Today I went to work early and worked fairly late. I plan to shake, and then stir, this recipe for four days solid. We'll see what a fine mixed drink I make--non-alcoholic--through this endless bartending. When I was a boy, my father's father, whom we called Pappy, had a battery operated eighteen-inch high mechanical toy, a minor celebrity called Charley Weaver, mixing a mixed drink with animation. I plan to animatedly mix it up this week, but remain on the grape juice side of the literal equation.
I read a sermon by John Wesley last night that referred to socinians and deists as first-born spawn of Satan.
People are so judgmental, but I realize that in no individual case save simple addition does one really ever fully agree with anyone.
I got one e mail from a DJ of the Aural Visions internet radio station on live365.com, advising me that my song "Blue-eyed Grass" has been added to its dark ambient rotation. I'm pleased about this, because the station plays really interesting things, and it's a pleasure to imagine my piece among them. An ambient collaborator contacted me to propose working on a duet song for an upcoming netrelease of duets. I continue to get good traffic at the new record label at which I post my songs, <http://www.disfish.com>, at which
several hundred people have visited my page, resulting in my keeping a number 5 ranking on the site.
I've now posted some 20something pieces for my new work, "Collin County", with which I'm very well pleased. I'm beginning to figure out how to create purely ambient material. I also seem to work the best in segments of one to three minutes. One of the fellows at the site called it "temporary ambience". I like the idea, especially as the term has a secondary electronics meaning wholly unrelated to the term, which appeals to me.
If you'd like to hear "Collin County", then simply go to my page at Disfish.com,where that album may be heard in its entirety. This album is much more oriented towards lighter and melodic pieces. As usual with my work, there is a lot of glitch and accident mingled in the pieces, although I might, if I take the time, edit some "fade outs" a bit more expertly than I have done thus far. I gave the album a listen today as it is posted at the site, to see what I thought of it. I love most of all about it that I have no idea how I achieved a few of the sonic effects. Next time I'll have to take notes. Now it's a thing unto itself, and I am moving to the next song cycle, "Haunting Voices", although I have one or two more ideas for "Collin County". I'm so very impressed with how much traffic DisFish has gotten to its site so early in. They seem to be running a classy operation, on a creative commons/donationware model.
I can be humbled quite easily about all this. I posted one of my songs, "Weston", at garageband.com, for review and rating. It's a jaunty piece, featuring morphed coyote sounds over a morphed instrumental layering. I thought it fit best in "experimental electronica", but my first two reviewers seem to have been fellows who imagine that progressive emo is experimental, so the fit may not be perfect. Next time I'll go back to ambient, where I belong.
I would love to read, by the way the reviews a Harry Partch album would get on garageband.com. I think that Harry Partch's work is truly significant, but I'm sure on garageband they'd say "where's the guitars!", or "you should have posted this in Instrumental Hip Hop".
But if one cannot learn that one is never quite the same as anyone else, what's the point in learning at all?