25.10.09

New Red Sun Tour, Day 4 (10.5.09)


Leaving Eugene was a comfortable affair involving only the search for the right highway exit, easily found. We were in good spirits and decided to look for a place to hit up on our way back, stopping in a cold Ashland for the prospect of food and an open venue for the 7th. What we found instead was a Shakespeare obsessed burg addicted to sulfurous spring water called "Lithia Water."


I saw a churning cloud of birds as we left Ashland, our heads aspin from the strange waters.


I took the wheel as stomachs went from empty to full in Weed, and the sky turned from light to dark. The tri-tip sandwich left me feeling energized and with a burnin' and yearnin' to get to Frisco. As we wound up the serpentine highway into the hills, the numbers of crazy drivers increased until, at one point, I was passed by a truck that used the on-ramp as a passing lane - at 90 mph.


Finally, we made it to Pearson's friend's house. Karin put us up and was a great host to us. I was happy to be making my way from one good-natured person's house to another. After a short tea break we unpacked, took a trip to the corner store with Bun, and relaxed in the eclectic house. We slept late; we needed a good rest after such a long drive.

New Red Sun Tour, Day 3 (10.4.09)


We had made it to Eugene. A short trip on a straight and sunny road had lead us to our venue for the night, Epic Space. A helpful employee at the adjoining tattoo parlor directed us to a soul food restaurant, steering us kindly away from a pizza joint (chuckles) where the proprietors get so stoned that they end up eating the pizza they were making you. The soul food was indeed so good we wanted to "slap your mama." A calming meal for a calm night in Eugene.

We sidled up to Epic Space, chock full of good wholesome collard greens and whipped yams. Certainly ready to play the show and hit up our place of lodging, el casa Sam, which turned out to be the most comfortable and relaxing place we stayed (twice, even) our entire trip. The venue had a well padded floor (3-layer carpet), and became a comfortable, living-roomy sort of setting for our relatively laid-back set.

Hobby Knife laid down some of the most psychedelic noise sounds I heard on the entire tour; I could easily say that her set was one of my favorites of any group we played with.


After the set, we traveled to Sam's, clearly tuckered out. After our relatively chaotic experience, Eugene was just what we needed. We were up earlier the next morning in order to find out how to get to San Francisco, and to hit up a little place that was recommended to us.

A sunny drive to California awaited us...



19.10.09

New Red Sun Tour, Day 2 (10/3/09)

We all woke with a grave sense of foreboding. The day would be long and full of driving – this we knew. But what was this feeling gnawing at our pineal glands? None of us could place it, but the environs certainly weren’t helping. If there was ever a place with a lack of spatial reasoning, it was this house. This was evident by the time we got halfway down the road, as I had used google maps to provide us directions from the Northeast section of Portland when we were most definitely in the Southeast. After a minor amount of struggle, and a stop at an internet café to get directions, we were on the road towards downtown Portland.

We found our way to the radio station we were to do a live recording at, KPSU. We were all famished, and after Jackie’s experience with hyper-sweetened non-tea, and Pearson's experience with shitty espresso at the internet café, we could all commiserate with our stomachs. We popped around the corner, following a scent of roasted chilies and fatty foods to a weekly farmers’ market behind the building.

After our hearty repast (a biscuit cut in half with fried chicken and a fried egg in the middle sandwichwise, covered in gravy, and a small freshly squeezed orange juice; easily one of the best meals on tour), we made our way to the studio. We found a man being handcuffed two cars back from us, apparently after being caught breaking into a car. We felt lucky we left New Red Bun to guard our gear.

At the studio, we had a warm reception (maybe a little too warm for Jackie) and played an excellent show that you may be able to get on limited edition CD-R sometime in the near future. The biscuits and gravy certainly helped me feel positive about the entire day…

After the show, we headed over to Thomas’ coffee shop, Cellar Door Coffee Roasters. Though I worked with Thomas before, and was aware of his espresso prowess, his shots hit me in the face like a million ton shithammer. The espresso rocked my world. Incredible notes of spicy pepper and orange peel on a long-pulled ristretto shot, followed by a distinct tangerine vanilla chocolatey finish.

A minor pit-stop for steering fluid, engine oil, and booze was made.

We were on our way to Eugene, our last stop:

Post No. 38.


New Red Sun Tour, Day 1 (10/2/09)

Waking late, chaos, things still unpacked for the road trip. Bandmates late for departure to Portland. Bad vibes and a car low on gas, oil, transmission fluid, bumper nearly scraping on the ground as we went to pick up Pearson. Packing the car had pinched our fingers and our nerves, leaving us to rush out the door, eating chocolate chip cookies my mom had baked. Our saving grace was Pearson’s pastrami and avocado sandwiches, one of which I hurriedly scarfed down as Jackie braved the traffic of the Tacoma narrows. Things got better, and we put on Mare for a listen.

Arrival in Portland as the sun set, our destination Circadia Arts Center, a converted church on the outskirts of Portland, near the airport. We missed the turn off at first, taking the scenic route behind PDX. As we pulled in, we couldn’t help but notice giant papier mache sculptures of dragons’ heads and grass huts in the shape of mushrooms, most likely illegitimate remains of an acid-soaked trip to the playa. Roadwork signs were strewn about on the lawn. Though we had a mind to load in, we instead went out to find something to eat. A fellow named Donatello (obligatory TMNT jokes here), pointed us in the right direction.

Northeast Portland is a strange place, one that I cannot entirely recommend. I couldn’t count the number of strip joints on all my digits. I probably couldn’t have kept up with a pen and paper. Liquor stores were similar in their frequency, and one can imagine the rapidity with which the weakest of the weaker sex would be separated from their wallets. What credit this part of Portland lost on strip clubs, it gained back with construction equipment rental shops. We made our way to a Vietnamese strip mall with a restaurant aptly entitled Pho Palace or some such thing.

A closer look at their menu revealed an old time favorite.

Noodles with pizzle.

After our disappointing and relatively pizzle-less meals, we returned to Cascadia and unpacked our gear onto what had looked like a large stage before we had left. It was now full with all manner of electronic devices, most of which were centered around a laptop of some sort.

We went on third, the first act being Sleeping With the Earth, a heavy-noise act replete with taped keys on a Yamaha keyboard, many effects pedals, and a DR-660 drum machine. He was an amazing, physical performer, and his screamed vocals were intense and emotional even though I couldn’t understand a word. The second act was the person who would end up putting us up for the night, Cult of Zir. He tapped all manner of musical references, beginning with Coil and moving on to more beat- and lyric-oriented material akin to Saul Williams. The friend he was performing with has been his musical accomplice since kindergarten, and their collaborative history showed in their onstage presence.

The night became more fraught with people dressed in the purest black of outfits. Sporting dreads, chains, facial tattoos, boots, and a certain disdain for people not dressed similarly, the crowd started bopping to the music as it became more boppable. Heavy backbeats ensued alongside sweaty, pale brows. Small co-ed groups began retreating to the men’s bathroom as Pearson, Jackie and I looked at each other and at the door. It was almost two in the morning, and we were feeling the effects of a long day in buckets seats. I took a nap on a pew, earplugs affording me relief from the pounding beats fueling the snowblown ravers.

Pearson and Jackie woke me up, and the car had already been packed. I drove us to our destination: a house chock full of books on ritual magic, voodoo, shamanism, and ethnopharmacology. We unloaded, making our way through overflowing boxes of kitty litter, swimming through the kitchen’s sea of unwashed linoleum, and up the mountainous and lint-covered flight of stairs to where we would be sleeping. Every nook of the attic looked slept-upon, aside from the drift of desktop computer accessories in one corner. None of us wanted to get near that, however, because there was a creepy mannequin bust of a woman in a corset with its head leaning against the wall directly beside it. On the way down to brush my teeth, I noticed the food-offerings made to the house deities; a grim reminder of Bali. Ashes from countless sticks of incense fell lightly against hardened bowls of chili that, to those willing to delve in, may have resembled the cracked mud of a long-dry lakebed. I knew that the broken dolls would still be staring at me when I woke up on top of those ossified beanbags.

17.6.09

"Indopanska"

One thing that i do besides make coffee is make art, if those two can truly be separated. My most recently finished project is an examination of stratification, both in culture as well as through medium.

I started by using an old cedar shake (presumably from the Pacific Northwest) that was formerly atop a roof, and cedar scraps to build a crude frame.

Since the frame was only used to temporarily contain layers of acrylic paint, it didn't need to be very sturdy. I made the frame flush with the cedar shake, created a seal with some wood glue, and began layering paint inside the frame.

Each layer was allowed a day or two to dry, depending on the thickness. The colors were chosen to signify the national flags of different countries (Indonesia, Japan, Poland). From the top, the acrylic paint presents a glossy and reflective effect.


Once every layer had dried completely and evenly, i removed the sides to reveal the stratification. The effect upon cross-section is somewhat like the marbling of fat through meat.

The reverse, or bottom layer of the piece takes on the wood grain of the cedar shake.


The result is a very flexible and pliable substance, about 1 1/4" thick.

Some issues i am attempting to address through this first piece are my experiences in Indonesia on the Darmasiswa Scholarship. During my stay in Denpasar, i met a great many people from many different areas of the world, of many different callings in life. My understanding of that part of the world was underscored by my experience of life in the Pacific Northwest. My impressions were comparable within the confines of my life experience only. The cedar shake base and frame are my beginnings, both within the context of this project as well as symbolically in my choice of locally sourced materials. The binding glue/sealant, Gorilla Glue, was "first discovered being used in Indonesia on teak furniture." My experience in Indonesia was one of layered experiences, as a tourist, as a scholar, and as a person of no color whatsoever in a developing country. The first layers were necessarily thin and simple, offering less complexity and no mixing of colors. Later layers include thicker application and more complex patterns, analagous to my experience. It is significant that the frame is not a included in the final product, and has been broken away to reveal the layering. A common theme in my work is the notion of process overshadowing product; as an artist, i do not consider one more important than the other. The finished product can be viewed in the round, and offers different impressions on each side. The first layer is matte and its simple shapes are impressed with the grain of cedar shake. On the reverse, or last layer, glossy patterns include rifts between interspersed colors. Viewed from the side, layering can be observed in different proportions.

During my stay, some of the people i met made a great impression on me, and influenced my worldview considerably. Besides the obvious effect of Indonesian culture, i also spent much time with Japanese and Polish friends. The collective vision of our experience added further layers of complexity in everyday life. Language barriers, eating habits, musical preferences, and everyday routine all had affect on our perception of our experience. This was not a neat, orderly, or homogenous mixture of cultures. The result was that all of us broke some molds of our fomer lives.

This piece addresses these issues visually, and for me, in a tactile manner. The flexible feel of this solid chunk of acrylic paint tells me that my experience can be molded further into whichever shape i choose. However, i have chosen the proportions of a national flag to show my pride in our collective experience, and the creation of a new state of mind in regards to our place in the world.

9.6.09

everyday cafe

One thing that i end up doing almost every day is working. I know many people who do this, and a few that don't.

Something that they both have in common is that they are almost never satisfied with their work, and the quality of what they are creating. This is a positive thing, as far as i see it. Humans never would have progressed (sic) to this point if they were easily satisfied.

Often times, perfection is either a moot point or just plain unattainable. These are the situations that humans seem to be the most attracted to. The perfect beat. The perfect match.

What i search for on a semi-daily basis at my work is the perfect cup of coffee. This is something nearly impossible to achieve, even with an extremely high level of proficiency. Especially since people can have drastically different senses of taste.

There are manifold variables involved in the crafting of espresso. Some of the variables that are immediately dealt with are:
  • Coarseness of grounds being used
  • Amount of grounds being used
  • Type of grounds being used
  • Pressure exerted when tamping the grounds
  • General environmental factors such as temperature, humidity, and barometric pressure
  • Barometric pressure of water being used for the extraction
  • Temperature of water being used for the extraction
  • Length of extraction
and so on.

A lot of times, i don't make the perfect cup of coffee. Some of you who have tasted my coffee may have experienced this phenomenon first hand. All i can say to that is:

ORDER A LATTE


FOR HERE

(at least it'll look purdy)

8.6.09

the first

Hello.

This is the first post in my brand new shiny blog. I'm sure everyone will enjoy my findings and speculations over the years, and will have a thing or two to say themselves. Beginnings can be awkward, but i will do my best to make this one go as smoothly as possible so that none of you feel particularly put out.

I plan to use this blog as means to a semi-journalistic end, documenting my travels and experiences inside my head, and also those outside of it (occasionally). Look forward to documentation of artistic processes, musical performances, gustatory perceptions, and political prevarications.

Enjoy.