.

i’m not going to post it here. don’t want to give too many surprises away. but i can tell you it doesn’t sound like anything that was on the last album. on some level i think it was a challenge i set for myself, to see if i could take the music in a really off-kilter, more psychedelic direction, far away from the dark folky thing. given how successful it was, i’d like to try and channel that energy into some of the other songs and aim for a less accessible album with some more out-there production touches.

we’ll see how that goes.

right now i’m working on finishing up the mixes for zara’s album. for a hot minute there it looked like i might be adding a lot more in the way of instrumentation and musical ideas to this one. now i’m not contributing anything at all. i guess some people just want their music to be them and them alone, unadulterated. i don’t think i’m really the guy you want to go to for that sort of thing. there are other people in the city who are better choices for straight acoustic recordings, at least in my opinion. but i can do it, if it’s what the artist wants. so that’s what i’m doing.

i imagine she’ll want to wait to put it out there until she’s got a CD release show lined up. so look for that one early in the new year, probably.

once my work is done there, the plan is to plow straight into finishing up YEAR OF THE SLEEPWALK. it’s about time that thing got all its loose ends tied up. i’d say, “expect it to emerge sometime in the spring,” but every time i try to carve out a timeline for something it seems to blow up in my face. maybe i should start wearing a protective mask.

at least there’s no shortage of stuff to work on. between SLEEPWALK, zara’s album, the next papa ghostface album, THE ANGLE OF BEST DISTANCE (remember that thing?), a second collection of out-takes and misfits, a projected album of songs that return to the “avoid repetition and anything that resembles a conventional song structure at all costs” way of writing, getting back to working on ron’s next album in the new year, whatever happens next with the O-L west, and whatever else might pop up along the way, i’ve got my hands pretty full.

i wonder what the vegas odds are on which albums get finished first…

back me up.

BACKUP CDS batch 1

at long last, all those backup CDs are organized and the “database of stuff” is up to date.

if you’ve been over here at any point over the past few years, you’ve probably seen the mixing desk — not an actual “mixing desk”, but a massive, hulking thing with steel casing that holds the mixer, mic preamps, and other relevant outboard equipment — littered with white CDs, some labelled, some not.

for the first time since i can’t remember when, those are all gone. well, not gone, but redistributed. they’re where they’re supposed to be.

some of them are on that shelf up there. it doesn’t look like it, but there are a good dozen or so boxes hanging out there. some of those rows run three deep.

i was trying to figure out where the rest of the boxes could go. somewhere that allowed for easy access but was kind of out of the way. then i remembered this little cabinet beside the drums. i pretty much forgot it was there after stashing some drum keys and extra sticks in there nine years ago.

i’m not sure what the people who lived here before used it for. a china cabinet or a cutlery dungeon, i’d guess. it just happens to be the perfect depth for the boxes i’m using to store backup CDs. it’s even got cute little doors to keep the dust out.

BACKUP CDS batch 2

i gotta say, it’s a little strange to have all of this organized and to know where everything is for a change. i think i’ll be able to get used to it, though.


things happen in cycles, sometimes, maybe.

first: stockpiling songs for an ambitious monster of an album, buying new equipment for it, shaping and preparing and then losing the ability to record anything for a protracted period of time thanks to the noises made by others.

then: a new house, lethargy, time and opportunity but no motivation to make good use of either, the feeling of staring at something insurmountable and lacking the limbs necessary to get on top of it, lacking even a mouth to make a meal of its dirt.

the then after this then: stuffing the monster in a linen closet to concentrate on less intimidating things.

the then after that then: eight full-length albums in three years, rhythm, confidence, an out-takes collection thrown in just for fun.

the next then after these thens: return to the monster, gradual loss of confidence and rhythm, a lot of writing but not enough recording, more thought than action, no new albums for two calendar years.

now: locking the monster back in the closet to concentrate on less intimidating things. rhythm and confidence returning. did they dye their hair? get a tan? it’s been a while.

in other words, i am where i was when i started this blog six years ago, and i’m somewhere i’ve never been before, splitting my pants to split the difference between the two places.

whatever comes out of this specific pocket of time and inspiration, there’s a feeling calling itself a need that wants to document as much of the process as possible — in words, in sounds, in images moving and still — because it might not happen again like this. there’s no way of knowing how many times the monster can be lulled into submission before it wakes up all wild-eyed and drooling, demanding satisfaction, refusing to sleep again.

and there’s something less insular about this time. it’s a quality that might not belong to any other time but this, here, now. it feels like something worth preserving. maybe this is the place to preserve it.

a little less dust, a little less chaos.

i've got tape on my fingers.

a few weeks ago i embarked upon a great cleaning adventure.

the “studio” is one area i’ve never bothered tidying up much. i didn’t think it needed the work. unlike my perpetual disaster of a bedroom, it was one spot that never seemed to get very messy. it almost seemed to keep itself in check because of the nature of what i was doing in the room. i probably wouldn’t have been able to work in there so often and so easily if it got too chaotic.

well, it turns out six years of occasional half-assed cleanings without any serious ass-destroying cleanings will take their toll, and just because a space looks tidy doesn’t mean it’s so.

it took a few days of intermittent work, but i got things looking better in there than they ever have before. tripping hazards were addressed and nullified. piles of backup CDs were labeled and organized. dust was encountered. wars were waged. hearts were eaten. and a whole lot of pieces of electrical tape were cut and written on with sharpie marker.

a saner person would have picked up a patchbay by now. a saner person would do a lot of things i haven’t done and don’t intend to do. i never came around to the idea of rack-mounting my gear. i tried once. it looked funny to me. it felt funny too. i prefer to pile things up on a massive desk so i can lean into it and let it all surround me. all i need are some pieces of coloured tape to let me know what’s plugged into what.

the thing is, a lot of those pieces of tape have not aged well. most of them still retain some adhesive properties, but in some cases the ink has faded far past the point of legibility. so i re-labeled everything, and labeled some things that had never been labeled before, and now i know the source location of every active patch cord — which is something you’d think i would have taken care of a long time ago. at least now i know where everything is going and/or coming from. that should help things run a little smoother from here.

a sample of some of the old tape i peeled off of patch cords and replaced:

i wish i’d taken before and after pictures, because i doubt i’ll ever let things deviate much from how organized they are now, and the transformation was subtle but still capable of inducing a medium-strength erection. instead, here’s a picture of the shelf in the stock room. the cleaning momentum carried over upstairs, and i thought i should take a crack at the mess that room had turned into. all the inserts and booklets that were scattered on the floor are now arranged like so:

every box is stuffed with inserts/booklets, and they’re a lot deeper than the picture makes them look. the two black boxes on top alone probably hold inserts for 20 different albums between them.

it’s a little strange knowing where everything is after getting used to having to do a lot of guessing and digging. it’s a nice change, though.

elsewhere, the mysterious album of stuff i am recording that i did not write myself is just about finished. a few songs just need a little tweaking/remixing, and then i will turn my attention back to this ANGLE OF BEST DISTANCE behemoth. would it surprise you to know that the whole thing has shifted yet again, and the track list i started to carve out on the album page is going right out the window?

impenetrable hedge.

time for an ANGLE OF BEST DISTANCE update.

right now, there are 71 songs that are finished/mixed/mastered and ready to go, 29 in need of some minor tweaking, 37 that have been recorded but need some significant work…and i don’t even want to think about how many things are on the “to be recorded” pile at this point.

realistically, i need to record at least another 30 songs or so. i think. it’s difficult to see what shape the final two discs are going to take right now, and the only way to bring that into focus is to record more stuff and then start shifting it around.

i’ve probably said this before, but i don’t put an album together the way most people do. generally, it’s supposed to work something like this — you write a batch of songs. you decide those are the songs you want to make up the framework of your album. sometimes you even know what order you want them to go in. then you either record demos to get down arrangement ideas before serious recording begins, or you go into the studio (whether it’s your home or someone else’s space) and record those songs.

i don’t do any of that. i record and write simultaneously. any idea i might have of what kind of album i want to make is almost always ripped to shreds and rebuilt several times along the way. when i feel i’ve said enough in raw form, that’s when i start to figure out what the album wants to be, looking at which songs belong and how they should be sequenced.

the closest i come to recording demos is getting down rough ideas on my little flip video camera in case i need to reference them again later. once i start recording downstairs, everything is for keeps, and my writing process is still as inextricably wound up in the recording process as it ever was. i may think i know what a song is going to sound like when i put on the headphones and hit the record button, but i really have no idea until i’ve finished recording it, and anything can change during that time.

working this way gives you a great freedom to always be working on something, without needing to have any idea what it’s for or where it might go. and it allows the music to find its own way, in its own time, which has always been the approach that’s worked best for me. i can — and sometimes do — start out with a specific batch of songs i want to work with, but those songs are allowed to grow, get naked, reproduce, and then i can watch the kids start to grow up too. if i come to what would normally be the finish line only to find that something is missing, i have the opportunity to figure out what that is and add it to the mix.

there’s a flip-side. i’ve been lucky enough not to hit many creative snags, and having enough material to work with has never been a problem, but sometimes sequencing can be a pain in the ass. trying to turn GIFT FOR A SPIDER into a cohesive album was a maddening experience that literally gave me a headache more than once. it took some shuffling and getting rid of songs i thought were keepers before it all started to feel right.

with this gigantic album i’m working on now, more thought is going into the sequencing than with anything else i’ve ever done in my life.

part of that is out of necessity. when you’re working with shaving a few hundred potential tracks down to somewhere between 80 and 100 songs from all walks of life, things need to flow well, or it’s just going to be chaos. there’s also something else going on this time. by finalizing the discs one at a time, i’ve changed the way the process works for me. it’s much more like a chess match this time, where certain moves that are made now limit the moves that can be made later. having the first half of the album nailed down, i now have to make sure the second half compliments and works with what’s already there. it’s as if i’m making a few different albums at the same time i’m really making one big interconnected thing.

the deeper i go, the more i feel my quality control tightening. nothing gets to live on the album unless it feels like it justifies its existence in some way. if i really am going to finish this thing sometime this year (and i will, or i’ll spit my teeth out trying), i’m going to try to make it something i can really be proud of, where there isn’t anything i look back on and think, “that’s filler,” or, “that shouldn’t really be there.”

another thing i’m realizing — as much as there are certain songs that i think are standout tracks, they all seem work better when they’re not taken out of context. large as this album is going to be, i think it may be best heard in one shot, or at least in a fewr large doses. more than anything else i’ve done, i think it works best taken as a whole. you need to feel the way different things ebb and flow, or half of the whole point is lost.

it’s difficult not to overthink things in a situation like this. and i’ve found myself getting a little lazy. i should be much closer to the finish line by now than i am. each time i finish a disc, i kind of take a break and decompress. i think that’s healthy, but it can stretch out too far and lead to a loss of momentum. that’s kind of what’s happened over the last little while.

the last time i found myself in a situation like this, it was late 2009, and i ended up recording an album with travis and being reminded that i really just needed to sit my ass down and let the music happen instead of spending too much time thinking without doing.

well, here we are again. travis came over last night, we ended up very casually recording a cover song, and then after he left i sat down and started messing around with bits of electric guitar for fun. counter-melodies and ideas started to appear. before long, what had been a very bare-bones track was pretty fully fleshed out. very little thinking was involved. it was all just instinct.

and once again i thought, “what the hell have i been doing lately? i have the recording time i need. i should be using more of it. i don’t even need to try, or to want to make anything happen. the only thing i have to do is sit here, and play something, and it’ll happen on its own. it’s happening right now.”

so, for the second time, i got the kick in the ass i needed when i was least expecting it. thanks for that, t-rizzle.

i haven’t forgotten about making another video progress report either. i’ll get to it one of these days. i guess that’s the problem with no longer setting myself rigid deadlines with those things. but hey, there’s going to be lots to talk about when i do set up the camera and go to town.

elsewhere, john cale has a new album coming out in a few months.

if i’m half as cool and artistically engaged in ten years as that guy still is at 70, i think i’ll be doing alright.

and on a completely different note, congratulations to milan, who just became a dad for the first time. dan’s about to become a first-time papa any day now as well. everyone’s having kids! and i’m not even having sex!

honestly, i wouldn’t have it any other way. things are much simpler for me without anything that even resembles romantic bullshit, and it’s about time things stayed simple for a while. makes it easier to concentrate on what’s important — making music, and growing the hedge.

it’s about that time.

it’s been an unusually long time between posts/updates for me. most of that’s because i knew this was going to be my 400th post, and i thought there should be a video progress report or something to go along with it.

i don’t have another one of those ready to go yet, though, and i don’t feel like waiting until i do before i resume my business here. so my 400th post will just be a regular old post.

a few things worth noting:

i’ve decided the “monthly video progress reports” will now simply be “video progress reports”, without any set deadline. i no longer feel i have enough to say at the end of every month to justify making a 20 or 30-minute-long video, and i think loosening things up a little will give me the freedom to stretch out a little more. the videos aren’t going to stop. they’re just going to be a little less frequent, and probably a little longer/busier when they do pop up. i plan on making a new one before the end of this month to get things rolling again in that department.

it took a lot longer than i anticipated, but the second disc for THE ANGLE OF BEST DISTANCE is officially finished. that means i’ve passed the halfway mark in a very real, tangible way, and am closer now to the finish line than the residue left by the starting gun. figuring out the sequencing for the final two discs should be interesting.

it’s a challenge trying to carve out a five-hour album that works on three different levels — as four separate pieces that can each be listened to on their own, as one gigantic organic whole that can be listened to in one sitting (if anyone is insane enough to give that a try), and as a collection of music with peaks and valleys right where they need to be on a song-by-song basis. so far so good, i think. in the 160 minutes and 44 songs i have sequenced and assembled, there isn’t anything that feels superfluous to me.

it occurs to me that it’s almost been a year now since GIFT FOR A SPIDER was released. a year between albums is an eternity for me. if i hadn’t decided to bite down and finish ANGLE once and for all, there probably would have been at least another two or three albums by now. as strange as it is to go so long without something new to share, i’m glad i chose this route. when i’m finally staring at this gigantic thing in finished form come summertime, i think i’m going to shit my pants. and then i’ll tell the tale here for all to enjoy, using colourful language and helpful diagrams.

i’ve been thinking off and on about playing live again at some point. it’s been a very occasional thought, i assure you. i feel like i would need to do something pretty unique in order to justify playing another live show. i think i’ve said just about everything i have to say in that format at the mackenzie hall shows, and i don’t want to get to the point where i start repeating myself or recycling old ideas (though playing as rarely as i do kind of kills that possibility by default).

as it happens, i thought of something i’m pretty sure no one has ever done before in windsor, and it’s just perverse enough to appeal to me — if i do play live again, i will book mackenzie hall, prepare a set of songs i’d really like to tackle (whether it’s solo or with liam and dan), and then not go to the trouble of inviting an audience or telling anyone when i’m playing. it will be a performance for myself, with no one there to hear it aside from the people making the music and whoever is doing the sound. i also think it wouldn’t be a bad idea to look at recording/filming the whole affair at the highest quality possible, just to have a record of it.

more details on that when/if they develop. or maybe not, since no one will be coming to the show by design. i do think it would be pretty hilarious to make posters and spread them around town promoting a show with no date or time given, so no one is able to make plans to attend — kind of the ultimate anti-promotional move. but that would be a little mean-spirited. so maybe we’ll leave that idea in the closet.

a bite’s as good as a kiss to a complacent cat.


number of songs finished/mixed/mastered/album-ready: 55

number of songs only in need of some minor tweaking (like a slight remix or remastering): 34

number of songs that have been recorded but still need some significant work: 33

number of songs that have yet to be recorded: 76

those figures don’t take into consideration a large group of tracks i’ve decided are probably not going to make the cut, new songs i’m saving for something else, or songs/sketches meant for this album but now perhaps not worthy of inclusion.

what can you take away from all that? three things, i think.

(1) i’ve technically passed the halfway mark, even though the second disc hasn’t quite been finalized yet, because there’s no way i’ll be able to squeeze 100 songs onto the album, even spread out over four CD. and i’ve already got more than half that amount in the bank, as they say.

(2) there’s a ridiculous amount of material to work with, and now it really comes down to what feels the strongest and most worthy of getting on the album, especially when it comes to figuring out which of those unrecorded songs to take a stab at (recording all of them is out of the question, unless i want to obliterate my goal of having this thing finished by the summer).

(3) another misfits compilation might not be so far away.

about that hypothetical misfits collection — when i do sit down to put it together, it’s going to be a much tighter, more consistent affair than the first one. part of that comes down to drawing from a shorter period of time (volume one reached from 1999 to 2007; as it sits now, volume two would cover 2007 to 2012), but a larger part of it is the desire to be a little more selective. while i’m all for being exhaustive when it comes to these kinds of things, there’s a fair amount of stuff on the existing misfits collection that’s only there in the interest of being thorough, and not because it’s especially good or illuminating.

i think for the second go-round i’ll stick to the out-takes and cast-offs that feel most worthy of being heard, and only include sketches where they really add something interesting. and i think i’ll be going with the chronological approach to sequencing as well, if it flows alright. that would never, ever work with ANGLE, just because of how many songs there are, but when it comes to compilations, i do like the idea of setting it up so it’s easy to chart how things have progressed over time.

what else? i was lucky enough to see a new music video by some piece of shit pop band in which the lead singer would rather play video games than acknowledge his girlfriend, and he flirts with scores of other women at a party while posting pictures and videos online for the world to see. yet, somehow, she’s spun into being the villain when she finally snaps at him for being a pathetic piece of shit who won’t even wash his own clothes. she doesn’t even do anything that terrible. she just tries to make him jealous in an attempt at getting him to pay some small amount of attention to her, which the video would have us believe is just proof that she’s a psycho bitch and he’s super cool.

we’re looking for a word, and the word is…misogyny! how much do you want to bet the guys in this band don’t even know how to spell that word?

in my imaginary director’s cut of the video, the girl starts her own band and writes a song called “i dated a walking cliché with a microscopic dick”, humiliating her asshat of an ex-manchild to the point that he castrates himself in shame. now that’s what i call a happy ending.

if i had a quarter for every time i was a quarter of the way there, i’d have a pretty big bag of quarters.

the first disc of THE ANGLE OF BEST DISTANCE is done. i think.

i made a rough assembly last night. now i’m tweaking a few things to get the volume more consistent from song-to-song. i had to drop a few tracks in order to squeeze something close to the sequence i wanted onto one CD. it was supposed to run 23 songs long. now it comes out to 20 songs and just a hair shy of 80 minutes.

i wanted to fit 100 songs on this album, spread out over 4 CDs, but i don’t think that’s quite going to happen. i’ll be lucky if i can squeeze 85 songs in there. space limitations…always forcing you to shave things down.

i’m not sure how well this first CD flows. it jumps from a moody synth-heavy soundscape, to a happy-sounding blues-folk number, to something crawling toward sloppy power pop, to an austere acoustic guitar-based ballad, to a warped 11-minute spoken-word piece, and back again. if it was a standalone album and not just one part of a larger whole, it would be one of the most unpredictable, schizophrenic things i’ve done.

i don’t think there’s any way to sequence the songs so they make any kind of linear sense, and arranging them in chronological order would feel pretty bland to me. the whole thing is a huge mess of music. so it seems to me i’m best off treating each disc as a quarter of the mess, letting things careen all over the place. better to be governed by what feels right to the gut, and not what would make for a tidier or easier listening experience.

i don’t know if i mentioned this, but for a while i was thinking about releasing the individual discs as four separate albums. then i realized how much more expensive and time-consuming that would be than doing it all in one shot. trying to make something like this easier to digest would miss the point anyway. it needs to be one huge, imposing thing. it shouldn’t be any easier for someone else to get a handle on than it has been for me.

hopefully it will reward the work it requires. at the very least, it might make for the strangest soundtrack you’ll ever have for a road-trip. it cracks me up that some of the catchiest, most accessible things i’ve done are going on this album, and i’m sure some people will listen and think, “why didn’t you just take those nice catchy songs and put them in one place? why did you have to throw in the goofy beatboxing and the song that’s just a bunch of stupid internet acronyms sweetly sung as a way of poking fun at how we’ve all intellectually regressed in the wake of instant messaging? why?!”

people could even go ahead and make their own shaved-down version of the album if they wanted, by taking whatever songs they like best and slapping them on one CD. i’d be a little curious to see what would happen there. it’s always interesting for me to look at the songs listeners isolate as being highlights or favourites. a lot of their choices surprise me. i’ve said this before.

so. one disc and 80 minutes down. three discs and 240 more minutes to go, give or take. it should be much smoother sailing from here.