What’s all on that overcrowded Bandcamp page?

5 June 2020, Updating for 7 May 2021, it’s another of those first Fridays of the month when Bandcamp foregoes their share of sales and all proceeds go to the artist.

It’s a good day to explore and buy new music.

Go to: https://jsegel.bandcamp.com

(also check out https://sistamaj.bandcamp.com where the music of Sista Maj lives, a band I had in Stockholm from 2016-2019, improvised/composed spacey instrumental music, and for the real space rock: https://oresundspacecollective.bandcamp.com where I’ve been involved playing and mixing often since 2014. I’m not personally on all of the albums or shows, it’s a collective, man. But if you look at the notes, you can find me.)

holds ears

Here’s what’s all at there that place the link page graphic display of files:

The first row now has “Superfluity”, a huge opus that essentially bookends “Storytelling” (1988) enclosing everything in between. It was a double-CD, released by Floating World UK in 2017, now the rights are back in my hands, so it’s available digitally here (and if anybody wants to license this, or anything, really, for LP or CD production, let me know.) Next to it, “Superfluousness” is the outtakes, that is to say the superfluous music from the production of “Superfluity”. The steps along the way.

“Outside Inside” didn’t start as a Pandemic album, but it kind of became that. It’s experimental, odd, conceptual whatever you like to call it. I wrote a lot about it when it came out in the summer of 2020: https://jsegel.wordpress.com/2020/08/01/outside-inside/

“Here Comes Sunshine” is the Grateful Dead song, done as a single for the summer solstice of 2020. With dub b-side.

In the second row, the first three: “Transatlantic Space Connection” and the two live at Camp-Out XV and XIII are essentially space rock, improvised rock music (TSC was in studio, subsequently overdubbed/composed a bit in studio)

“Moving Through Loneliness” is music made for dance and then film, it’s heavy, long and dark.

“Shine Out” (2014) and “All Attractions” (2012) are albums of songs, for the most part. “Apricot Jam” is an instrumental comp-provised companion to “All Attractions”, while “Turn Slowly…” is extras from that period.
Similarly, “Honey” is an album of mostly songs from 2008, while “The Space Between Stars” is a piece made out of on of its jams.

“Horseshoes and Hand Grenades”—i.e. no direct hits, a collection of “popular” tracks from 1990-2012

More albums of songs: Storytelling (1988), Hieronymus Firebrain’s “Hieronymus Firebrain” (1990), “There” (1993) and “Here” (1993), Jack & Jill’s “Chill and Shrill” (1995) and “Fancy Birdhouse” (1997), “Scissors and Paper” (2000) and “Edgy Not Antsy” (2003).

The next rows are mostly electronic/electro-acoustic music. Eclectronic!
“Storm Starts Stopping” (2014) is a single piece, “Summerleaf” (2006) is many shorter pieces. “Amnesia/Glass Box” (2005) are pieces made for Curt Haworth’s Dance Company, “Rauk” (2005) is electronics with rocks or violins as sources, “Non-Linear Accelerator” (2003) is a set of electronic and field recorded pieces. Most of these use SuperCollider, Max/MSP and Reaktor as the coded or synthetic sources.

Chaos Butterfly is improvised and composed electro-acoustic music, most of the time with Dina Emerson singing or playing wine glasses, while both of us processed the sound in our computers. “Radio” (2006) is live in the he KFJC pit, “Live at Studio Fabriken” (2005) is live with Biggi Vinkeloe on saxophone and flute, “threelivingthings” (2005) is a studio recording. “Unforeseen Events” (2006) contain some live and some studio pieces, also with Kiku Day on shakuhachi and Helena Espvall on guitar and ‘cello.

“The Secrets Sparrows Keep” (2015) is music made form shared ideas back and forth, with Mattias Olsson. Similarly “Current” by Shale is with Tom Shad. Dent’s “Stimmung” (1995) and “Verstärker” (1998) were shared ideas passed around while out in New Mexico at the adobe studio used by the Lords of Howling/Art of Flying. (go and search those guys up, you won’t be disappointed!)

“Echopraxia” (2015) is a set of (mostly guitar) echo etudes made into composition after the fact. Similar to this is “Artificial Relics” (2018).

“machines” are code-based musical boxes that generate sound with small nudging or input from the composer.

“Underwater Tigers” is a single long piece to draw one into sleep.

Sideways’ “The Minutiae of Ephemera” is all the recordings I had of a rock band that existed in the early 1990s in San Francisco that contained several members of local bands from that era.

Dr Geronimo Firebrain’s Plane Crash Tapes Vol. 1 (1993), Vol. 2 (2010) and Vol. 3 (2010) are all outtakes, mistakes, exercises, etudes, weirdnesses, and generally things that didn’t fit anywhere else. Highly mercurial and eclectic.

“BIll’s Run”, “The Invisibles”, “Love Will Travel”, “Bunny”, “Kickin’ Chicken”, and “100% Human Hair” are all movies scores, several full-length and a couple shorts.

“Shibuya”, “Emotional Geographies”, “How is a Church Like the Sea”, “Hotel of Memories”, “The Desire Line” and “Site” are all music for live dance company performances. Most of these took place in theaters, though “Shibuya” was improvised on the spot while busking near a subway station and an impromptu dancer appeared.

“Storytelling Demos” and “Questions Answered” are the cassette demo tapes for “Storytelling” and the first Hieronymus Firebrain album, recently transferred.


musician. real person. that's my real name, go ahead, look me up.

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