Tuesday, October 6, 2015

Music for Solo Microphone.  Live in Columbus, OH 7/2015.  

Tuesday, April 21, 2015

 Computer Music 

Electromagnetic field coil induction, Microsoft Excel spreadsheet. 

 Live in Ypsilanti, MI at the Dreamland Theatre (2011.) 

Friday, December 9, 2011

Process Article at Preservation Sound Blog + MP3

A short write up by the folk at Preservation Sound on my use of the Magnecord tape machine and an .mp3 link to one of the "Computer Music" EP tracks:


Friday, November 18, 2011

Live at the NEST Arts Factory

Live at the NEST Arts Factory.  Harsher coil induction set than usual...

Live in the Basque Country-Part 1 of 3: Le Larraskito

One of three video I have from the Basque tour.  This is at Le Larraskito and has a fatal glitch around the 10 minute mark.  Amplified garbage, magnets, and a large iron door that covered the window behind me. 

The Chinese Restaurants at the former Pogo's in Bridgeport

The only show where it was Loy, myself, and our French compatriot Kemp Boyd (Black Lips, Billy Bao, Discipline for Youth.)  Shows in Bridgeport were always complicated by police, scum of the earth-types, unstable venues, angry bar owners, and the usual things that transpire in the type of post-industrial wasteland the city is.  This is the only show when neither Malcolm Tent Restaurant nor young Jason Restaurant manned the percussive end of things excepting out very last show where Brian Turner stepped in as Malcolm was caught in crosstown traffic.

Monday, August 29, 2011


We've assembled a few dozen 'CANS' CD-Rs for the Basque tour.
Layers of amplified garbage:

Cans (Radio Mix)

I am selling these CD-Rs to fund the pressing of the LP.  Each is $12 and comes custom spray painted replete with a shard of an aluminum can and a coupon for a copy of the LP. Run of 50. I'd prefer you don't support Paypal and send payment to 548 Chapel Street LL1, New Haven, CT 06511. 

Feat. Gregg Iwaskiewicz.  Engineered by Christian Ruggiero at Gold Coast Productions, Bridgeport, CT.          

Friday, August 12, 2011

Keith Restaurant LP Rough Mixes

A rough mix of new material.

Metal table, magnets, microphony including a 1905 salt crystal double button carbon microphone, and a glass of tap water.

Keith Restaurant Track 01 by urbanetrics

Basque Iron Coast Post #1: "Hex on the Beach (for Angus Maclise)" and notes for Meñakoz

"Meñakoz, bathed in atypical light and looking unusually alluring. Don’t be fooled. This place has teeth. Meñakoz holds the biggest waves in Europe holding swells up to 20ft. This is due to its Sunset like setup. With a deep trench out at sea jacking up to shallow rock and sand bottom. From the parking spot on the side of the cliff it looks friendly but this surf spot is extremely dangerous..."; photo-Willy Uribe

"Repetition is the reality and the seriousness of life"-Soren Kierkegaard

We leave for Bilbao in three weeks.  We will cross the Basque Coast from Bilbao where I will perform a handful of times with some new transduction and feedback-generation equipment/equipment configurations.  My friend Mattin placed on his short list of places to visit Meñakoz beach outside of Bilbao.  The majority of my performances will be outside turning the Iron Coast's large sculptures into "feedback antennae" and a few dates in formal venues manipulating solidian and crowd noise.  All this aside, I can't seem to break with the concept of trying to rework "Hex on the Beach" in Meñakoz.  Aleatorcism beckons a certain latitude in the "rolling of the dice."  My initial performance in New England left my infant son with the latitude to play, leave, or simply teeth on the monophonic synth and waterproofed microphony subject to the 3 inch waves of a placid Long Island Sound and my burrowing in the muddy sand.  These swell were enough to fry out half of my equipment as salt water brings a quick end to electronic functionality.  Likewise, my insistence on ignorance with regard to the testing and comprehension of function of a what I understand not to be a "wetsuit" lead to unintended boyancy in the middle of the "piece."

Young Jasper will be left safe on the sand. 

I'm bringing more heavily-watted amplification equipment as I intend on working with the rescinding surf to use as a partial source for generate feedback. I have never seen a wave larger than 5 feet in my life.  My presumption is that I will struggle with the waves, undertow, and jagged rocks.  I am taking two surfing lessons before the concert in Donostia hoping that that will be adequate enough for me to perform this piece alternately from the beach and at sea.  It will be a challenge to oscillate the amplification of rescinding surf at a level of audibility—displacing the natural with the preternatural and transfigured.   

Saturday, November 27, 2010

There were two versions of the track we recorded with Ben Greenburg in Williamsburg a few years back.  The original was about 6 minutes long and consisted of the guitar, synth, drums you hear on the 7" with an equal amount of unplugged free (or bargain) improvising around broken amps and cords.  Mattin detourned that part in post-production into the Obama collage that college radio DJs the world over have grown to tolerate.    

Friday, November 26, 2010

Dissolution of the North American Free Jazz Agreement

There is still a Myspace page up for the Chinese Restaurants with a few tracks that to my knowledge have been lost to everything but the annals of that website.  "A View to a Kill" is from a recording at the infamous NEST Artspace in Bridgeport, CT around 2005 or so.  It is the original trio of myself, Janus and Edgar Restaurant after two months of careful study of the Duran Duran hit and not much else.  It was the last time I picked up my bass "native" instrument of sorts excepting some future-notalgic switching-off that happened during our final duet of performances at Death by Audio in Brookyln circa Summer 2010.              

Sunday, August 29, 2010

A Night in Autumn

I came across this Youtube video of a sporadic improvisation with neodymium magnets and sonicare toothbrush circa 2009 in my hometown of Bridgeport, CT.  It was at a local 'open mic' night.  Most performances I've done in Bridgeport have been in reclaimed and unlikely urban spaces.

It must have been too cold that night for anything else.  The crowd noise dies down a bit about a half minute in or so into it.  I've since lost my toothbrush...