Mystery Lady commented a couple of days ago about the absence of Silas videos and dredging up old ones is nice but it's not the same as producing.
There's some unusual go cycle during which nothing happens when it goes out of phase but it's not entirely clear what's phasing since it's not simple laziness. I will blast when the go can happen but it can't always and I don't really know why not.
It's necessary to overcome the feeling of being a maggot who feeds on the putrefying flesh of a dying culture and I am, therefore, worthless, a disease, a plague upon humanity. So there's getting past that part and all of that will vamoose instantly on playing the first chord.
But there are also the little blue demons who constantly shoot flaming arrows into my eyes while shrieking, "By what fucking right do you ever enjoy anything ever again, you miserable bastard!"
The only absolution is getting past all of that and making something which isn't made of that, motivated by that, or affected in any way since anything else really is the Sanctuary I've tried to describe all along.
Ed: it doesn't even exist.
In fact it does and you're in it but won't let yourself see it. Some of the regulars know what I mean and the reason for continuing to tell it is some don't.
Ed: except for the blue demons?
Yah, they're a bitch.
It struck me with the one I uploaded a few days ago that the drumming is so much better than I'll get when I slave the drum machine to a looper and play live. That's all nice, nice for a studio recording but it's not even close to live. Doing it that way means recording everything track by track; here's one for the bass, here's another for a synth horn section, etc, etc. That allows for tremendous perfectionism and great neurosis but it's so not live. (Ithaka: "For Trips and Giggles" - Silas Scarborough)
Note: I don't make anything on pimping my videos; YouTube is not capitalized that way for my account.
For me, liveness has nothing to do with an audience but rather whether any mistake kills the set. When I'm recording tracks, a bad take only means to do it again. When I'm playing live, a clam note is a destroyer and part of live is recovering but it shouldn't require so much recovery that I need a tow truck from the automobile service agency.
There are two things happening and one is pulling up the drive past the blue demons ...
Ed: and doing it for twenty miles through the snow?
Yah, barefoot
The other part is whether I want to screw with tracks and mostly I don't ... but the result is better so that makes a different kind of stall.
Ed: so shut up and play?
That can't happen just now. Yevette is crashed since vampire hours get called for early appointments and she really, really wants to keep this one.
Actively percolating are two things and one of them is a "What the Fuck Did You Think Would Happen" and that would typically be delivered with youthful passion and rage but my view of it is more sardonic although it does need chainsaw chords underneath it. The theme is why is anyone surprised by the outcome of doing stupid things and that's immediately political.
The other has a theme of Finally which comes with Dylan-esque phrasing and goes an entirely different direction. That one is much more likely to be palatable and that's not alone a reason to do it but it does no harm either. The question is whether it goes a direction worth going and it seems it can do that and keep going with it.
That thinking loops back to above with, ok, how will you record it. Right now the answer is still I don't know since I really, really don't like recording tracks.
So that's where the music. It's not at all dead but rather it percolates.
There's some unusual go cycle during which nothing happens when it goes out of phase but it's not entirely clear what's phasing since it's not simple laziness. I will blast when the go can happen but it can't always and I don't really know why not.
It's necessary to overcome the feeling of being a maggot who feeds on the putrefying flesh of a dying culture and I am, therefore, worthless, a disease, a plague upon humanity. So there's getting past that part and all of that will vamoose instantly on playing the first chord.
But there are also the little blue demons who constantly shoot flaming arrows into my eyes while shrieking, "By what fucking right do you ever enjoy anything ever again, you miserable bastard!"
The only absolution is getting past all of that and making something which isn't made of that, motivated by that, or affected in any way since anything else really is the Sanctuary I've tried to describe all along.
Ed: it doesn't even exist.
In fact it does and you're in it but won't let yourself see it. Some of the regulars know what I mean and the reason for continuing to tell it is some don't.
Ed: except for the blue demons?
Yah, they're a bitch.
It struck me with the one I uploaded a few days ago that the drumming is so much better than I'll get when I slave the drum machine to a looper and play live. That's all nice, nice for a studio recording but it's not even close to live. Doing it that way means recording everything track by track; here's one for the bass, here's another for a synth horn section, etc, etc. That allows for tremendous perfectionism and great neurosis but it's so not live. (Ithaka: "For Trips and Giggles" - Silas Scarborough)
Note: I don't make anything on pimping my videos; YouTube is not capitalized that way for my account.
For me, liveness has nothing to do with an audience but rather whether any mistake kills the set. When I'm recording tracks, a bad take only means to do it again. When I'm playing live, a clam note is a destroyer and part of live is recovering but it shouldn't require so much recovery that I need a tow truck from the automobile service agency.
There are two things happening and one is pulling up the drive past the blue demons ...
Ed: and doing it for twenty miles through the snow?
Yah, barefoot
The other part is whether I want to screw with tracks and mostly I don't ... but the result is better so that makes a different kind of stall.
Ed: so shut up and play?
That can't happen just now. Yevette is crashed since vampire hours get called for early appointments and she really, really wants to keep this one.
Actively percolating are two things and one of them is a "What the Fuck Did You Think Would Happen" and that would typically be delivered with youthful passion and rage but my view of it is more sardonic although it does need chainsaw chords underneath it. The theme is why is anyone surprised by the outcome of doing stupid things and that's immediately political.
The other has a theme of Finally which comes with Dylan-esque phrasing and goes an entirely different direction. That one is much more likely to be palatable and that's not alone a reason to do it but it does no harm either. The question is whether it goes a direction worth going and it seems it can do that and keep going with it.
That thinking loops back to above with, ok, how will you record it. Right now the answer is still I don't know since I really, really don't like recording tracks.
So that's where the music. It's not at all dead but rather it percolates.
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