The sites (and podcasts!) I Die: You Die and Talking to Ghosts both have a joint Slack channel called Telekon. Myself and many other talented musicians are members and we have assembled a free / donate-what-you-want compilation called Telekompilation, Vol. 1 with a bunch of great other artists, including Seeming, FIRES, Null Device, ∆AIMON, and even an appearance by Patrick Codenys of Front 242
Check it out here: https://idieyoudie.bandcamp.com/album/telekompilation-vol-1
Here’s my contribution to the kompilation, called Arbe:
This song was in my Spotify Discover Weekly playlist two weeks ago and has been an ear worm ever since. Check out the trippy video below.
I’ve been an avid Apple Music supporter since the launch of the service. I liked the idea of combining my personal music library with the on-demand firehose of a streaming service.
Apple acquired Beats Music in 2014, just a few short months after Beats Music launched. I was a strong Beats Music supporter and follower not just because the whole Topspin Media crew was involved (oh, and Trent Reznor) but because its recommendation engine was great. There was this really cool feature called The Sentence that was like musical madlibs, if you will. Fill in the variables of your situation (time/place/mood/suggested genre) and it made a soundtrack. This actually worked quite well. Unfortunately, that feature didn’t make it into Apple Music.
The cool thing about Apple Music was iCloud Music Library. Essentially a rebranding of iTunes Match, iCloud music library combined your local library with your selections from the Apple Music catalogue. My problem with this feature was often a lot of mismatching . I never had any studio versions replaced with live tracks, mind you, but some albums should have a 100% “Matched” state or vice versa. A commonly released album, would have some tracks Matched from iTunes and some tracks Uploaded, despite the track being available on the service. Conversely, some albums could be special editions from the artists' Bandcamps, such as newly remastered editions, would be partially matched with the older, often inferior master instead of completely Uploaded.
Now, in my Spotify journey I don’t use the local syncing of Spotify at all. I sync lossless files to my phone the “old school” way using iTunes. This gives me the best of both worlds as well as the chance to enjoy my rarities in full fidelity. If Spotify offered a lossless tier, I’d pay for it.
Apple Music’s “For You” feed, a tailored mix of playlists and albums is a direct descendant of Beats Music. I preferred the Beat Music iteration of this than its evolved version in Apple Music. Essentially, it would be six thematic playlists based on an artist or genre, and then four full albums, at least one you were guaranteed to have in your library already. Shooting fish in a barrel. Apple Music's version follows the same format but it only generated once a day. And after a while, it would just serve you the same playlists over and over.
Beats 1 Radio was a promising start, but it plays 95% mumble rap, Drake, Ed fucking Sheeran, and Urban Outfitters chillcore.
I don’t know. I could go on but Spotify is just a better experience as much as I didn’t want to admit it for my loyalty to both Apple, Topspin, and Trent Reznor.
My Discover Weekly playlist has been very helpful in discovering new music (imagine that) and I’ve been fine tuning it using the built in ❤️/🚫 feature which also works on my Apple Watch and via Apple CarPlay, two interfaces that I interact with music as much as my vinyl collection so that’s a plus.
As of this writing I have 6 “daily mix” playlists loosely based around genres and moods I’m in: Prog Rock, Industrial, IDM, Metal, New Wave/Post Punk, and Techno. These mixes have already evolved since the draft of this article.
My only complaint about Spotify is that the 10,000 song limit is far too low. I get around this by curating my collections and maybe *not* choosing the Super Deluxe version of the album with 30 demos and live tracks.
On July 24th, 2010 - I booked a Nophest appearance under the name “Esoteric Drift.” As The Emancipation video and release was secret until the day it came out (literally the day before). I wanted to do something different while Tricil made it’s big debut. I performed the entire Esoteric Drift EP live in order with an “encore” of How Hard We Fall, a track I wrote for Nerd Parade.
I wrote this song while on tour with Nerd Parade for A Delicate Bashing on the long roads from St. Louis to Chicago.
The song is called North Arc because St. Louis’ famous metal monument and our direction of travel. Here I am working on it below probably.
What is Mine?
The third and final Skeletons track on this album, there’s a bit of an old Severed-era track called Fade at the end. The intro noise drums are a Reaktor ensemble thru Guitar Rig.
You May Notice That You’re on Fire or Possibly Dead
Probably the best title i’ve ever used, this was unfortunately another Skeletons track where a 2-track mixdown is all i’ve got. The middle part calls from my Celldweller remix with Andre 3000 on top of it and was originally just in the live version.
One of three songs from the EP that were meant to go on an album i was working on called Skeletons in late 06/early 07. My laptop at the time was stolen and i didn’t back up then like I do now, so this is as far as I’ve got with this track.
Some of my best guitar and vocal work in this with interesting doubling techniques for both.
The title track, Esoteric Drift, was written as a new live track to be played at Nophest 2007. You can actually hear bits of the song before, Emagine and the song after, RCC6 in the track. My buddy Matt Simpson from The Secret Life came up and jammed with us later in the set and I intentionally left some of his plugin settings on the drums at the end.
Mushy Thangs was a small guitar piece I wrote while on tour with Nerd Parade for our album A Delicate Bashing. The Track was written in the back of this van. I borrowed a bit of live Reclamation to make the crash even louder.
There are thousands of third-party email solutions on the App Store.
I leverage the built-in app to fit my needs:
1. Set up accounts as normal
2. In notifications turn ON banners, show in Notification Center, and show on lock screen.
2a. Notification settings mirrored on watch.
3. Set fetch to 15 minutes if IMAP gmail account, for example.
When a new mail comes, I can swipe down for a preview or see it on my watch and flag or archive it right away. No third-party app needed.
Circle of Dust has returned!
Both the classic albums Brainchild and Circle of Dust have been reissued and remastered with new 2016 recordings, demoes, and alternate versions as bonuses!
Since Circle of Dust will likely never play live, I decided to have some fun and make a playlist of all the remastered tracks and new tracks arranged by key and BPM. I used Traktor for this and my raw table is included below.
1Course of RuinCircle of Dust05:02141.632Brainchild (Remastered) [Deluxe Edition]2m
2DemoralizeCircle of Dust04:10142.008Circle of Dust (Remastered) [Deluxe Edition]3m
3Nothing SacredCircle of Dust06:1092.003Circle of Dust (Remastered) [Deluxe Edition]4m
4Rational LiesCircle of Dust04:3796.002Circle of Dust (Remastered) [Deluxe Edition]5m
5Telltale CrimeCircle of Dust04:19110.036Brainchild (Remastered) [Deluxe Edition]5d
6Bed of NailsCircle of Dust03:35110.998Circle of Dust (Remastered) [Deluxe Edition]7m
7ParasiteCircle of Dust03:41117.999Circle of Dust (Remastered) [Deluxe Edition]7m
8Exploration (Redux)Circle of Dust03:51130.001Circle of Dust (Remastered) [Deluxe Edition]9m
9Am I In Sync?Circle of Dust05:50132.038Brainchild (Remastered) [Deluxe Edition]9m
10OnenemyCircle of Dust04:51134.002Circle of Dust (Remastered) [Deluxe Edition]10m
11Self InflictCircle of Dust05:28126.044Circle of Dust (Remastered) [Deluxe Edition]10m
12DeviateCircle of Dust05:07102.035Brainchild (Remastered) [Deluxe Edition]10m
13Pale ReflectionCircle of Dust05:0899.677Brainchild (Remastered) [Deluxe Edition]10m
14DescendCircle of Dust05:30115.660Brainchild (Remastered) [Deluxe Edition]11m
15Twisted RealityCircle of Dust05:10135.003Circle of Dust (Remastered) [Deluxe Edition]11d
16EnshrinedCircle of Dust04:04139.625Brainchild (Remastered) [Deluxe Edition]11m
17Cranial TyrantCircle of Dust04:12149.613Brainchild (Remastered) [Deluxe Edition]11d
18Prayers of a Dead ManCircle of Dust06:1787.029Brainchild (Remastered) [Deluxe Edition]12m
19ConsequenceCircle of Dust04:4094.006Circle of Dust (Remastered) [Deluxe Edition]12m
20ContagionCircle of Dust05:25100.000Brainchild (Remastered) [Deluxe Edition]12m
21DissolvedCircle of Dust05:23116.002Circle of Dust (Remastered) [Deluxe Edition]12m
22Regressor (Aggressive Mix)Circle of Dust06:12129.657Brainchild (Remastered) [Deluxe Edition]12m
23NightfallCircle of Dust05:50130.008Circle of Dust (Remastered) [Deluxe Edition]12m
24NeophyteCircle of Dust06:01130.000Circle of Dust (Remastered) [Deluxe Edition]12m
In 1994, Nirvana set out on what would be their last tour in support of In Utero. Their setlists were fairly static at the time, drawing heavily from both In Utero and Nevermind. But some shows were significant. “Frances Farmer Will Have Her Revenge on Seattle” was rarely played in Europe, switched out with the nearly Europe-only “Very Ape.” “Sappy” was played for the first time since 1990 on this leg too, but only at a handful of shows. The leg itself was cut off after March 1st, the final Nirvana show.
The February 16th show at Rennes, France is significant as it has both of the aforementioned rare tracks appearing in the Encore:
In 2011, Nevermind was reissued in a “Super Deluxe” fashion containing “Devonshire” mixes of all songs except for “Polly” (which wasn’t tracked at Sound City – it came from the Smart Sessions). This mix was done by Butch Vig and significantly more raw than it’s multiplatinum counterpart.
The same could be said for Steve Albini’s “2013 Mix” of In Utero, which is on both the Deluxe and Super Deluxe reissues of the album.
A great playlist is three things:
1. Song Selection
2. Song order
3. Track Version Control1
The first two were provided by Nirvana in France. The second was brought to you by the producers of their classic records. Turn it up and enjoy. Use just once and destroy.
- (which version of the track you choose) ↩
So I’ve taken to uploading to my Apple Music Connect page some exclusive material, tied to releases as bonus tracks afterwards. Not in the original track listing, but listed alongside the albums on the platform.
The first is a live track called So Long from 2007 that is based on Mushy Thangs:
The second is my original 2004 Tascam PortaStudio 4-Track Demo of Say What You Say:
In case you missed it, I put out a brand new EP this weekend:
- Gypsy miner
- Social stroke, part one
- Social stroke, part two
- When all else fails
- When all else falls
Enjoy wherever you have an account:
Apple Music: https://geo.itunes.apple.com/us/album/tricil-ep/id1069668595
Google Play: https://play.google.com/store/music/album?id=Bw2em5tm5yc7gx66inrnbe23ecu
Additionally, any future orders of the classic $10 Tricil t-shirt will come with a download of the EP for free in your choice of format: http://tricil.spinshop.com/Home/details/218394
Finally, as always, remix stems are available on Blend:
Gypsy miner: https://blend.io/Tricil/e-minor-gypsy-mix8-project
Social stroke: https://blend.io/Tricil/social-stroke-six-steps-away-project
On Tuesday, I tuned and restrung my guitar. When you pick up your axe for the first time in awhile, a certain inspiration strikes.
This is the result of that.
Is it safe to go home now?
Well, this certainly opened up a can of worms.
Here’s the thing. My adversity to crowdfunding is when artists stoop down to almost “begging” levels to fund a record/tour/pay their rent/etc for exorbitant amounts of money. It’s not that I’m old fashioned and against the idea – after all, anyone who is reading this knows I’m quite “post-label” myself, it’s just that I’m against the reckless desperation some bands (and brands) exhibit in their campaigns: posting just how far off they are from their goal constantly and doing nothing more than just that – posting about it.
I’ve supported campaigns – I’m not that big of a curmudgeon. Recently, my friends in Haujobb just did a successful tour funding campaign and I eagerly await my copy of their new album!
How do you feel? Is crowdfunding a “means to an end” or boisterous begging?