Porky
Pig:
-Hey
Lets Go For A Ride
-Mr Big Stuff
-Don Mattingly
Porky Pig is the first volume in the Standard Oil Records New Music Series. The New Music Series is a set of limited edition releases of 500. Each volume will showcase 4 music/sound artists and one visual artist. Porky Pig features the music of Gelbart, me, the Bran Flakes, Big City Orchestra and the visual artist is comic book artist Dina Kelberman. This release also comes with 4 unique found photographs from photo store trash, dumpsters, and abandoned photo pickup booths.
The main melody and the story of Hey Lets Go For A Ride dates back to around 1997 (or 1998) my sophomore year of high school. The band I was in at the time never got around to playing it so it was always just something I would mess around with from time to time. I was marking my new hands once and the eagle came in on a white horse. All they did was stand there for a while and then they bled away into the carpet. When I finished the song in 2004 I for the first time felt closure from my old hands.
My cover of Mr. Big Stuff was composed (or whatever) back in the year 2000. I used Sound Forge and my Vocoder directly into the line input on my Compaq computer. The piece was handed in as my final project for Studio Composition I at the Conservatory of Music at Purchase College, State University of New York. I don’t think the teacher ever listened, to it but that’s OK. He’s a pretty cool guy and I still got an A.
Don
Mattingly is also an older composition. This was written using a recording of
an ice cream track that my friend Emanon McCarthy gave me. I brought it into Sound
Forge and messed around with it. I didn’t do much with the piece for the
next 3 years and I always considered it unfinished; it was just to empty. Then
in April of 2004 I did a presentation on avant-garde and electronic music to the
Rye Neck Middle School 5th grade music classes. The children performed some of
my pieces and they were recorded (Fishy Wishy Foo Foo from Porky Pig is from that
presentation). For Don Mattingly I cut/mix up some snippets of the children singing
and layered it over the sound of the ice cream truck. This story is so boring.
Twacky
Cats:
-Arms
Saloon
-Lion
with a Sharks Head
-Connor
Kizer wearing bead jewelry
-When
I Was Taller
-Ohio
CLICK HERE TO DOWNLOAD THE ENTIRE EP WITH THE ARTWORK FOR FREE.
This entire TWACKY CATS EP is available entirely for free download at Comfrot Stand Recordings. The EP is a collection of plunderphonic compositions, demo versions of some popular live show favorites and a few computer music pieces.
Arms Saloon was initially titled Most Wonderful Awesome Girlfriend. In addition to being a very bad title, the original needed to be changed since the name for a yet to be released Nuclear Power Pants EP is Most Popular Awesome Soda. I tried to change the name to the worst grouping of two words. I didn’t want it to roll of the tongue easily. I thought the double ‘s’ sound would do that. The piece was written for written in February of 2004 for Sherri Chambers and a children’s performance piece she was working on at the time called A Bug Circus.” While this isn’t the final version that made it into the show, this is the version I am most happy with. Besides the voice, every sample was taken from Buddy Holly songs and recordings.
Lion With A Sharks Head is the heroic tale of a lion with a sharks head looking for gold in the jungle. I really think the most awesome beast that could ever roam the jungle would have to the lion with a sharks head. Not even a bee made of mice and those pizza are made of pizzas would be as awesome of a beast as the shark-headed lion.
Connor Kizer is one of my best friends. I have known him since August of 1999 and I have been living with him for the past 2 years now. He would look like the total dick wearing a lot of bead jewelry. It is an opinion I hold that most people look like total assfaces in bead jewelry, with the exception of people who make it themselves and are totally insane. I wrote this song in 2002 as the score to a film by Jackie Tedja. The film was never transferred to video.
When I Was Taller was written in 2004 using Reason and some sound editor. I found this at betaller.com: Warning: If you are looking for the latest and most effective techniques to grow taller then you have come to the right place. Through a combination of techniques such as limb lengthening, stretching exercises, and supplements you can increase height, increase bone mass, lengthen your limbs, stretch your spine, as well as thicken cartilage. You do not have to be a genious to figure out that today Science and Technology have combined to make it possible to grow taller at any age. It is practically much easier and faster to grow taller than ever before and if you are not doing something about it now, others will leave you behind.
Ohio is the miserable yarn of some stupid loser realizing he fucked it all up and might not be able to fix it. Stupid jerk.
All three of these selections were recorded at my performance at Club Rare, NYC (formally the Cooler) at the OCDJ Eyeball Fix Benefit Festival. Dan, the OCDJ is the wonderful person who feel victim to a horrid catastrophe last July 4. You may know OCDJ from his astonishing radio show on the also wonderful WFMU. The show at Rare was a benefit to raise money for OCDJ Dan’s many needed surgeries. Matmos, People Like Us, and Donna Summer also performed. This CD features a mixture of previously unreleased material and compositions reworked to conform to a live performance ("jazzed up").
I read an interview with John Linnell of They Might Be Giants about how they hate playing their old songs, especially 'Don't Lets Start.' As a fan of their older material I was very upset by all this. However, since I have played Pizza Horse at every show since April of 2003 I have grown to understand Linnells words. I don't dislike playing Pizza Horse, I'm just growing tired of it and I often feel weird playing it.
I don't really play Piggled any at show anymore. It sort of kills the crowd and it's a bit to IDM for me. But some people seem to like it so everyonce in a while I like to throw it our there, especially if there are some major dickheads in the auidence who are driving me insane. Playing this one gives me some time to blow off some steam rather than get in a fight with them. This happened once in Washington DC at a show at the Warehouse Next Door. They fucking dipshits would not shut the fuck up and kept yelling at me the entire night. If I had a baseball bat with me at the time they would be beaten bodies rotting in a world of shit. After I got done playing one of them told me they liked my performance and that was their way of showing me how much they enjoyed it. Sort of like raping someone to tell them you love them. Stupid dicks. Piggled was entirely composed with in the prograsm Reason 2.0. My male friends enjoy this songs while my female friends hate it. What a world.
Song For Dina is one of my favorite songs I have written. I love a good march. Piece was written in Fruiy Loops 2 and used two samples (a short electronic snipet I made in Sound Forge and a snare drum sample). The piece was written as a gift for my girlfriend Dina. The secret is out. Video Artist Ben Furgal is currently working on a visual accompaniment to this piece.
Silly
Hat vs. Egale Hat
-My
Name Is Robert
-I
Will Always Have Juice Today
-Missy Model x 1000
Purchase Silly Hat vs Egale Hat
My Name Is Robert is the first tonal song I wrote only samples. Everything before this piece was granular synthesis. I never really composed with large samples before this piece. I gave some CDs to my extended family and this song is the one that caused the most controversy. Not ‘Slowly Applying Shit To Cock Parts,’ but this little guy.
Like the above, I Will Always Have Juice Today another first experiment. Before I composed this piece, all of my electronic pieces I created in Reason were much more dissonant and had no recognizable rhythm. This piece was another step towards tonality. When I perform this song live I add a vocal part that is heavily processed and adds a level of dissonance that I feel is needed for a live show.
Connor
(of the Ram Ones) had a large collection of found pornography from Kazza. One
of his personal favorites was the risings star Missy Model. If you have ever seen
Missy Model (above) you might agree that Missy seems to have no idea what is happening
and seems slutty, confused, happy, upset and unaware all at once.
This piece is formerly titled Lazy Hip Hop and When Will Uncle Joel Say No. This is my girlfriends’ favorite song of mine. I am 22 years old until August 27th 2004.
Goose On The Loose is a structured improvisation for Wavetek 180 sweep/function generator, Digitek Whammy pitch shift/harmonizer, and Line 6 Delay Module with loop. This version was recorded live at my old house in Rye NY one day in July. The three samples don't really represent the piece as a whole very well, but they give a general idea about the composition and it’s direction. This particular version lasts 60 minutes. I split the piece into 14 tracks so I could give them silly titles (my favorite part of composing). Live, I often perform this piece with the super group Popo Nono.
The piece never had a title until I played it on WFMU and i figured it should have a title. There was (is?) a plastic goose in the live studio there and it placed facing out the window. It looked like it wanted to bust of there and go nuts in Jersey City. So when I started my set that night and I was scrabbeling for a title I again saw that goose and I knew it was meant to me.
Goose On The Loose is generally disliked by most people. Since it's a "noise" composition most people just straightup dont like it and think it just sounds like feedback, but most noise people think it isnt noisey enough and that it's just boring. WHAT A CRAZY WORLD!
Due to the nature of a loop, the piece repeats and builds upon the same 14 seconds loop for its entire duration. Since it is a shitty delay pedal, as the loop builds upon itself it slowly fades to make way for the new layers.
The delay pedal is also starting to break and since I don't have a job this piece may be in its final days (until i can get a new one or figure out how to fix it).
Meetle
Mice
-My
Own Face Is F Word
-Drinking out of Cups
-The
Adventures of Mr Bumbershine featuring Dr Witherbean
My Own Face Is F Word was originally written for a birthday EP that I made one of my friends. The song was written in Sound Forge and Fruity Loops on my family’s PC with amazingly blown speakers. The piece is just the same sample at different speeds, lengths, reversed and pitch shifted.
Drinking Out of Cups is by far the most heavily requested song at my shows. It’s never played live but, however, due to the pressure from audience members to play it, I feel it is only fair that I work on a live version. Drinking Out of Cups is a composition for voice on audiocassette.
Keith Abrams and I would often laugh for hours on end thinking about how amazing the show ‘The Adventure of Mr. Bumbershine featuring Docotr Witherbean’ would be. This song was written to be a theme for the show.
MP3s
of the Week
-Horse
Lawyer
-Dr
Dre Teeth
-Tit
Bike
-Twacky
Cats
-Wizard
Snow
-Lords
of the Needle (Heroin Kings)
Every so often an unreleased composition, demonstation version, recorded improvisation, or found sound piece will be uploaded for free download. An archive of the past weeks can and will be found either here below this weeks new shit.
Live
On WFMU
-February
21st, 2004 (RealAudio)
-July
23rd, 2003 (RealAudio)
-30
(from 21 through 35)
-To Many Niggas not Nuff Hoes
The
above Real Audio format files are many hours long each. They stream as you listen
so it’s a quick little guy. Both of the performances were on Plug &
Play with OCDJ on the radio station WFMU. WFMU is an independent freeform radio
station broadcasting at 91.1 fm in the New York City area, at 90.1 fm in the Hudson
Valley, and live on the web in Realaudio, or in Windows Media, as well as two
flavors of MP3, and all programs archived in Realaudio.
The first time I played there I performed a 3-hour set of both live electronic
pieces and compositions for small vocal and instrumental ensemble. The famed Lone
Wolf Vocal Group performed my pieces, and they performed them wonderfully. Members
of the Lone Wolf Vocal Group are Keith Abrams, Ray Roy, Melanie Hayes, Connor
Kizer, and Dina Kelberman.
The second performance I did was with the Sword Form Orchestra featuring Tuba:
Drew Swinburne, Trombone: Cam Milar, Trumpet: Connor Kizer, Clarinets: David Recca,
Bob O’brien, Alto Sax: Ryan Syrell, Guitars: Josh Benash, Allen Mozek, Violin:
Bob Pycior, Double Bass: Matt Krahula, Percussion: Oscar Chabebe, Voice: Dina
Kelberman, Ray Roy.