Showing posts with label Hoosier Pete. Show all posts
Showing posts with label Hoosier Pete. Show all posts
February 27, 2014
February 26, 2014
January 20, 2014
March 2, 2013
Greetings From a Schnitzelburg Basement
Hello friends. February passed without a post, though I just deleted (an almost alarming!) four drafts from my posts queue that I have no intention of finishing.
Most of my short form blogging is done at notes for everything, and I haven't had the attention span for long form blogging lately. Various factors involved (tl;dr), but suffice to say there has been a flux in production here at the homestead.
Before the end of March I should have a completely spiffy post for y'all. At this point I am guessing it will either be a postmodernist-tinted look at the novels of Patricia Highsmith, or another goddamn basketball post. Actually, I can pretty much guarantee you basketball posts over the next few months, but I would really like to finish that Patricia Highsmith one as well.
In the meantime, if you are somewhat new to this here writing ranch, please click on the "Thoreau" tag. Right now, I'm favoring this over most of what I've done on this blog.
While you're at it, if you are a fan of acoustic Americana noir, I have a project that you may enjoy. I listened tonight to some Hoosier Pete recordings for the first time in a long time, and I really liked them to a degree that is a bit unusual for me. You may like them too: you can find them at the Hoosier Pete site at Indiana Musical Family Tree.
And for the noise mavens among you, there's always Black Kaspar. Fair warning: a new cassette (wherein I connect with my inner Jimmy Page) is coming soon.
That is all for now. I think I'll post my favorite W. B. Yeats poem here just for the hell of it.
September 26, 2010
Free Download! New Hoosier Pete Album
Field Recordings Volume One: Long Hot Summer is available for free download here.
Field Recordings started out as a sort of sketchbook: I was sitting out on the porch recording songs with my cell phone so I wouldn't forget them. I listened to a whole bunch of them together, and kinda liked the way they sounded, so I decided to go ahead and put them out there for anybody who wants them. Also included are a handful of recent poems.
Most of this was recorded late at night, with crazy humidity and ridiculous temperatures. I think that comes through pretty clearly.
I'm liking this: though the recording quality is pretty bad, and the playing isn't spectacular, I think it's a nice sketchbook.
If you are interested in keeping track of Hoosier Pete, I do make a token attempt to keep the HP MySpace page up to date, so that would be one way to do it.
Enjoy!
Field Recordings started out as a sort of sketchbook: I was sitting out on the porch recording songs with my cell phone so I wouldn't forget them. I listened to a whole bunch of them together, and kinda liked the way they sounded, so I decided to go ahead and put them out there for anybody who wants them. Also included are a handful of recent poems.
Most of this was recorded late at night, with crazy humidity and ridiculous temperatures. I think that comes through pretty clearly.
I'm liking this: though the recording quality is pretty bad, and the playing isn't spectacular, I think it's a nice sketchbook.
If you are interested in keeping track of Hoosier Pete, I do make a token attempt to keep the HP MySpace page up to date, so that would be one way to do it.
Enjoy!
April 12, 2010
New Hoosier Pete Track
Busy, busy, busy . . .
Here's a new Hoosier Pete track recorded during a break in a Black Kaspar recording session. More a sound check than anything, but I think it turned out nice. Poured just a little sugar on it Sunday after Dan gave me a copy. No big deal, but a nice little track that will most likely show up on the next Hoosier Pete joint whenever that gets finished (half written, no recording yet). BTW, it starts about 16 seconds in. Sorry 'bout that.
More soon - both written and played.
November 14, 2009
More Free Hoosier Pete Downloads
Let's face it: I'll never get around to selling this stuff on my own. So here it is, free of charge . . .
The Portland L.P.
and
The Drunkard's Lament E.P.
Enjoy! And, while you're there, surf around the Indiana Musical Family Tree. It's a really fun little network.
Of course, the Swirling Gingerbread River E.P. is available right on this here blog. Collect all three!
Ciao!
The Portland L.P.
and
The Drunkard's Lament E.P.
Enjoy! And, while you're there, surf around the Indiana Musical Family Tree. It's a really fun little network.
Of course, the Swirling Gingerbread River E.P. is available right on this here blog. Collect all three!
Ciao!
December 12, 2008
Free Download: New Hoosier Pete Live EP
"In St. Louis things didn't seem to be so good, and he got into a row with a hooker he picked up on Market Street who tried to roll him, so as a guy told him there were plenty jobs to be had in Louisville he began to beat his way east. By the time he got to New Albany it was hot as the hinges of hell; he'd had poor luck on hitches and his feet were swollen and blistered. He stood a long time looking into the swift brown current of the Ohio, too tired to go any further. He hated the idea of tramping around looking for a job. The river was the color of gingerbread; he started to think of the gingercookies Lizzie Green used to make in his mother's kitchen and he thought he was a damn fool to be bumming around like this. He'd go home and plant himself among the weeds, that's what he'd do."-- John Dos Passos, The 42nd Parallel
Listen to (and download) the new Hoosier Pete EP, Swirling Gingerbread River: Live at Lisa's 9-12-2008.
Recorded at the release party for Portland, Swirling Gingerbread River is a rough & ready live document of the Hoosier Pete sound.
Hoosier Pete wrote & played it
Dan Willems recorded it
Hoosier Pete salted it
October 25, 2008
Nocturne for a Synth Band
Bart Galloway did a set with some electronics/synth guys at Derby City Thursday. It seemed new ground for him, being a free jazz - free improv type of guy. He is more comfortable with people like the Sick City crew (he is now, according to the Sick City MySpace page, a member of the group) who find their roots in sixties free jazz-style improvising. The synth guys were definitely working from a more textural place, devoid of the kind of rapid change and aggression that a drummer like Bart thrives on. During the set break, he stepped outside to chat with Heather, Dan, and I about the set (Heather Floyd and Dan Willems being the aforementioned Sick City people), and he didn't seem to be sure about what was going on, or how his response to it was working. I assured him that all was going well. The synth guys were working on some interesting textures, and his drumming was actively engaging those textures. I think it is a tribute to Bart's musicianship that he was so readily able to work outside of his comfort zone.
Discussing the set with Bart, I talked about the difference between how the synth guys worked and how we (Dan, Heather, Chris, Bart, and I, for starters) tended to work. I talked about the long scope of their changes, and how their textural decisions amounted to a sort of musical wallpaper. Now, calling music "wallpaper" in my circles is usually a pretty serious dis, but I think that the synth guys wouldn't necessarily take it that way, and I certainly didn't mean it that way. There were some very interesting textures going on, and, at the end of the day, I think the collaboration worked pretty well.
After I got home, I realised that I actually do work (at times) in the same modes that the synth guys do. My ideas of texture are different, but I do work with texture quite a bit . . . it just tends to happen in different ranges than the synth guys. Black Kaspar, for instance, works for texture at a very high volume, though those textures are usually built from string instruments (guitars) and feedback, so the attack is slightly different. Also, in my Hoosier Pete mode, I have Blind Willie Johnson's "Dark was the Night, Cold was the Ground" as one of my primary touchpoints, and that is all about texture as well . . . hell, one of the continuing compositional gambits I have is "Blues for Morton Feldman", and that's all about reckoning music with the plasticity of painting and sculpture. What is wallpaper other than the liberation of painting from the frame?
Anyway, here's a song I recorded that night. I think it illustrates what I'm talking about.
Discussing the set with Bart, I talked about the difference between how the synth guys worked and how we (Dan, Heather, Chris, Bart, and I, for starters) tended to work. I talked about the long scope of their changes, and how their textural decisions amounted to a sort of musical wallpaper. Now, calling music "wallpaper" in my circles is usually a pretty serious dis, but I think that the synth guys wouldn't necessarily take it that way, and I certainly didn't mean it that way. There were some very interesting textures going on, and, at the end of the day, I think the collaboration worked pretty well.
After I got home, I realised that I actually do work (at times) in the same modes that the synth guys do. My ideas of texture are different, but I do work with texture quite a bit . . . it just tends to happen in different ranges than the synth guys. Black Kaspar, for instance, works for texture at a very high volume, though those textures are usually built from string instruments (guitars) and feedback, so the attack is slightly different. Also, in my Hoosier Pete mode, I have Blind Willie Johnson's "Dark was the Night, Cold was the Ground" as one of my primary touchpoints, and that is all about texture as well . . . hell, one of the continuing compositional gambits I have is "Blues for Morton Feldman", and that's all about reckoning music with the plasticity of painting and sculpture. What is wallpaper other than the liberation of painting from the frame?
Anyway, here's a song I recorded that night. I think it illustrates what I'm talking about.
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