Back in 2005, I had an idea. Recording studios are wondrous places filled with infinite possibilities, but can all that lack of limitation impede creativity and technique? Do we also need to, at least occasionally, put restraints on ourselves to enhance our creative output?
Taking a cue from the classical tradition, where the instrumentation for pieces is very specific, I decided to record a series of albums limited to acoustic guitar, cello and voice. The first two records (Light Plays On A Pearl and The Twin Or The Seed) were released in 2006 and 2007 and received good reviews.
Mark Richardson, Editor-in-Chief and Executive Editor of Pitchfork from 2011 to 2018, wrote of the first record:
“I hear a lot of just-OK music, but this is some great stuff. A wonderful surprise. (The) voice reminds me a bit of Harry Nilsson, (and the) melodies are catchy but original.”
After a decade long hiatus, I finally returned to the project and completed the new record this year. The songs are about the connection of all things (the title track), our differing points of view (“Some People”), growing up (“Eden’s Overgrown”), searching (“Busy Between Us”), criticisms of our current politics (“Towards Home”), the origins of the cosmos (“A Decent Myth”), and more. The album also features a three voice fugue (“Oblivion”).
The amazing artwork of all the three albums was created by Oklahoma native Dylan Boelte (Apple, Spin Magazine, Oklahoma Gazette, etc.). Dylan utilized physical materials - including seeds, torn paper, wood, and more - to create art that captures the organic aesthetic of the records.
All three records were mastered by Fred Kevorkian of NYC.