Sometimes, when trying to explain why this recording’s taken so long, even compared to the four years of the meadowlands, or saying that I've worked on this pretty much daily etc. etc., it all seems bonkers (and it is) or at least doesn’t make logical sense…
Being in a band, besides being comic past a certain point, is akin to running a very small family business, like say a hardware store (if you actually made your own hardware, weren’t actually family, were expected to tour after the new hammer came out, etc. [analogy collapses]. Ok, it’s not about the hardware, it’s about the ‘family' part)…
I hesitate to say, partially because it hardly matters in the bigger picture, especially the current political one, but...of the last batch of songs that needed more re-re-re-etc.-re-work after going to mastering last fall, I finished the last one & sent it off yesterday.
Just a brief & less-brief note w/r/t the Esopus project...first the brief.
The launch party for the ltd. ed. Esopus Foundation/Magazine project I did w/ the bonkers-ly amazing artist Beth Campbell has been re-scheduled for Monday, Dec. 14th, 7:00-9:00 at Beth's studio in the Brooklyn Navy Yard. And I'll be playing a short-ish solo set including the song Three Types of Reading Ambiguity from the upcoming album, which was the focus of the project w/ Beth...[READ ON]
Yesterday got the mastered&sequenced version of the album back from the mastering guru (haven't gotten to listen to it yet partially because I'm sick of & hate it but also because the at-home dad's child-bosses do not honor a traditional workday).
Sad-lariously enough, only just realized that it was also exactly 5 years ago yesterday, that recording officially started . Holy hell. Wasting life in half-decade increments. Since 1989.
Realizing that it's the killer-combo of being not only unimportant in the real goings-on of the world but also, in the ever-going back&forth of "it's almost done, this part is done" etc., both hard to keep up track of and in those details especially, really pretty boring...
but in my dumb mission to post updates on some tiny portion of the everyday work on the record (and believe me, although arguably it shouldn't be, it really is every damned day), Sunday morning I finished & sent off the final-of-many versions of the last song to mastering. Which means that...[READ ON]
...were great. At my end, well you know how I'm always prattling & whining on about how difficult the record's been to make, how little sleep for 4+ years now, etc. etc.? Of course you do. Yield-wise, it's more my stock-in-trade than releasing actual albums. And while true, even I'm pretty tired of hearing me go on about it.
But all those art-for-crap's-sake life choices came to a head at Thanksgiving. Driving up to Massachusetts that Wednesday, got sicker & sicker, fever, vomiting. Thursday morning felt worse, with a weird & unwelcome Rice Crispie effect to each breath, a cough output I'll only describe as 'cranberry'...[READ ON]
The Wrens get a call in 1989 off their first demo asking if they want to open for comeback band – The Fixx. The catch is that they must sell 1000 tickets. The Wrens fail to sell even 6 tickets and sadly, the Fixx cancel. The ‘80s draw to a close.
The Wrens get a gig as the house band on the on Cape May/Delaware Ferry. The Wrens later get fired after performing the Pixies’ “debaser” to the mostly senior citizen crowd.
1990: The Wrens move into a house in Secaucus, NJ. (The Wrens will continue to live together in various combinations and record at home for the next 15 years)...