I’m a former DJ for KZUU 90.7 FM Pullman and WCDB Albany 90.9 FM you can find my old KZUU playlists here.
Below are links to download music I’ve made or help make. Click the banner to get to the archive.
You can download all items in an album on an archive.org page in mp3 format by clicking on “VBR ZIP” on the right side of the page. You can also stream the albums without downloading them on the media player.
After I moved to the Palouse, I’ve started a new experimental/post-punk/glitch/noise/drone project and will be recording under this name for the time being.
It’s on Bandcamp, Spotify, iTunes, Tidal, Google Play, and more. I’m using routenote for distribution.
When I moved to Albany for graduate school in the Autumn of 2007, I pretty much just went to classes at SUNY, volunteered, and stayed at home to study and play music. I chose “_11:34” (underscore eleven thirty-four) as a name for all material that I would release myself, and gradually learned the ins and outs of self-producing music with an old version of Adobe Audition. I participated in the RPM Challenge in February 2008 and continued to do so every year, gradually improving the scope of my production and performance abilities and developing a sound. I also try to be as close to zero-budget as possible, mixing and mastering the tracks myself.
Musically, the artists who I believe influenced my guitar and bass style the most are Lungfish, Fugazi, Big Black, Wire, The Minutemen, Sonic Youth, Antelope, Drive Like Jehu, and Erase Errata. I call it nano-punk, but post-punk, or post-hardcore are also appropriate labels for what I do, generally. I release to the internet archive, free of charge under a Creative Commons license, all the albums I’ve made as _11:34 that are fit to be heard. For demos of unreleased material, I have a soundcloud.
Undefined Auguments was a band I started with a friend, Carley DePuy, after we collaborated on a song, “Recycling Camp” for my _11:34 album “Lucid Forest in Lurid Leyline Limit.” We recorded that song (minus vocals) in one take and were amazed at how easy the guitar collaboration was for us. I picked up an acoustic-electric bass guitar one day and Carley and I began writing sparse, ghostly bass-and-guitar duo songs and practiced at the Furnace Collective in Albany. Altogether we had 5 shows in Albany and one in Binghamton before Carley moved to Philadelphia in the summer of 2011. We recorded 30CElegies in February 2011 for the RPM Challenge that year. We agreed that “Ghostpunk” is a fitting stylistic descriptor for this band. My favorites are “Ascended Masters,” “Indentured Servants,” and “Pocahontas.” Really, every song we made I think is amazing in its own way.
Density of States was a band I formed in Albany during early 2009 with Jon Shoer, Pat Smith, and Shane McCormack, all of whom were undergraduates at SUNY Albany at the time. We met at a party and, all of us interested in playing in a band, practiced several times to develop a sound, naming ourselves “Bear Mountain Bridge”. Later, another SUNY undergrad named Ali Gutman joined us as a vocalist, and we performed mostly at parties in basements in the Pine Hills neighborhood of Albany. The other guys in the band really dug Minus the Bear and it shows in our songs. I played fretless bass, which was somewhat of a lead element in the song structures. I loved how I could use the sliding growl and impreciseness of the bass to weave our songs together. After we had already written 6 or 7 songs, Ali quit the band and I decided to sing as well as play the bass. By then we had changed the name of our band to Density of States after the rest of the band watched me put together powerpoint slides containing electronic structure data on silicon nanowires. Our songs were recorded by Alex Muro in early July of 2010 with Dan Maddalone offering assistance in sound engineering. We never released our songs to a proper album but after Alex & Shane’s brother Jay spent a combined half a year mixing and mastering the tracks, we put the album on a soundcloud for the world to download. I really enjoy these songs even though I didn’t get a second chance to re-do the vocals above scratch tracks. “Mess” is my favorite, followed by “Bear Mountain.”
Sonar Mellowship was a force to be reckoned with in late-late-20th century/early-early-21st century Abington, Pennsylvania. They were already a band before I joined, but I started making music with them in 1999 and did some (now-embarassing) recordings in some of my friends’ houses. I sang vocals on about half the songs, splitting those duties with my friend Benji and playing trombone on the rest. We never released a proper album and never toured (we were in high school), but we did some cool things like act as the pit orchestra to our Junior High’s production of Little Shop of Horrors in 2003, and won runner-up at our high school’s battle of the bands in 2002. It was a fun time and I really enjoy these songs. The bulk of our finished songs were written by 16-year olds, and that’s cool. It’s also fun to see how our personal tastes matured from ska-punk kids/Red Hot Chili Peppers fanatics/Latin jazz weirdos/Jack Johnson aficianados to whatever we are now. Heavy nostalgia. I was also in a punk band called Carl Consumer and the Red White and Blue Torpedoes at the same time. RIP Carl.