Since everything came down to the wire for Cassette Store Day, we weren’t able to make any liner notes or credits for our split City Electric/flatland release. Here are the details!
Also, the cassette is now available via our Bandcamp page:
City Electric (“Skin In The Game” EP)
A1. Cacas Caliente
Not much to say about this track, other than it is one of a few tracks I’ve finished very recently and, as such, is a pretty good indication of where I’m at musically, production-wise, etc… right now.
A2. Dub For Gussie-I
Another fairly recent track. One day, I was visiting my “nephew” Augustus (aka Prince Gussie-I) and decided to show him the software I’ve been using and how I make patterns, and let him play with it and maybe turn it into a track. It turned out that the patterns he made worked pretty well, so I made a tune around them.
A3. Skin In The Game
A track I started probably 2 years ago…always sort of reminded me of an Italo 007 theme.
A4. Drawing Down The Moon
A track that I probably started about 3 years ago. I joke that apparently, I decided to try and get out all of my Chris & Cosey worship in 1 track. I recall riding around on my bike, listening to rough mixes of this at 4am on the streets of Chicago during a very mild, somewhat rainy summer. Somehow it fits. I saw why Kraftwerk were (are?) all about cycling.
flatland (Archive I)
B1. Brahmin Sunrise
A cassette 4-track experiment recorded in Chicago in 1999. Obviously, if you reverse the audio, you hear how the track was recorded. That version is “Brahmin Sunset”…it is almost as good as the backwards version. Almost.
Another 4-track experiment recorded around the same time…at this point, I was heavily into playing with just reversing parts of the track.
B3. Ship Of State I
Somewhere around August of 1997, I was starting to want to explore different directions from the band I was in and I made the acquaintance of a guy named John Furmanski, who was a carpeting contractor by trade but who had a warehouse in the “West Bottoms” in KCMO where, in addition to carpet, he had a bunch of synths, drum machines, a reel-to-reel, and a massive guitar pedalboard. We would just hit record and do these weird instrumental jams, but we only really did 2 sessions. He was kind of haphazard in his methods. Ship Of State, as it exists on the mixdown tape I have, was 1 track (with what is Ship Of State II on this release actually coming in first with this big reverb on the whole mix and then, suddenly, the reverb disappears and you have what is this fragment.)
B4. Butterfly Bruise
Several acts of complete randomness here…at the last second, John put a 9v battery on one of the synth keys and left it on the whole time we were recording. I was too busy filling the warehouse with wailing Fripp-y guitar to notice. Then, at a certain point, the bass drum in the track gets reversed. Strangely, it isn’t an abrupt thing where one notices right away…if at all. Toward the end, there is some buried guitar shredding that is definitely John, but I can’t remember if that was left from another track or if he just went off on the guitar with no regard to the rest of the track and buried it in the mix. Recently, I recalled that the title came from some vampire book and we had actually recorded me reading an excerpt from that book over the track, but either he mixed it down without the “vocal” intentionally or he just forgot to un-mute that track.
B5. Ship Of State II
The original 1st part of the 2-part track known as S.O.S.
Thanks to Mike Schneider at Indigo Iguana Studio for layout assistance.
Thanks to everyone at Groove, especially Chuck aka “The Architect”.
Thanks to Augustus W. Mullen and John Furmanski for their musical contribution.
Thanks to my mom for being my mom (and my dad, for that matter).
Thanks to Leona Webb for slowly but steadily pushing me to pursue music.
Respect to everybody releasing weird fucking music on cassette!