15.2.11. Dead SCSI Bits

Some time ago, there was a cool audio project hosted by Radiantslab called DeadSCSI. And there was also DeadSCSI 2. It all appears to be gone now, but there is at least some information available in the wayback machine. I contributed in both rounds as Eucci.

When Ergo Phizmiz recently tweeted a link to this page of failing hard drive sounds, it got me thinking about my bits of the DeadSCSI project that I had laying around on my studio drobo. I spent some of saturday doing some lightweight remastering. Early Eucci, where I abused the computer like I used to abuse tape, is pretty rough in its output quality. Levels are just all over the place. DC Offset lingers here and there. It's a mess. But there are some pretty spectrum graphs.

Last night I uploaded the tracks to my Rive collection on archive.org and cut a release as rive 058.

What is mildly interesting about this is that although all of the tracks were re-finalized on Saturday, I didn't upload them until last night. It was a process I was starting to put off, remembering that I needed to name the files properly, upload them, enter metadata, and make a web page on euc.cx. Not that big of a deal, really, but big enough to put off until tomorrow and tomorrow and tomorrow.

Last night, when I got home from work and after I had walked the dog (enjoying some unseasonal warmth before winter makes its fierce return later this week), I was thinking about what to do from that moment until dinner. I was starting to get ready to play the excellent Red Dead Redemption, but I knew I had to cut this release. Then I remembered something Merlin Mann said in the first or second episode of the Back To Work podcast. He basically said that it's easy to complain about needing time or certain circumstances in order to work on something, but that we don't complain about needing that time or certain circumstances to play video games, and we sure as hell can sit there and play a video game for an hour. It feels like a shame to have to be reminded of this ridiculousness, but it's something I apparently need to remember constantly. So instead of playing Red Dead for an hour, I spent the time preparing the release. It took a little bit longer than expected and the dog was getting impatient towards the end. But overall it was a nice use of that time.

There are many more releases to come, including some new material.

 

27.1.11. Sunhil Intentions for 2011

As announcing one's intentions is the simplest way of hearing God laugh, I'm planning on doing the following for Eucci and AODL this year: it's time to finish cleaning out the back catalog. Whether this is a coda at the end or the beginning of the next phase for both projects is uncertain. I just know that it's time to stop letting these unreleased pieces hold me back. Yes, I'd like for some of them to be released in beautiful physical form, and some might still be so. But chances are that most of them will be released online, for free. The candidates are:

Eucci

• Pachyderm (1994) - Tape collage, and really the first proper 'Eucci' recording where the early style really came together. Meant to be on tape, but it's long (45 minutes) and I could never find a satisfactory b-side.
• Star City (1996-1999) - mid-era electroacoustics and musique concrete, some for radio programs.
• Apt (2004) - unreleased sounds for an empty apartment in the world's last perfect spring.
• Like The City, We're Bound To Last (2000-2009) - Spans some of the earliest Eucci (2000), mid-era (2004) and some late-era work (2007-2009).

AODL

• Fans of Flesh and Textured Wrecks (2004-2007) - the most likely to get a proper vinyl release. Long form dark AODL, most of it in special live broadcast performances.

Maybe

• Eucci, "Because 1999 Needs an Enemy" - very limited edition tape from a bad start to the year. Of interest, mostly, as it is the direct ancestor of AODL. It was the first experiments in doing feedback loops of effect pedals, and using those as the only sound source.

 

29.4.08. The Hafler Trio, Dislocation

I just received the Korm Plastics re-release of The Hafler Trio’s Dislocation. I’ve been waiting for this one more than any of the others thus far. The Korm Plastics re-issue series is a magnificent undertaking wherein a large chunk of Hafler Trio material that has long been unavailable or available only in “wrong” versions is being re-issued in definitive form. The packaging for each has been stunning: each release in a booklet sized “wallet” form, with full booklets, posters, post-cards, and more. The releases are all wrapped in a vellum (or vellum-like) material with additional writing. The packaging alone is of the highest grade - far higher than what these releases saw in their original forms (even ones that were also in wallet/booklet form).

I first became interested in The Hafler Trio when the Hafler Trio / Nurse With Wound collaboration was issued on CD, which I picked up in … 1995? 96? I was a big Nurse With Wound fan at the time and, thus, gobbled this one up. I was blown away. While I recognized many Nurse With Wound sounds, the overall production and flow was of a different nature. Similar, yes, in it all being (perhaps) some form of Musique:Concrete. It just sounded a bit more … polished? Subtle? In any case, it remains a personal favorite.

At this time, I was 20-21 years old, poor, bla bla bla. Most of these CDs that I liked were all import and out of my price range (when they could even be found). But one day around this time, I was in a used cassette shop, and came across the original Hafler Trio Dislocation cassette. For $4! It was a Staaltape release, in a bag (my second one - a couple of years earlier I picked up what turned out to be a fairly rare Legendary Pink Dots cassette in the same style of packaging, mostly because I didn’t yet have a CD player). Not knowing much of The Hafler Trio at the time, I knew that this was something I should get, as it was unlikely that I would easily come across such a find for years to come.

I liked the tape, but I admit that it took a while to grow on me. It was very quiet and subtle, with a lot of field recordings. It was something that I enjoyed, but I found that I had to give it more attention than similar recordings from other artists. I loved having it on tape, though. It heightened the “found sound” feeling. And I loved what was inside the bag (besides the unlabeled cassette). Inside, there was heavy paper with fragments of maps on one side and various clippings on the other. It was far more interesting than some of the cheap shock imagery (or just cheap packaging) used, again, by somewhat similar artists that interested me at that time.

However, as fascinating as it all was, that would be it for me and The Hafler Trio until 3-4 years later when, after moving to the east coast, I’d find a copy of A bag of cats at Printed Matter’s old Wooster Street location in NYC. After that find, I’d lap up whatever I could.

So Dislocation has been held in a special place, and I’d been watching that Korm re-issue series list tick along, waiting for this one to show up. Now it’s here. And it’s much more impressive than imagined. First, the booklet is a new heavy-stock foldout variation of the same maps found within the cassette version. When folded up… I can’t even describe it, really. It’s just beautiful and very different from the booklets that have accompanied the rest of the re-issue series.

But what’s really been impressive has been the audio. This time, I have no prior CD to compare; only tape. And I love tape. But now, more than any other re-issue done thus far, I can really see how well done the audio restoration has been. Remarkably well done. This album deserved (and required) it. As much as I loved the “found sound” fuzzy feeling I got from the tape, there are a lot of nuances here that I may now appreciate. Goddamn well done.

6.4.08. Sunday Great Openings

In my last post, I revisited an earlier write-up of a personal experience involving The Hafler Trio’s so-called Trilogy in Three Parts. I’ve been on a bit of a binge lately, trying to grab up a lot of Hafler Trio releases that I let slip by over the past few years. Right now, I’ve got two thirds of the Exactly series of long-form dual disc releases revolving around the voice of Jónsi Birgisson (Sigur Ros), with one of those releases being in the form of the deluxe packaging from Simply Superior. I’ve been starting to pick up vinyl releases as well and will soon have all three evidences according to Wolf Sheep Cabbage, among others. I even managed to find a well priced vinyl copy of what has become one of my all time favorite albums: A Thirsty Fish.

But on this here Sunday morning, I find myself ill at ease. Shoulders are tense, bones are cracking, mind is dazed yet burning. To try to find a spot of calm, I first went through what I have so far of the Exactly set, but it wasn’t helping today. So I returned, again, to this initial trilogy. I haven’t listened to it much since my grand encounter four years ago. That was just a little too powerful. But up until that point, I got a fair amount of comfort out of the series. It’s still a remarkably powerful. The trick is not to get too lost in it when not wanting great and terrible visions. All I need right now is a warm, sustained, and calming presence. These can do that job rather well - enough to get me through the morning and into a much needed hot shower followed by a cold walk with the dog and some lukewarm coffee.

24.3.08. A Trilogy Revisited

I was killing late night minutes by reading through pouring empty into the void - a collection of reviews of Hafler Trio material - when I came across a review of the entire trilogy in three parts. The writing was more personal than many of the other reviews, which were written for larger audiences (magazines, record shops, etc). And then I got to the final paragraph:

Deep into No More Twain, Of One Flesh: 11 Unequivocal Obsecrations, I was deep into trance and ripped apart by my own twain — two entities guiding and dividing my life right now — and had to fight my way out of such deep and frightening consciousness and back into the body. Scratches and cold medal were put to use to reinvigorate the breath and to bring myself down out of the super present to the merely present.

"Wow," I thought, "this guy had an experience similar to mine!"

And then I clicked on the source link - and it was, in fact, my own. April 6, 2004. What a wonderful, horrible spring.

And what the fuck has happened to my brain when I look back at many of the things produced / released at that time and wonder how the hell I could do that (and find time to write about it in fairly eloquent terms). Now I have a hard time making a single, simple, goddamn web page for a simple four track online album. How anyone's ever going to hear Like the city, we're bound to last is beyond me at this point.