Hogwind track on Live From the Devil's Triangle, KFJC Sampler!

 

I'm really happy with how Hogwind sounded on our track for Live From the Devil's Triangle #23, a benefit CD for the Wave of the West, KFJC, THE BEST RADIO STATION  IN THE WORLD!!!!!

Donate to them here, they're worth it:

https://kfjc.org/donate/

This track was recorded one year ago tomorrow. If only we knew......

Ear Spray live at Berkeley Arts Festival Building up at Archive.org!

 

Every time that I drive past the site that housed the Berkeley Arts Festival, I get a bit sad. I miss that place. Saw some great music there, and got to have some really memorable performances as well. 

This was my second show with Ear Spray. Fun times!

https://archive.org/details/ear-spray-berkeley-arts-5-20-13

 

ebolabuddha live at Noto Motors up at Archive.org!

 

Another found CDr, this time a scary set from ebolabuddha at Noto Motors in Palo Alto in December, 2017, part of the Nois Haus series. Listening to this now is kind of frightening and disconcerting. What were these people thinking, hahahaha. 

https://archive.org/details/ebolabuddha-12-8-17

New Infinite Plastic Internal track up at Bandcamp!

https://infiniteplasticinternal.bandcamp.com/album/peace-in-hawaii

A surreptitious moment, playing a sound sculpture by Harry Bertoia at Honolulu Museum of Art in 2016.

Flying Pontecorvos live at Luggage Store Gallery up at Archive.org

 

I was going through some CDrs and found this recording. I listened and liked it, so I put it up at Archive.org. Seems so long ago now!

https://archive.org/details/flying-pontecorvos-6-4-15

This show occurred at one of two alternate locations that the Luggage Store occupied in that time. We played with a great, street level view of Market St. through really nice big windows. Last I saw, that space was a fancy burger joint. I wonder what goes on there now. 

Early band document

 

Fancy title, right? 

This is a sticker for a band that I played in during high school. Mr. Sqeaky. We played from 1987 to 1988. We played a couple of shows, one in Frederick, MD, the other in Manassas, VA. 

Our music was simple Hardcore styled Punk Rock, I guess. I considered it some kind of Garage Rock, but, really, the former description fits. Original? No, not at all. But it was a first attempt at that sort of thing by all of us I believe. It was ours, at least for a minute. 

As I recall, the sticker was made by the guitarist's, named Brant, step brother, who was named Rusty. 

We did one recording, by a fellow named Max, but I don't think that they survived. So, here the scant proof of the existence of Mr. Sqeaky, a suburban VA high school band from the 1980's.

Barney Cauldron live at Hemlock Tavern audio up at Archive.org!

 Barney Cauldron plays some Ornette, then freaks out. We were opening for Jambang/Greg Ginn and the Taylor Texas Corrugators.

https://archive.org/details/01-theme-from-a-symphony

My memories of playing 4'33" by John Cage

Yesterday I was listening to some John Cage prepared piano pieces in the car, and it got me to thinking about the time that Surplus 1980 played 4'33". 

We performed this piece at the Starry Plough in 2017 or '18 I believe. As I recall it, even though everyone in the group was familiar with Cage and his infamous silence-oriented piece, not everyone in the group was keen to do it, especially since Moe! had decided that we'd open our set with it! I was game, despite understanding the reservations of the others in Surplus 1980. You have to figure, that from an audience member's perspective, it would seem pretty off putting to sit or stand there and watch a band simply focusing on being silent for almost five minutes. Still, we went ahead with it, as planned. I remember the first minute or so, and the nervous energy that seemed to build from the bar/dance area of the Plough as people realized what Surplus was up to. This being a Berkeley audience, one had to figure that they'd sussed it out pretty quickly. Nervous laughter, maybe a mild taunt or two were forthcoming. Up on the stage, the musicians stood or sat within their respective zones. Some fidgeted, some remained still. Another minute passed, and the tension within the room ratcheted up accordingly. It's pretty amazing, the way that time and the perception of it get so skewed when you're in performance mode. At some point, guitarist Bill Wolter's forearm brushed across the strings of his guitar, giving off a brief cluster of tone. It was really funny, the way that that brief occurrence of sound broke up the silence. I mean, it felt HUGE. The guitar was quickly muted, and Surplus continued with our "playing" of 4'33"

It strikes me that Cage, though he probably would not have enjoyed the music of Surplus 1980, would have found that moment interesting within the intellectual context of the realization of 4'33". 

After what seemed to be a much longer duration than four minutes and thirty-three seconds, Moe! counted off our next piece, and we actually had occasion to play our instruments. I felt pretty satisfied to have performed a renowned piece by a great musical artist. I wonder how those in attendance felt about our foray into willful silence........

I remain grateful to and admiring of Moe! for having the balls to do that with our rare performance time, that's for sure.

Live shot 'cause why not....

 

Live shot of me playing with Ovipositor in Davis, CA 2007. A fun outdoor Bar B Q type show with lots of bands. I figured why not post it. 

Not much else to say, so I won't.

Ovipositor Live at the Stork Club with Tom Herman live clips up at Archive.org!

 

I uploaded these two tracks to Soundcloud some years back, but they've been deleted there. I figured to get them up to the more permanent Archive.org for posterity. A fun show, and the best "encounter with Rock Star" for me. Tom was very gracious to play with us a few times, even though he didn't particularly like Ovipositor very much. 

https://archive.org/details/14-autumn-leaves

A memory from a strange interaction

 

In 2007 or so, I replied to a craigslist ad. I can't recall the wording of it, but its request was for musicians interested in producing Black Metal in San Francisco. At the time, I had a burning desire to try to  play that form, as did many others. I have realized that it takes a LOT of very specific aptitudes and talents to play Black Metal, ones that I probably don't possess, but at that time, I wanted to try. 

The response that came back to me asked me to  show up a a given address, at which time we'd "record some music and THEN LISTEN to it". It seemed reasonable, and arrangements were made. 

When I got to the address I'd been given, I found myself at a flat in the Nob Hill section of San Francisco, near the art school. I was let into the flat by a guy that was in his fifties, who called up to his son, the person that had placed the ad. There I stood, a fellow in his late thirties, about to hang out with a guy that was no more than eighteen, as his father stood there. Pretty awkward, to be sure. 

The young fellow had me follow him to his room. There were no drums there, only random objects with which to make sounds, maybe a few cracked cymbals. I believe that there may have been a bass guitar as well.

As we had a preliminary chat, the kid revealed himself to be a very intense, intelligent, and opinionated guy, with piercing eyes that did so from behind wire rim glasses. We spoke about various Black Metal artists that we had heard; I recall one act's label who I mentioned as being "criminal". His deep underground list of acts beat mine by a few miles. He stressed the need for musicians to really listen to what they were doing, to not just coast with it.

After this chat, we proceeded to make sounds with the various tools at hand, all the while recording them. This lasted for twenty, maybe twenty five minutes. After this, we did indeed listen. I remember trying very hard to be still, to really listen as he'd suggested. To realize this, I lay face down upon the hard wood floor of the flat with my eyes closed. I recall looking up and seeing my new acquaintance sitting across the room with his eyes closed. Lights winked off of his glasses. 

After we finished listening, I didn't hang out too long. I don't recall if this was due to my wanting to leave, or his asking me to. I've never had any subsequent contact with that kid, but I think back about the encounter on occasion. Did I listen well enough? Was he unimpressed with me? Did he find another person that had the right profile for his desired production? The whole thing seemed odd at the time, and remains so. I guess at this point I just wish that I could hear the sounds that we'd put to tape in those few short minutes. They're probably long ago erased, but who knows? 

Memory is funny, and often can't be completely trusted. Are some of these memories accurate? Did this occurrence even happen? My memory tells me that it did, so it must have in some way or another. The details are fuzzy, but, even so it remains one that I come back to often, ever more puzzled by the recalled dynamics of the encounter.

Ahab tracks from 1998 up at Archive.org!

 

                           These tracks were recorded for some kind of release, but the band stopped before they could be. I listened to them recently, and they sounded cool. Figured that I'd put 'em up on Archive.org. I hope that Bill and Tom are doing well these days.

https://archive.org/details/03-track-03/01+Bright+Idea.mp3

New Infinite Plastic Internal digital release up at Bandcamp!

 Bandcamp and Blogger seem to be having compatibility issues again, so I just have to post the link without embedding. Pretty annoying....

https://infiniteplasticinternal.bandcamp.com/album/fortress-of-solitude

Tour photo

This photo was taken at a place called the Funhouse in Seattle. The Funhouse had a bizarre, ugly clown as the prominent feature of its facade. I don't know if it still exists. The band was Ovipositor. The year was 2005. Colin Frangos played guitar, Matt Carter played the bass. For the that tour up the West Coast, we rented a car that was WAY too small for our gear and our bodies. We suffered a bit. Perhaps we suffered a lot. On that night in Seattle, we played with a couple of groups, Speaker Speaker and So So Many White White Tigers. I recall Ovipositor playing really early in the evening, and then sitting around for a long time while So So Many White White Tigers waited to play. Their drummer was a really friendly dude. Speaker Speaker guys were nice, earnest people. 

I can't say that I did a ton of touring, but the times that I did were generally weird and fun. It is generally interesting to meet other musicians and to try to figure out where they're coming from with their musical pursuits.

New Infinite Plastic Internal track up at Bandcamp!

Family jam!

New Infinite Plastic Internal post up at Bandcamp!

This was a NorCal Noisefest set from about five years ago. Cafe Colonial, RIP!

Ear Spray live audio up at Archive.org!

This music is up at the Ear Spray Bandcamp page if you'd like to purchase it.

Infinite Plastic Internal/Brandon Evans collaboration up at Bandcamp!

New audio post up at Archive.org

This audio clip is a creative exercise by Mika Pontecorvo. He took a drum track of mine, recorded at a Cartoon Justice rehearsal in May of 2020, and isolated it. Then, he added effects. I really like the primitive Jungle or Glitch feel that he got with it. Mika is such a creative dude!

Janina Angel Bath Group footage from 2013 up at Youtube!

I had no idea that this footage was out there. It's similar to footage that I posted some years back, but the mix and the angles make it worthy of posting here. Those were fun days.

New Pure Finder release up at Bandcamp!

Many thanks to Andrew Palmer for getting this one together!

New Infinite Plastic Internal track up at Bandcamp!

Recorded Summer 2016 for a collaboration that did not happen. I figured I'd throw it on out there.

Infinite Plastic Internal live at KFJC up at Archive.org

New digital release from Brandon Evans/Mark Pino!

New Infinite Plastic Internal track up at Bandcamp!

My interpretation of a piece written by Thaniel Ion Lee. Thanks for letting me do this, Thaniel!

Instagon #798, private residence, Richmond CA; 5/8/20

The new era of music performance is here. As I write this line, it's really a struggle to feel any emotion at all. Now, that's not to say that I did not have a great time doing an Instagon session with Lob. I always enjoy Instagon process, and playing #798 last night was no exception. We got into some interesting bass and drums grooves, ones in which I enjoyed the sparseness of having just those two elements, as well as just the human to human interaction of playing together.
I had hoped to use my electronics, but Lob didn't seem that into them, so, for the most part they stayed silent. Perhaps they'll emerge within some other scenario.
To get back to my opening sentiment, it just felt really strange to be playing "live" to a screen, and being aware that a few people were witnessing and/or listening. The human element of known friends and random strangers being within the same space as you while you play was notably absent for me, and I can't say that I enjoyed that absence very much. Of course, I must be grateful for any musical experience, especially as this new era unfolds, and I was. Still, the lack of other peoples' involvement in the process as flesh and blood witnesses is notable, to say the least.
If this in the new standard, I know that I'm in for some serious adjustments! Humans can get used to anything; I just' don't know if that's always a good thing.

Below: Instagon #798, hittin' in a garage

I will play with Instagon this Friday!

I'm happy to announce a gig! Instagon will be doing a live netcast this Friday, 5/8, from an undisclosed location, as part of the Owlfest Virtual Nightclub.
Instagon #798 will run from 8-8:40 Pacific Time at this link:
https://www.facebook.com/groups/owlfestnightclub/

To say I'm simply looking forward to it would be a bit of an understatement! 

Archive pic and more musings

Here is a photo of me singing with Barney Cauldron in the summer of 2010. Hard to believe it's been damn near ten years since this event occurred, at the LiPo Lounge in SF's Chinatown. I wonder how that establishment is doing, currently. What a fun, funky place!
That's Jason Batzer in the green shirt. Jason took his own life in 2013, after years of being misunderstood, mostly as a result of his terrible fight with bi-polar disorders. I miss Jason a lot. I also realize that he was truly a stranger in a strange land, and I suspect that his decision to end his life came as a great relief to him.
Barney Cauldron ended unceremoniously in late October of that year. Kind of a blessing, really, as that lead to me playing within the fertile and fascinating SF Bay Area improvised music scene for many years hence.
Lately, there have been brief glimmerings of hope within the music world, as musicians use their creativity to find ways of presenting their sounds. It's been fascinating to watch. Clearly, though, this issue remains undetermined and unsettled, as I suspect that it will for some time.
I will be announcing my first effort at this "new method" a bit later this week. Stay tuned......

Ruminations Live At Fractal Mindgaze Hut up at Archive.org!

I always hoped that this band would do a studio recording, but it never happened. Rent, Bob, Markus, and Christina graciously consented to allow this recording of Ruminations at Fractal Mindgaze Hut in Oakland to be posted. Many thanks to them.

Spirals: Dumb As A Box Of Rocks up at Archive.org!

This version realized by Mountain vs. Building. Many thanks to Sheila, Michael, and Brian for helping to realize it.

Archive pic and musings

Here is a picture of what was probably the first time that I ever performed music in public. That's me in the back, on a snare drum. I wish that I'd applied myself more to this opportunity to learn to read music. My reading skills suck, and that's a shame. The band director was a guy named Phil Arnott. A nice guy who loved music. I am Facebook friends with a few of the other students in this shot.
As the collapse of our economy continues, I feel less and less optimistic about the future of live music performance. Things will not be allowed to "go back to normal", and that's just a fact that I've got to accept and try to grow with. Who knows what the live music landscape will look like in later 2020 and beyond. I sincerely hope that I am mistaken in this outlook.
Going forward, I will be posting shots from various stages of my musical pursuits. I will also be working on solo recording projects in my garage until such time that it is possible to work with other people in close proximity.

Barney Cauldron Live at the Stork Club audio up at Archive.org

Our first show!

New Infinite Plastic Internal track up at Bandcamp!

Recorded in 2011, formerly up at Soundcloud. Trying to keep busy!

Janina Angel Bath Group show from 2012 up ar Archive.org!

Seems like a long time now. Many thanks to Janina for agreeing to let me post this!

New PureFinder digital release!

Music for shut ins, worldwide. Stay sane out there.

Sitting In the Waiting Room.....

Ideally, this post should not be here. Instead, there should be an announcement of an M-KAT Ensemble CD release show.
Of course anyone reading this post knows that the "entire world" has seemingly been put on hold as of this time, and that the arts and entertainment industries have been savagely hit by the effects of COVID-19. They're currently "non-essential", and it's probably dangerous to be involved in anything like going to a show, or participating in a show. As a responsible person, I have to accept this fact. Hence, I sit at home, and, naturally, reflect.
For the past six months or so, I've been reflecting more and more about my time spent playing music. "Career" could be used to describe the last thirty years, but, then again, I've never really made any money from the pursuit. One thought that's been at the fore of my dwellings upon the issue has been just how outside of the music industry the experience has been for me. Essentially, all of this activity has "not happened" within that sphere, and has only "happened" for me and possibly a few other people that have either been involved with me or witnessed/heard the things that I've done in music. If this sounds bitter, it's not meant to. Just a fact, and something that I've been reckoning with.
Looking forward, I think that it would be foolish to believe that the pursuit of music within this isolated forest in which my musical tree has grown will look the same as it had for so long. The music industry infrastructure, already gutted in so many ways, will take a long time to recover. The cottage industry that feeds downstream from said industry, the one that I've been working within, will no doubt be effected by these changes as well. The future of all of it seems, at best, very uncertain, especially for those of us operating outside of the conventional channels.
So, what to do? Currently, I'm using the downtime to practice techniques that I've always wanted, but not had time, to practice. There is no guarantee that any of this practice will pay off in most ways, but I'll continue to do it. I'm also savoring the break that's been imposed upon me, upon all of us. No running around from rehearsal to gig right now, that's for sure.
I have no idea what music will bring to me in the near or far future. Time will tell, of course, but for the present, the most that I have to work with is uncertainty.
It's my hope that there will be more posts here, announcing this show or that release. I mean, one CAN hope, right?

Feral Luggage-The Uptown, Oakland CA; 3/10/20

What a treat it was for Feral Luggage to be able to play the long-running Active Music Series at the Uptown in Oakland!
Right from the load in, and up to the end of the evening, the vibes were actively welcoming and warm.
Feral Luggage played last on the bill, a spot which seems to be the "cleanup" time as people push off for the final destination of the night, but I couldn't have cared and honestly didn't even notice, and that with me on my drums being towards the front of the stage. I just closed my eyes and played. Quite fun to play, too, what with Colleen Kelly T. back on board with her cello, Patrick Telesfore Jr. on drums, and the usual core of Mika Pontecorvo's posse: Kersti Abrams, Eli Pontecorvo, Mika, and myself. We got into two pieces, divided up by a swift four count. The first was a kind of call and response exercise that lead way into some more free playing. The second was loosely based upon a 5/8 rhythm that I've been working up. Things seemed to flow pretty well throughout, with the group playing and listening responsively, albeit with a lot more volume and intensity than the previous groups. Again, the clean up spot. Let 'er rip!
Despite the weird feelings around the current Wuhan virus panic, it was a fun night. Hopefully Feral Luggage will be able to pursue some fun prospects that are cooking up for April of this year......

Below: Patrick, Eli, and Colleen joke around before getting down; Mika checks his rig

Below: video, by Active Music Series, many thanks Jacob and Jordan!

Feral Luggage play this Tuesday in Oakland!

Feral Luggage will play at the Uptown!

Tue., 3/10
The Uptown
1928 Telegraph Ave.
Oakland 94612
 8:30 PM
Euphotic
Dunkelman/Corcoran
Feral Luggage
$

New Crow Crash Radio video up at Youtube!

Featuring Brian Strang's daughter skateboarding! Yeah!

Infinite Plastic Internal split cassette/CD release out now!

I'm stoked to announce the release of a split cassette/CD between the Portland/Grayling, MI duo Boy (Mouth) and Infinite Plastic Internal. Everybody Needs a Bad Influence Vol. 2 is available now! If you want a copy, please send me a message, and I'll hook you up with one!
It's Infinite Plastic Internal in lo-fi!

Us2 Trio/Voi!Maa!-Luggage Store Gallery, SF; 2/13/20

Usually when I play at the Luggage Store, I like to walk around its environs and try to scope out what new changes have occurred since my last visit to 6th St. and Market. No such luck last Thursday evening. Traffic was really bad, I think since people are still adjusting to the new "no cars on Market east of 10th St." rule. Downtown SF has become even MORE of a clusterfuck for drivers. Oh, joy!
Thankfully, I was able to get my drums up the stairs of the Luggage Store without losing any of them, find a parking place reasonably close by, and get set up for a pair of sets.
The first, by Us2 Trio, featured bassist Eli Pontecorvo and electronic musician Andrew Palmer. I've played a bunch of times with each of these guys. We all know each other well, and the chemistry and fun of the set proved it. We got in almost forty minutes of what I felt to be pretty skilled improvised music. About five pieces in all, the set felt really energetic, intimate, and fun. I was glad the we managed to self edit, keeping the pieces short enough for exploration but not fatiguing. We touched some cool spaces.
After a brief break, Voi!Maa! began to hit. Things started off pretty well, with a nice ambience being set up before we launched into some heavier areas. A nice, dynamic was set up, and we kept up the energy. After a while, the piece seemed to start to drag a bit, and I frankly ran out of ideas. I was hoping for a hard stop, but the rest of the group kept going. It actually sounded really cool, so I just sat and listened. Not the most pro move, I guess, but I really did feel as though I had not much to add to what Mika, Kersti, and Eli were expressing. This continued to the end of the forty or so minute set. I was bummed, and split as quickly as I could. Sometimes in improvisation, one falls flat on one's face, and I guess that that set was one of those for me. It's a risk you have to take, I guess.
Such a night of mixed emotion, from feeling really high to pretty low. Life's like that. At least I was able to avoid Bay Bridge traffic on the way back to Richmond, ruminating the entire time about what it means to both succeed and fail, almost simultaneously.
Many thanks to Andrew for sitting in!

Below: back to the small kit, as it's easily portable!; Us2 Trio relishing some fun improvising!

Below: audio of Us2 Trio set:

Playing two sets at Luggage Store this Thursday!

This Thursday I will play two sets with two different acts at the Luggage Store.

Thu., 2/13/20
Luggage Store Gallery
1007 Market St.
SF 94103
8PM
Us2 Trio (Eli Pontecorvo/Andrew Palmer/Mark Pino)
Voi!Maa!
$8-15 sliding scale

I guess it's time to find out what the Market St. area is like without cars allowed!

Aural Monsoon Live at Bird and Beckett Books video up at Youtube!

Music starts at about 5:00 mark!

Looking back on two shows

OK, my performing year for 2020 has finally been kicked off, with two really fun shows last weekend!

PAC Trio, ABCO Artspace, Oakland; 2/7/20
It had been a long time since I'd been over at ABCO. I used to rehearse with Janina Angel Bath there, what, seven years ago? The space is happily the same, funky and very d.i.y. Its West Oakland location has not been steamrolled by development yet, and hopefully the sweet crew that lives and works there have plenty more time in which to do their thing.
This show was PAC Trio's second, and I was really excited to playing out with Josh Allen and Alex Cohen again. These two are great musicians. The fact that I get to share a stage with them is a real honor for me. That probably sounds corny, but it's really true. Somehow we got place right in the middle of a three act bill. I had been told that we'd play last, so I was a bit taken aback when I got the call to get up and jam. Usually, I need to warm my wrists and ankles up, and had no time to do so. Despite all that, we started playing with our usual energy, diving right in to some really fiery and free spaces. I felt as though we played really well, too. I used my practice kit for the set, on account of the fact that Josh likes to hear drummers play similar sounds that he's heard during rehearsals. It was cool to be playing my old Ludwig Vistalite out for the first time in years. That drum just sings. Additionally, I used some cracked cymbals that I've had for about thirty years now. I'm not even sure how I managed to hold on to them for so long! They still sound good, at least to me.
PAC Trio hit very hard, fast, and loud for two pieces, totaling a bit over 30 minutes. I was hoping to go on for a bit longer, but we left it at that.
PAC Trio plays exorcism music, and I'm stoked to get to play with Josh and Alex. These guys rule.

Below: funky old kit; PAC Trio post gig posed

 

Crow Crash Radio, Lucky Horseshoe Tavern, San Francisco; 2/8/20
Next evening, and after a really cool, hassle-free and moonlit drive over the Bay Bridge, I found myself at the remarkable Lucky Horseshoe in Bernal Heights. Remarkable because this great little tavern seems to have managed to become a refuge for SF residents that are not of the tech demographic. Indeed, I saw many friends, acquaintances, and familiar faces, all of whom have lived lives outside of the tech world. It's heartening to see. Bernal Heights definitely seems like a kind of refuge from goings on a bit to the north and east of it.
Crow Crash Radio was honored to play a set for Jay, the guitar player for Rabbles, who was celebrating his 50th birthday. I was stoked to be playing a really nice DW kit that belongs to Rabbles drummer Dave. Such lovely drums, and they sounded dope, of course. As for our music, we played a lengthy pieced that we'd sketched out in rehearsal, which strung some raw ideas together with a few older songs. All of it was played without any full stops, except for the last piece, Isabel's Song, wherein Jay joined us on guitar. I felt as though it flowed smoothly, despite some hiccups in rhythmic syncing every now and then. We got a good, psychedelic feel. It was one of those sets that could have lasted five minutes or forty, I don't know. Time stopped for me, and I just enjoyed the vibes. Hopefully Lucky Horseshoe's patrons felt the same way. Another fun night with Brian and Andrew!





Below: DW backline kit, truly beautiful; video by Elisa Brasil (thanks, Elisa!)

All told, a very fun weekend of music making. Another show this week!

Upcoming shows!

January of 2020 was a slow month for me. I spent a lot of time practicing, not such a bad thing, really. Anyway, February is starting off a bit more busy on the gig side!

Fri. 2/7
ABCO ArtSpace
3135 Filbert St.
Oakland 94608
PAC Trio (Pino/Allen/Cohen)
Vol. (album release)
Dunkenlman/Fluke-Mogul Duo
8:30 PM
$ NOTAFLOF

Sat. 2/8
The Lucky Horseshoe
453 Cortland Ave.
SF 94110
Crow Crash Radio
Rabbles
8:30 PM
Free (this is a birthday party for Rabbles guitarist Jamie)

So, yeah, next weekend should be fun. Let's see if all of that time spent shedding in January will have paid off. 

New M-KAT Ensemble album out on Edgetone Records!

M-KAT Ensemble has partnered up with long-time SF Bay Area Improvised Music label Edgetone Records for our second release! Pleased as punch to be working with them to get our music out there! Physical and digital copies are available at Edgetone's M-KAT Ensemble Bandcamp page. Just click up above, and you're there!