The “Lost” Silencer Assembly Files

 

Enjoy these soothing sounds as the soundtrack to the following tale..

I am…or was…or whatever, in this band — a three-piece rock group called Silencer Assembly. It started with me on bass and my friend Mark Pino drums. We wrote a handful of songs and played the hell out of them for a year and half or so, and then decided that we needed to add a guitar player to the mix, so we asked Ian Robertson to join us. We boiled our oeuvre down to eight songs and the three of us rehearsed them for a long time, and since we could never get our shit together to play any shows, we decided to record those songs, and go from there.

At the suggestion of my friend and fellow bass player Ian Miller, I asked the homie Scott Evans (KWC guitarist / singer, Tape Op magazine contributor, and all around awesome dude) to record us. We met up at Sharkbite Studios in Oldtown Oakland back in late August of 2012 and banged out a quick and dirty one-day session. We hit a few speed bumps — my amp, which had been acting up and I did nothing about, took a shit straightaway (my bad); we had a few issues with one or two of the songs — but at the end of the day had achieved what we’d set out to accomplish: eight finished songs in the proverbial can.

We went back and forth (and took our damn sweet time) with Scott (who was super patient with us) while he mixed the music over the following couple months, and in October of 2012 we took possession of six nicely mixed tunes (two songs got cut from the final product for various reasons).

In the meantime, everything with the band ground to a halt. Stopped dead in its tracks.

I don’t know for sure what happened, but I know what wasn’t happening: We weren’t playing. We met up for beers one afternoon, talked a little about the music, and decided to give up our practice space in West Oakland, which I think was more of a definitive course of action than we envisioned at the time, and despite our best intentions our hiatus became official. Meanwhile, these recordings were collecting dust.

Fast forward several months…which is to say, pretty much right now. I was recently asked to take up bass duties in another band (which I did; more on that later), and for various reasons, I didn’t feel I could do that without releasing the Silencer Assembly stuff. I know Mark and Ian were in favor of getting this music out there, and much in the same way that I don’t know exactly what happened to the band, I don’t know exactly why I never put these songs out. So I did it, and they were unmastered at first because I’m a kucklehead and I just didn’t get them mastered, but Ben Adrian stepped up and did a quick mastering job on them because he’s a really nice guy.

Anyway, you can have these songs for free. Yeah, I know the Buy Now field on the Bandcamp page says “name your price,” but we won’t be offended if the price you name is $0.00, so just go get the music.

Also, if you’re in the Bay Area and you’re looking to record some music, I highly recommend Scott. He’s extremely professional and disarmingly casual, super cool and a no-bullshit kinda guy, he knows sound and does great work for a fair price. And Sharkbite was a great place to spend a day making noise.

So there it is, in a nutshell.

And here are some photos from that Sharkbite session…

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Winter NAMM 2013, Anaheim, CA

The two NAMM shows I’ve been to since I began working for Jim Dunlop have been much different — i.e. busier — than the previous five I attended, and consequently, my perspective on the show has changed significantly.

I used to come back from NAMM with a camera full of gear photos. All kinds of gear. It was due to the nature of my previous employment, which had me roaming the halls and aisles of the largest musical instrument trade show in the country. These days, because of the nature of my current job, I’m pretty much stuck in one place for most of the show, and while my exposure is now limited to what I’m working on and who’s passing by, I’ve found the time goes by much quicker. So it’s a nice tradeoff.

My photos from the show (which you can view in their full size over on Flickr) reflect that shift in my experience, from gear shots to mostly images of people and scenes, mostly from in around the Dunlop Booth; you can see tons more official Dunlop NAMM 2013 photos and video (of much higher quality than this) over on the Dunlop blog, if you’re so inclined.

Here are a handful of things that marked my NAMM 2013 experience…

  • I met and talked with former NY Yankee and future MLB Hall Of Fame shoe-in Bernie Williams, who also happens to be a decent jazz guitarist. He’s also a really nice guy.
  • I ate more fillet mignon in four days than I have in the last four years: Steakpocalypse 2013. (There are no photos of this.) When I couldn’t get away from meetings or the show floor for a meal, I lived on booth food — fatty granola, chocolate, peanuts, etc. Basically, I ate like shit. I’ll be living on goat cheese and field greens for the next few weeks.
  • I met The Cramps’ last bass player, Scott “Chopper” Franklin, and we talked about bass fuzz and overdrive effects. He’s rad.
  • I had a couple of very, um… memorable meetings. I’m just gonna leave it at that to protect innocent (and guilty).
  • I spent five days in a place that, during that time, probably hosted the world’s highest concentration of musical instruments, and I didn’t pick up an instrument or play a single note the whole time I was there.
  • I met producer / engineer Joe Barresi and talked about vintage belt buckles, Talk Box effects and reamping. That dude is a legend and he’s super friendly, and I nerded the fuck out.

Enjoy…

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Neurosis, New Years Eve 2012, Oakland, CA

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I had the good fortune to see Neurosis perform on New Years Eve at the Oakland Metro Opera House. It was a mostly private show, with fewer than 100 tickets issued to the public, and the rest sent out via invitations from the band members to friends, family and supporters who have stood by them and supported their music for the last 27 years. It is by the graces of my day job, which provides the band with musical equipment (some custom), that was I was included in the invitations…actually, my manager was, but since I’m the only other person in the shop who’s a fan, he extended the invitation to me as well.

This was the second time in as many months that I saw Neurosis perform live — the first was at the release party for the most recent album, Honor Found In Decay — at the Fox Theater in Oakland back in November.

On New Years Eve, my old friend Eugene Robinson lead the midnight countdown from the stage, and at the stroke of midnight, Neurosis launched into an epic set. Not a bad way to end one year and begin a new one.

You can see these photos in all their full sized glory on Flickr.

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2013: A Short List

I’m not big on new years resolutions. In fact, I think they’re lame. I mean, why put off until tomorrow what you can do today? If you know you need to do something / change something / accomplish something, then just fucking do it and be done with it. Waiting to hit a starting point on a calendar to begin something is just another way of putting it off. Why do you think so many people’s New Year resolutions fail? It’s because they don’t want to do that shit anyway.

I’m generally pretty satisfied with my life (love my job, love my kid, can’t really complain about much), but seeing as how the rolling over of a new year has significance in pretty much every culture on the planet, it does feels like an opportune time to step back, take stock, and plan ahead. So with that in mind, here are a handful of simple things I would like to do / change / accomplish in 2013…

1. Continue to improve my general health and well-being. I started making a concerted effort to watch what I eat and exercise daily back in May of 2012, and since then have lost about 70 pounds. I’m trying to loose an additional 30 to 50 and just live an all-around healthier lifestyle. My closet is pretty much empty, people I’ve known for years don’t recognize me and pass me on the street without a second glance, and my friends and family are all universally very supportive. I’d like to keep that rollin’.

2. Play music. I’m a bass player — I love it, I need it. I have a band but we haven’t played together since we recorded back in August of 2012, I don’t know what that means and why we’re not playing, and it’s super frustrating. I need to have my amp retubed, but otherwise the only thing standing my in my way is…well, I don’t know, but I will play music again in 2013. Either we figure out whats going on with the current band, or I join another band… Whatever, I need to get musically creative and loud with other people.

3. Write more. I used to write a lot, for fun and profit. I went to college to be a journalist, and made money (almost a living) doing it for a while. But I don’t write much anymore (and writing for work doesn’t count). I chock it up to a time issue — it’s certainly not for want of ideas or motivation; I’ve got a fuckton of half-finished documents on my computer — I’m just really busy. But I maintain this blog for the sole purpose of having an avenue to web-publish my writings and rantings, and though I make, and fail to keep, this pledge to myself every year, I’m really going to try to increase my output here in 2013.

4. Take more photos. And I don’t mean iPhone / Instagram photos, though those are fun and easy, and good for the on-the-run bullshit. I have a good quality, feature-laden point-and-shoot digital camera, and I pay for a Flickr account because I enjoy photography (always have; I used to develop my own black and white film and prints). I just need to take a lesson from my homie The Tens (who’s a way better photographer than I’ll ever be), grab my camera and take that fucker with me everywhere I go.

4. Get out more. I’m not really looking to attain super-player man-about-town status, but I’d like to regrow some kind of social life, which seems to have dwindled to a bare minimum in the last few years for various reasons. So…what’s going on tonight? ‘Cause I’m down (unless I have my daughter… or am playing music… or would rather just chill on the couch).

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A Matthew Africa Story…

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In case you’ve been living under a rock for the last few weeks, noted Bay Area DJ and friend to many Matthew Africa was killed in a car accident over Labor Day weekend, leaving a huge hole in the hearts of friends and music fans all over the country. Matthew was an amazing human being, a great DJ, and certified encyclopedia of musical knowledge. I wrote this post a couple days after he died because this song (streaming above) came up randomly in a jazz shuffle I had going on iTunes, and it reminded me of this story. I hadn’t planned on posting this; I initially wrote it just to get it outta my head at the time. So many of Matthew’s close friends, notable DJs and record nerds have had so many great things to say about him, and I kinda felt like this was an insignificant little blip in the amazing existence of a truly wonderful person. But I’ve decided that, regardless of whatever else is being said, this serves as another example of Matthew’s openness as a person, and the depth and breadth of his musical knowledge and curiosity, which is quite a legacy. And for me, it’s a fond memory, so…

In late April of 2011, Matthew and I were with a buncha people having papusas at Zocalo in San Francisco after DJ Stef‘s monthly Spindig party at The Knockout on Mission.

We ended up talking about jazz piano players over dinner. I don’t remember how the conversation started, but it stands out in my memory because it was always a real pleasure to discuss music with Matthew, especially jazz and soul music. For a non-musician, he had a deep, innate understanding of music — specifically the instrumental and production elements and, more importantly, the emotional content and generally indescribable soul of sound — and I always found our conversations to be more fascinating and enjoyable than most of the myriad conversations about music I’ve had with musicians over the years. Matthew was as genuinely curious about music as he was learned (I find it hard to believe that there was anything out there that he wasn’t aware of), but the sheer volume of musical knowledge he possessed wasn’t in any way held as a cache of guarded secrets; it was a passion that he shared with the world, something that, in my own experience, he was always open with and always hungry for more of.

We continued that conversation about jazz pianists on BART as we rode back to Oakland together at the end of the evening. I remember sitting across from him on the train, which was pretty full, and talking in some depth about Thelonious Monk, Bud Powell, McCoy Tyner, Ahmad Jamal and Bill Evans — this canon of the most amazing piano players of the genre. In the course of comparing notes, he mentioned a song from a record I had never heard called The Soul of Jazz Percussion, an odd compilation of jazz tunes recorded for percussion and production nerds. Because I was a little drunk and generally overexcited about the whole situation, I forgot the name of the record pretty much the moment I stepped off the train (Matthew continued on to the next stop), but it dogged me at the time because he had described the song in detail with such emotion.

A couple days later, I sent Matthew a link to download a rip of my vinyl copy of Bud! (Blue Note, 1957 with Paul Chambers on bass, Art Taylor on drums, and Curtis Fuller on trombone for a few tracks), which is easily one of my top five favorite jazz records of all time, and which I raved about to him on the way back to Oakland. I remember being surprised when he said he didn’t have it, but not at all surprised when he expressed an interest in checking out. Matthew responded to my email right away, and included a link to grab the track he told me about from The Soul of Jazz Percussion, a tune called “Quiet Temple.” The email contained a few words he wrote about the song, a reminder of what we had talked about…

“It’s the saddest, prettiest jazz song I know. It kind of reminds me of ‘Maggot Brain,’ which is the only thing I can think of that sounds as lonely.

The song comes from a date that featured Bill Evans, Donald Byrd, Pepper Adams, Paul Chambers and Philly Joe Jones. No one is credited as the leader — it was a stereo demonstration record, so if you listen on headphones you can hear them trying to do all kinds of primitive panning. The song itself is a Mal Waldron composition.

It’s a little crackly, but nothing too distracting.

Enjoy!”

Like pretty much everything else Matthew put me on to — which amounts to tons of amazing music, some directly, like this, but most of it via his numerous awesome mixes and radio shows — this entire record is phenomenal.

Every time I hear this song, I can hear him describing it.

Posted in Bummer, Music, Oakland | 1 Comment

Scratch Acid, Fillmore, SF CA 12.14.2011

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Seventeen 2011 Releases that I Really Like

Thank You Very Much

All this music is available for affordable download — in some cases free — so click the links to check it out. If you like what you hear, support the artists: buy the music and tell your friends how dope it is.

In alphabetical order by artist…

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Black Blood of the Earth: “Weapons Grade Coffee”

Fun fact about me: I fucking hate weak coffee. It’s among the most disappointing ways to start any day. In the words of a former coworker, “If light can escape it, it’s not dark enough, and if there’s enamel left on my teeth after a cup, it’s not fucking strong enough.” Okay, so that’s a little hyperbolus,  but the point is, regardless of all the care and effort that some people put into the brewing and presentation of coffee — don’t forget that there are entire cultures and industries that thrive on such things — people drink coffee (even decaf, which is not uncaf) for it’s effects. And I like a powerful effect.

Imagine my delight when I learned about Black Blood of the Earth. Concocted and brewed by a guy named Phil Broughton in East Oakland, this stuff packs 40 (yes 40) times the caffeine of regular coffee. This information was shared with me by a friend and coworker, fellow Oakland neighborhood dweller, and strong coffee appreciator, and she ordered a 750ml bottle of the stuff, which Broughton personally delivered to her a couple weeks ago.

I was working at home the day after he delivered the bottle, so after I dropped off my daughter at school, and before I’d had any coffee or breakfast, I walked over to my friend’s house and we cracked the seal on the cold caffeinated elixir, a Sumatra extract. (Broughton brews a few varieties, including a Columbian, a couple of Guatemalan, and a blend he calls “Death Wish,” for which he cannot calculate the the exact strength…as in, it’s way too strong. “By my rough calculation, you’ve got about the equivalent of a month and half’s worth of caffeination by Starbuck’s Ventis in that bottle.”)

We started with the recommended dose in a cold shot: 10ml, or two teaspoons. This is a ridiculously small amount of liquid — literally a couple of thimbles full — but keeping in mind that this stuff contains 40x the caffeine of regular coffee, and this is Broughton’s suggested starting serving for BBotE for beginners, it seemed a logical first step. Just to put this in perspective, 10ml of BBotE is the equivalent of 400ml of regular coffee, or about 13.5 oz, approximately one to two standard diner mugs full. (Standard restaurant coffee mugs usually contain eight to ten ounces…less actual coffee if you dump in a bunch of those little plastic containers of Carnation creamer and processed sugar packets.)

I expected a big, brutal hit of coffee essence, the kind of bitter, concentrated punch that I imagined a super distilled, super caffeinated brew would pack. But I was wrong, and pleasantly surprised. The brew contained a ton of rich flavor — it tasted like a coffee roasting room smells — but there was no bitterness whatsoever. It was light on the palette, almost refreshing, with no acidity, seemingly the kind of thing I could drink all day…though this would be ill advised.

Pleased and emboldened by the tacit nature of our first foray into cold BBotE, we then tried an alternate serving suggestion, mixing 10ml with three tablespoons of hot water. As with the cold shot, there were no unpleasant variables in the taste; the hot water slightly enriched the coffee flavor, but also watered down the viscosity a bit, making the mixture tea-like, with a soothing, roasty-flavored, a light see-through brown color (usually the last thing I want to see in coffee) with an ultra-thin and oily film on top, and it went down easy. Too easy.

We stopped drinking after one more 10ml cold shot, at 30ml each — 10ml with hot water, and a total of 20ml straight and cold — which is roughly the equivalent of drinking 40oz of coffee, all within about 15 minutes. Fucking nuts. And therein lies the problem…

While I really, really enjoyed the flavor, smoothness and all around beguiling drinkability of BBotE, and found myself wanting to keep drinking it (specifically, keep sipping it hot), I was super jacked up by the time I walked the two blocks back to my apartment, and as I mentioned earlier, continued intake would be ill advised. Make no mistake: This stuff is rocket fuel, meant to be had in very small doses, and any continual consumption should be carefully meted out in measured, gradual servings through the day (which is how Broughton himself consumes it).

It does exactly what drinks like 5 Hour Energy claim to do, without the associated unpleasantness (an acquaintance recently tried 5 Hour Energy for the first time and described it as “being mouth-raped by the Grape Ape”) — BBotE it contains no calories, doesn’t stain teeth, doesn’t induce gut-wreck, doesn’t taste like shit, won’t contribute to the onset of diabetes (because it doesn’t needed added sugar to make it palatable), and one $40 750ml bottle will keep for three months in the refrigerator. It’s a highly efficient, economical and, frankly, deceptively tasty way to consume mass amounts of caffeine.

While BBotE is strictly for people who need a pick-me-up without all the cumbersome pomp-and-circumstance that goes along with coffee, everything from the standard brewing processes to the culture that surrounds it, this stuff has no time for the triviality of all that. As I said before, there’s an industry and a culture surrounding the preparation and consumption of coffee. People enjoy extracting their java from ground beans, they enjoy percolating and French roasting and dripping and steam-pressuring their coffee. They enjoy queuing up and ordering their venti extra hot half-caf-nonfat whatevers with a twist or extra foam, and sipping it over time at the table on the sidewalk, or as they peruse the morning news, run through their inboxes, whatever they do to start their days. For the vast majority of coffee drinkers, it’s not just about the buzz, but that is the final destination, the ultimate payoff. It’s the process, the grand gestures of brewing, ordering and consuming that helps justify the addiction. BBotE may be too straight-to-the-point for most coffee drinkers.

But that doesn’t mean you shouldn’t give it a shot. Just be careful.

Phil Broughton is a scientist, currently a radiation specialist at UC Berkeley, so don’t go trying to make stuff like this at home, kids…or do, I don’t really care. To learn more about Broughton, Black Blood of the Earth and his other endeavors, or to order your very own bottle of this stuff, point your web browser to www.funraniumlabs.com.

Posted in Gastronomy, Oakland | Leave a comment

Forgiveness vs. Permission

I’ve heard the phrase “It’s easier to ask for forgiveness than permission” a lot throughout my professional life.

A snappy little quip, I’ve mostly heard it spouted from salesman — though it’s utilized by anyone in the name of justification to pursue their own motivations at the cost of others’ time/effort/money/sanity — who like to picture themselves as big earners who buck the system for big wins. They often fancy themselves mavericks or rogues who get the job done by breaking the chains that hold others back.

But don’t get it twisted. This phrase — which is also the credo of serial brown nosers, inconsiderate glory hounds and shameless buck-passers — is actually douchebag shorthand for, “I’m just gonna go ahead and be a total fucking asshole, make a move against a plan, protocol, policy or technical limitation, and fuck over everyone down the line from me by doing or selling something that creates tons of extra work for others and goes against the best interests of the product, company and my coworkers, just so I can get a little bump in my commission check. Then I’ll play dumb when I’m called on it, paste on smug shiteating grin, and ask for forgiveness.”

Anyone who spouts this drivel as a legitimate argument in a decision making process should be held in the highest contempt, ignored and avoided as much as possible. Even if it may serve your short term interests to go along with them on occasion, don’t forget, these are the kinds of people who will unhesitatingly fuck you over at the first opportunity.

Then they’ll ask for forgiveness.

Posted in Rant | 1 Comment

Bukowski, “Some People”

Some people never go crazy.
Me, sometimes I’ll lie down behind the couch
for 3 or 4 days.
They’ll find me there.
It’s Cherub, they’ll say, and
they pour wine down my throat
rub my chest
sprinkle me with oils.

Then, I’ll rise with a roar,
rant, rage -
curse them and the universe
as I send them scattering over the
lawn.
I’ll feel much better,
sit down to toast and eggs,
hum a little tune,
suddenly become as lovable as a
pink
overfed whale.

Some people never go crazy.
What truly horrible lives
they must lead.

- Charles Bukowski, b. 8/16/1920

Posted in Literary, Quotable | Leave a comment