Human Identity Recordings

BFS1 - Bryan From Saturn (2525)

2010-02-26T11:30:00.006-05:00

1. Hymn for the reconciled
2. Song of conflict

BFS1 is not an experiment, but a meditation on inspiration, process, spiritualism and transcendence. Some listeners might classify this as free jazz. Yet, while freedom is a central principle and jazz is clearly an influence, the music of BFS1 is born not of an intellectual approach, rather it is created through a ritual of praise.

In their own words embedded within these files reads the following:

"Produced at the Granary sometime in the Future

Music cannot be owned.

EVERYTHING IS FREE."

The players are as follows:
BFS1 (horns), OM (strings), TFR (percussion)

The idea of Alpha Numeric pseudonyms is nothing new. Personally I'm reminded of Hovercraft as a group that executed a similar aesthetic. However there is a purpose behind this approach to creating an identity. Invoking a spiritual name that reflects the utilitarian nature of our technologically obsessed society whilst we strive to traverse the veiled planes of consciousness through music signifies not just our point of departure, but precisely that part of ourselves we are willing to sacrifice in the quest for enlightenment.

BFS1 launches toward uncharted regions and what is left behind as a recorded artifact is an impression only of that part of their beings unnecessary for the realms which they traverse.

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Chrismix 2009: The Oughts are Naught!

2010-01-12T15:49:00.005-05:00

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Well, I know Christmas has passed, but having a 10 month old over the holidays seems to take precedence over all else. Some of you who read this blog may have already received the physical version of this year's Chrismix. However, for those of you who have not had the pleasure of such generosity, I have decided to post it as a download for family and friends that read this blog.

I feel that it is only appropriate that I give a little background on the Chrismix. The first one was is in 2006 and was a mostly 80s retrospective. Chrismix 2007 was similar. Chrismix 2008 was mostly a best of for records released that year (except for a track that I heard on the Southland Tales soundtrack that was totally awesome and that movie was released--FINALLY--in 2008).

Chrismix 2009 seems to be a bit of a somber affair. It is the first with a title, "The Oughts are Naught!" True enough, but there has always been something reflective and a bit melancholy about the passing of a decade. I've felt this same way for the past three (don't remember '79 specifically, but I'm willing to bet I had the same intuitive sense). Our friend Jack Harney wrote in his christmas card to us, "if ever there was a year that symbolized 'the future writ large' it is 2010."

So what of the future... seems pretty much like Blade Runner to me. A dystopic reality where the idyllic promises of technology have betrayed our intentions for a brave new world.

This sentiment, in my view, is widespread and is best exemplified by the popularity of the film Avatar. Millions of us flock to the film again and again not just for the experience of escapism, but to experience a simplified reality where our intuitive feelings of interconnectedness with one another and the entire world are real. Some of us don't need any more convincing than belief in this feeling. Others need the slow crawl of science to realize ancient wisdom in order to be convinced. The beginning fo this crawl was Lovelock's Gaia theory. There is a strong influence of Gaia theory in Avatar.

The film realizes Gaia by portraying Pandora as an interconnected nervous system; biologically and scientifically measurable. This type of portrayal is what our scientifically exaltating society requires to enthusiastically embrace such a story (my least favorite dialog, "we are not talking pagan mumbo jumbo here, but real measurable connections.") Too bad we lack the faith necessary to realize such a world here on Earth. We seek the truth by parsing the universe into its smallest pieces without out considering the totality, the true meaning of the whole.

So Chrismix 2009 is a celebration of meaning... our love is not insignificant when we give it to one another freely. We change the world most directly by shifting our own attitudes and prejudices to be more accepting not only of others, but of our own, fallible selves.

So what's in store for the tunage on Chrismix 2009?
I'll keep the included tracks a nice surprise for you. Think of it as a celebration of mystery!

As usual just drop into iTunes and enjoy!

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Process by Jarred Alterman

2010-01-02T13:42:00.008-05:00

A still shot from "Process" by Jarred Alterman
©2010 FlyAwayFilmsnyc/ L.A. Bruell Inc

What lies ahead in 2010... many things I hope!

I know six months is a long time even outside the blogosphere, but I figured I better post now lest people think this is dead. HIR is not dead... just slow. I've got plenty of ideas for posts and plenty of material. Just a lack of time.

However, this may be changing... we will see by how often I get things up!

So, to get the new year started off on the right foot, here is a short movie by Jarred Alterman. It features music by Resonator. It is a great piece about the art work of Jesse Vasquez.

Watch it here and enjoy! http://www.vimeo.com/8475831

Ota Benga - A Prayer to the God of Rock and Roll [2008]

2009-07-31T01:52:00.007-04:00

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A prayer to the God of Rock and Roll could only be made from a dark, dank basement. And so it was. I wanted to record these guys and still might, but for Jay-0, Bryce and Tom the nature of their surroundings certainly made this recording what it is–a contemporary piece of music in the spirit of classic garage rock from the 60s. I'm not talking pebbles or nuggets here–I'm talking Detroit motor city, MC5, dirty FTW style rock music made with complete abandon. I'm immediately reminded of the Stooges, albeit without Iggy. Let's say the Stooges if they had decided to be an instrumental band and just have Iggy be the recording engineer.

This is not for vanity or style, this is blood letting and soul searching without regard for fashionable sounds. And so you don't get the impression that this is some free form avant-garde extravaganza ala the SY artiste minions: these guys are fuzzed out, tight, and heavy; albeit in a lo-fi, redlined stereo recording, surrounded by concrete walls. Don't let the truth scare you though... this album sounds great.

This is no White Stripes/Black Keys bologna (or baloney if you will). No mechanically processed product for mass consumption here. This is raw red meat served as an offering to the Rock God–and really could there be any other ritual but blood ritual to satisfy the God of Rock and Roll? The problem with all this throwback music is that it emulates what was done in the past adding some kitschy twist to sell records to kids. Where's the rock in that? Answer: Prudential rock (because it's the capitalist pigs footing the bill for all that hipster hooey). Ota Benga are real. They are tapping into something that I believe has been obliterated by the proliferation of corporate-minded indie labels (rock, metal, doom, punk, or otherwise): the underground. Ota Benga are broadcasting from beneath the city, truly underground in physicality and musicality. Their sound is not genre, but the sound of a movement that is everywhere in this country and nowhere at the same time.

Ota Benga has been a bit silent as of late, which is really a shame... The God of Rock and Roll is thirsty for more.

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Priests of Leisure - Self Titled [2009]

2009-05-15T17:09:00.008-04:00

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There is a strange analogue between the Priests of Leisure and the 1973 Pontiac Firebird. It is not a direct analogy, but the symbolism of this muscle car, it’s shape, it raised intake manifold, the jacked suspension, the well defined but spare interior, and above all the phoenix adorning it’s hood; all these attributes speak to the intensity and strength of the music created by the Priests of Leisure. Today the Firebird may be a symbol for the nostalgia of a different era, but when it was created it was a vision of what the future of automobiles, as well as the American spirit, might become. The Priests of Leisure have realized this vision.

Any listener familiar with 70s rock will hear elements of Foghat, Yes, Rush, Hawkwind and perhaps some more obscure prog-rock acts. However, POL is not a nostalgia act and manages to channel an alternate modern era where the 1980s never occurred. No new wave, no no wave, no LA glam, just a seemless continuity from 1973 where somehow Vietnam didn’t end, the Cold War wasn’t won, and somehow the world is more akin to the landscapes and atmospheres of the first Mad Max.

Trevor Cole plays guitar on twin Ampeg heads to get the classic sound, and drummer Travis Luther is simply classic due to his hair cut. “Wicked” POL fan Jimmy Dolan describes their sound as “music you would hear in a beer commercial if the commercial was actually good.” Funny enough, POL has an unnatural fascination with Budweiser and the first track is actually recorded using bottles of Budweiser’s American Ale (yet another aspect of this artistic statement that speaks to the past but is distinctly created of the contemporary).

This self titled album was recorded in the Fall of 2008 at the Granary. Below is a slide show of the recording session set to the track “Electric Horse Bite.” I promise you’ll burn your thumbs brown listening to this one.

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Drone Divinity Clone - Question [2002]

2009-05-09T16:37:00.006-04:00

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Drone Divinity Clone is the moniker used by Nate Derr for his solo work. Nate was the guitarist for the band Hobnail during the 90s. DDC is a departure from the heavier fare of Hobnail. Utilizing primarily keyboards, drum machines, and samplers, Nate creates excursions into hazy late night atmospheres that evoke a sense of solitude and contemplation.

Question was self-released in 2002. As far as I know, it is the most recent DDC album. It is interesting to note that this is the first DDC to be released on CD. All of his previous releases were on cassette. As one might imagine, this release is a bit more hi-fi than previous releases, but it does not take away from the aesthetic of Drone Divinity Clone's music. While the strength of the earlier releases was the creation of high quality electronica in the lo-fi format typical of DIY indie rock, Question has a different appeal. It reflects the transition that many people face today as they move from their rural home to dense urban environs backgrounded by the face of modernity. It makes me wonder what types of soundscapes will be created when the cycle comes around again to a "back to the land" ethos.

There are many strong songs on the album, but the real highlight is "Twins." Compiled from the many broadcasts during the World Trade Center disaster, I have always felt that it was the best musical commentary on 9-11 I have ever heard. It is honest, reflective, and harrowing. Twins suggests that perhaps there is ambiguity to such an event–that the question should not be why or how, but something more amorphous, something deeper and undefinable.

I will be posting some of the earlier DDC releases later on–and they will include tape hiss!

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Glitter of Cohoes - Take my hand... [2000-2006]

2009-05-09T16:26:00.013-04:00

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Tracklist for Take my hand and lead me to the flaming pussy of your heart:
1. Confuscious Say
2. Ham Radio
3. Bright, Angel Risen
4. Bright Reprise
5. Medusa Maitai
6. Interstellar Overdrive
7. Most of them will wear ties
8. Super Rock
9. Albatross
10. Kamchatka (Russian Winter)
11. I Am Our Workhorse
12. Goodnight Kings (intro)
13. Goodnight Kings
14. Goodnight Platts

From the ashes of hard working yet little known Lack of... emerged the Glitter of Cohoes. Named after the not-so-chic area of Albany in which they lived at the time, Matt Heuston and Sue Dunkel regrouped after the demise of Lack of... with number one fan and roadie Dave Welch. Also on board was drummer John Dudely and in the later incarnation Jeff (aka Jeffe).

Full disclosure: I was the pain in the ass guitarist that precipitated the said demise of Lack of... Knowing this the reader might gain a better insight into my reflections on what feelings I gain from GOC. The first feeling is that things happen for a reason. Lack of... was great, and I'll be posting an anthology of our scattered attempts at a release, but the Glitter realized a more genuine artistic vision (in my opinion).

Free from the restrictions of a domineering drummer and guitarist, the GOC captured the feeling and experience of a time and place. Wearing ties by day, or a certain workplace face; at night in the moonlight–in the glow of the city scape, the Glitter of Cohoes electrified a shitty downtown Albany practice space with the emotional release that comes from music as necessity–as therapy, as a soulful need rather than a vain posture. It is an emotion that music as a fashionable form or genre cannot express.

The first time I heard this whole release I was riding my bike. I was resisting modernity and embracing the speed of another age. Somehow this feels like the future and the Glitter of Cohoes make a suitable soundtrack for the times ahead. Enjoy the fall.

In their own words:
The initial idea behind Glitter of Cohoes was to let whatever happened while jamming in the practice room determine what kind of music we would write. Somewhat divergent backgrounds, punk and metal, Grateful Dead, Pink Floyd, Rush, and Beethoven, as well as Trans Am and Polvo, all contributed to what eventually became songs, but with the exception of a cover of Floyd's “Interstellar Overdrive,” the band never committed to sounding like something else.

In the early days, there were minimal vocals; there’s some breathy chanting on “Bright, Risen Angels,” and the song “Last Time” had actual lyrics, but was never very successfully committed to tape. The chemistry of the band was evident in the fact that minimal miking and recording with a 4-track, in shitty little practice spaces, resulted in relatively high quality and enjoyable recordings.

Says bassist Dave Welch, "This is one of the few bands I've been in that when I went home at night after practicing, I would lay awake in bed completely excited about what the band was doing.”

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Communion/Tidal (Tides) Split ep [2002]

2009-05-09T16:10:00.006-04:00

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Since first posting the Communion ep, I was fortunate enough to have located not just the artwork (thanks both to Joe and Jason for providing a copy), but also the other two tracks that were released with this original ep at early Tides shows (when they were playing under the name "Tidal").

Tidal:
These are two demo tracks recorded by the band live to stereo. They were early versions of Siren's Fade and Resurface that would be re-recorded and released on Tides debut album. Despite the lack of studio production the sound is very good. Buried in the mix are the vocals (by Donnie Greene) that the band would eventually forego in favor of their instrumental approach.

Communion:
Communion is comprised of the three core members of Tides: Rob Dowler, Donnie Greene, and Augie Isaacson. Also in the mix is Mike Murphy handling vocals. The influences that inspired the band on their creative trajectory are a bit more apparent than on their later incarnation as Tides. However, this does not make their music any less powerful or exciting to listen to. Fans of Tides will appreciate this release. For those listeners who enjoy watching the heavy fuzzed out fury of Tides’ live show and have imagined what the addition of a vocalist might contribute, this release will more than satisfy your curiosity.

Recorded to 8-track by Larry Dolan during the winter of 2002 in the basement of Donnie’s father’s home (in the middle of an apple orchard in Chazy, NY), this ep is a great listen despite the sporadic rumblings of an uncooperative furnace.

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New Albums Coming Soon!!

2009-05-07T11:02:00.005-04:00

Well folks, the beginning of this endeavor has been a bit sporadic. Our server problems have been solved and everything is now back up and running. All links and downloads are operational! For those of you who have been following along, you will pleased to hear that there are a slew of new posts coming up as well as a few new authors. As the Human Identity blog expands so too will the scope of recordings covering the region.

Upcoming posts include Drone Divinity Clone, Passing Strange, Creepcake, Irradiated Beef, Nutsponge, The Glitter of Cohoes, Marvin Berry and the Starlighters, The New Plaid, Lack of..., Todd Larry Lloyd, and many others. Also soon to be posted will be the brand new release by Priests of Leisure!!

I'm on the hunt for a lot of stuff so if you have something to contribute let me know. One album in particular I'm looking for is a copy of "The Aces" album from the late 80s. If someone has a copy of their video for "Streetwalkin Gypsy" I would love to get my hands on that as well!

For those of you that have enjoyed the Communion download, I have found a copy of the original release that included two Tides demos from Resurface. This will also be posted in the coming weeks. Please bear with me while I get my feet on the ground! Having a new born son is a full time job!

Speaking of which, I hope you have enjoyed the Resonator album of the same name (albeit with a homophone). Travis Luther is now playing drums in Resonator and we are working on new material. With any luck you may see us playing live next Fall in the Champlain Valley Region. Until then...

KYEO

Resonator - New Born Suns [2008]

2008-12-08T14:54:00.009-05:00

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Tracklist:
1. Feeding the Inferno
2. Fog Burner
3. Frozen River
4. Savage Civilization
5. Fuels and Foundations
6. You Can't Eat Money
7. (not so secret track)

Art is a gift. In the spirit of the holidays Resonator offers their new album, "New Born Suns" to our faithful listeners for free. This is not a promotional device designed to sell albums or market ourselves but instead an effort to genuinely give our art to those who appreciate it. Our hope is that you will continue to share this music, create music of your own to share, and generally undermine the perception of art as a commodity in favor of art as a gift.

We have been quiet for just over a year now and our last concert was opening for Battles in Montreal. Our last drummer, Mikey Lemieux, left to start the band Hello Control before this album was finished. So for awhile, we worked on it... then we gave up... then we worked on it some more... and then we decided to keep on going with Resonator and the result is this new album. Trevor and I are very proud of it and believe it is a stronger release than "Lost Language." We will soon be working on new material and perhaps in the future we may even begin playing live again. Until then you will have to enjoy the resonator experience through the technological medium. We will be sure to keep it exciting for you!

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Technical Notes:
The download is a single .zip file that includes the whole album. The unzipped files that you download are encoded at 320kbps with a 44.1kHz sample rate. For those of you who are up on the technical side of MP3, this is a higher quality than you will get from the iTunes store or any other pay site. The artwork is embedded within the files, so you don't have to go looking for anything (drop it into iTunes and it will all come right up, this feature only works in similar programs that read v2.2 ID3 tags). Also included is a video for the song "Feeding the Inferno" by Jason Andrew Torrance. The file included is formatted for iPods and opens with iTunes. When you import the folder into your iTunes library, the video will be in the "Movies" section. You can watch the video below.

Feeding the Inferno (Resonator) from Jason Andrew Torrance on Vimeo.

j.Freedom - Move On Scientist

2008-12-01T14:54:00.005-05:00

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Tracklist:
1. The Trap 2. The Captain
3. I'm Here Waiting
4. Glory III 5. We Can
6. I Need Children from this planet...To populate my own 7. A Void Confrontation
8. Glory II 9. Hypno-Coin
10. Class B Incident in Michaux State Forest
11. Glory I 12. Firebeast Meets Stereo-Falcon One Last Time

j.Freedom hits a perfect stride on this album. He departs in some ways from New Amazing Product, most noticeably replacing hints of irony with honesty. Both instrumentation and production are more refined creating a work that builds upon sampled drums, sparse guitar and at times recalls elements of Tangerine Dream’s soundtrack for Blade Runner.

Move on Scientist opens with “The Trap.” Drums plod along clipped out while the keys screech an eerie harmony and j. sings a somber song. This transitions into “the Captain,” an electro acoustic number that segues into a moment of pure pop bliss... “I’m here waiting.” This is a genuine love song. Honest in its delivery and emotive in a way that is sad yet hopeful – j. shows that his versatility is aimed at crafting each work with what best suits the piece rather than what suits genre definitions.

The title of the album reflects this intention. The scientist is beseeched to shift his consciousness from the material into the realm of the etheric, amorphous, and fluid universe. If you can imagine entering into this realm and the dream like qualities it may possess, then you can imagine the meditative effects of this album. Much like one of the song titles, it is through the experience of song that the listener confronts the void. It is in this universe that mysterious beings reside confounding our understanding of reality and j.Freedom is your guide through this terrain.

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j.Freedom - New Amazing Product

2008-11-25T11:39:00.008-05:00

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Tracklist:
1. Benny 6:11
2. Egads! 3:40
3. Good Day Crimewave
4. Heart 1 0:30
5. Karnak (Toronto) 3:02
6. Hello 1:36
7. Lothar 0:39
8. Quest For Peace 0:38
9. Heart 2 0:30
10. Children 0:29
11. Benny's Reprise 1:05
12. Heart 3 0:16

“Egads!” indeed. Creepy ruminations, experimentations, and reflections... New Amazing Product is all of this and more. Clocking in just under twenty minutes, these twelve tracks strike the listener as anti-modern mantras evoking images of crime, endless war, children suffering in poverty, mania and the search for love despite these obstacles. At times soothing and at other times disconcerting, j.Freedom develops a style and sound that keeps us guessing at whether the artist’s intention is sarcastic or deadly serious.

On New Amazing Product, j.Freedom abandons the pop inflected tunes penned while he was with the band Creepcake in favor of a hermetic approach. It is only appropriate that the album begins with a track composed for “Easter Sunday Can Never Be Lent” (a film by Jason Andrew Torrance). Benny’s theme delivers us into the unsettling atmosphere upon which the rest of the album expands. However, interspersed throughout, “Heart” parts 1, 2, and 3 give us a brief respite from the void of nihilistic modernity that has inundated us. It is this glimmer of hope and love that leads j.Freedom through the dark woods toward something transcendent. Won’t you follow him?

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Resonator - Lost Language [2006]

2008-11-08T23:19:00.017-05:00

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Tracklisting:
1. Bombed on the Reeperbahn
2. The Evidence of Dreams
3. Passenger Pigeons
4. Bring'em to the road and burn'em
5. Supernatural Disasters
6. Cycles
7. Ghosts of Tahawus II
8. Departures/Arrivals

By now, you may have heard music writers throwing around the label “instrumental post rock.” I know my music history pretty well, but this categorization is pretty meaningless to me. I thought that when they came up with “Alternative” people would realize how pointless labeling music was. Yet, nearly twenty years later critics have a plethora of labels to assist in restricting artists to create within the parameters of their “professional” expectations.

Nonetheless, if you like “instrumental post-rock,” you are going to love this album. Aquarius Records in San Francisco did, and Vermont’s Seven Days rated it one of 2006’s top 10 local releases (quite a feat for a trio from the wrong side of Lake Champlain).

The title “Lost Language” is a reference to the band’s struggle to transcend the more fashionable aspects of modern music to create an experience that is spiritual, genuine, and absent of pretension. Take a listen and judge for yourself if they were able to realize their high ideals.

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Here’s what the band has to say about their album:

“Lost Language” is an album made by real people. Unique in design and execution, this record is a breath of fresh air. It inspires images of open spaces, expressions of love and hope, the geography of the Adirondacks and, most importantly, triumph of the spirit over materialism. Hailing from Plattsburgh, NY, Resonator recorded Lost Language on a farm in an old granary.

Resonator strives to speak in a language without words - to communicate the unspoken experiences of life through music. This is the conceptual framework of Lost Language. The voice of the band is generated from the heart in a gesture of sharing that is absent of popular media devices.

We believe that music can break down the barriers that separate us from one another socially and culturally. We invite you to listen and encourage you to be heard.

Critical Accolades:

“Resonator are cool. Very American, in a good way. Fans of thoughtful, spirited instrumental rock will find a lot to like here. Pell Mell sounded a little like this for about seven months in 1982.” - Steve Fisk (Pell Mell / Producer)

“Plattsburgh, NY’s proximity to the post-rock Mecca of Montreal is reflected in Resonator's dramatic and atmospheric style. But to dismiss the band as clones of their better-known neighbors is to do them a great disservice.” - Chris Miller, Seven Days, Burlington, VT

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Resonator - Never Trust A Hipster [2006]

2008-11-08T22:49:00.009-05:00

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Tracklisting:
1. Trapped In The Planes Of Life (1:31)
2. Sang Paneer (3:14)
3. Human Identity (6:09)
4. Zissou (6:38)
5. Never Trust A Hipster (7:15)

Mikey Lemieux joined Resonator in May 2005. His contributions brought an immediate intensity to the music and “Never Trust a Hipster” documents the high energy rock that Resonator created as a result. Though the band did have a demo that came before “Never Trust A Hipster,” two of the songs appear on this ep.

These recordings were made during the “Lost Language” sessions (November 2005 – March 2006). These were originally going to be unreleased outtakes because two of the songs were written with original drummer Todd Recore and appear on Flying Slowly. However, the release of “Lost Language” was delayed due to a mastering hold up, so the band went ahead and released “Never Trust a Hipster” in July 2006.

Bookended by two studio experiments and including two videos (Zissou and Saag Paneer) by Jason Andrew Torrance, “Never Trust A Hipster” ended up being a strong ep that is an excellent prequel to “Lost Language.”

The title of the ep is an excellent representation of Resonator’s ethos. Aren’t you sick of so much great music ending up in a damn car commercial? We can blame the hipsters for that one (both ad design neo-yuppies and the artists). Do we really need another music critic? Whatever happened to music fans? I guess being a music fan isn’t cool enough to be hip—not enough status. After such dastardly deeds, who can trust a hipster?

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Resonator - Flying Slowly [2005]

2008-11-07T18:17:00.018-05:00

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Tracklist:
Intro (2:31)
Saag Paneer (3:20)
August (4:02)
Human Identity (5:21)
Thinking It Over (5:40)
Chapel (6:55)
Cycles (4:07)
Flying Slowly (5:26)
Marina (5:50)
Moments (2:01)
Locus Grove (11:36)

In the summer of 2004 Larry Dolan (guitarist) was busy recording Tides debut album Resurface. Resonator was in between drummers and was sitting on a half finished album. After laying the basic tracks for Tides, the drummer Rob Dowler and Larry would meet between guitar dubbing sessions and began recording additional percussion and drums as well as a few tracks with Trevor.

Later that Autumn, Trevor and Larry ventured out onto the Clinton County Airstrip (which happens to have one of the most beautiful views of the Adirondacks in the region) to do some field recording. By mid October the whole album was mixed, just in time for Larry to head off to Europe coaching the U.S. Jr. National Luge Team.

The result of this rather inauspicious beginning was “Flying Slowly.” This collection of music is cohesive despite its fracturous creation. It feels like an atmospheric soundtrack to autumn, best listened to in September. Subdued and meditative, this album is a much more ambient affair than later releases by Resonator such as “Lost Language” and “Never Trust A Hipster.”

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