Pan – PAN 38.
Saturday, December 26, 2020
Sensate Focus - (2012) Deviation Heat-Treated 12''
Slikback / Soda Plains - (2020) Split 12''
Pan – PAN 115.
Hong Kong born, UK-based producer Soda Plains (production for Chynna,
Scintii, Ian Isiah) and the Kenyan, Nyege Nyege-affiliated artist
Slikback bring their distinct sounds to the third instalment of PAN’s
club-focused “Split” series.
Limited to 300 copies, hand stamped, no repress.
The EP is mastered by Jeremy Cox
Steven Warwick - (2019) MOI LP
Pan – PAN 103.
“MOI” is the fearless new full length album by artist and musician
Steven Warwick. The record signals a more upbeat reprise following the
previous, reflective release “Nadir”. “MOI”, the first physical release
under his own name ( having previously recorded under the Heatsick
monicker), is a journey considering interior worlds and personal
architecture, as found in early spiritual narratives. Recorded in
Berlin, the FUGA residency space in Zaragoza and and on location in New
York, Warwick’s sonic vocabulary is further expanded with intense
frenetic rhythms, prismatic melodies and resonant vocals.
Like the dopamine rush of contemporary life, “MOI” is a sonic roller
coaster with a scream -if-you-wanna-go-faster urgency ; “Open Fire
Hydrant” bursts out like a pressure valve spiralling onto the
dancefloor, while Kaleidoscope offers cheeky anecdotes as told on a ride
home soundtracked by a garage beat.
MOI is a spectrum both emotionally and musically, embedded with an
underlying spirituality wrestling with existential dread, as witnessed
in “Over There”, “Salvation”, “Kind of Blue” or the icy digital pulse of
“Cold Light of Day”. “Danke” featuring guest vocals from visual artist
Josephine Pryde offers a slightly gothic feel, albeit of the
architectural variety, while the purgatorial transmissions of
“Consolatio”, bring a moment of respite. “Rush” is a sensuous percussive
workout before concluding on the rampaging seductive house track
“Silhouette”.
Amnesia Scanner - (2020) Tearless LP
Pan – PAN 108.
Tearless marks a turning point in the duo’s trajectory, one begun in 2014 with the AS Live [][][][][] mixtape, followed by audio play Angels Rig Hook, two EP’s for Young Turks, and their 2018 debut album, Another Life (PAN). For Amnesia Scanner in 2020, the walls of the nightclubs, galleries, and institutions fall away and are replaced by full-scale theatrical productions complete with jumbotron stages, animatronics, and a surrealist costumed cast (literally so in the XL version of the album’s live show, Anesthesia Scammer). Likewise, the musical scope of the album is expansive, with guest vocalists — the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA — descending into a vast uncanny valley of sound. With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Opener “AS Enter” sets a sombre tone until the fucking riffs of the second track (the titular, Lalita-helmed “AS Tearless”) make clear there’s plenty of roaring to come. A feature from metalcore band Code Orange on “AS Flat” follows, along with “AS Trouble” (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as black-metal-gaze dirges. Closing Tearless is the sadboy grunge of “AS U Will Be Fine” with a clear statement of intent: doom, despair, insanity, absurdity, it’s all natural, all cathartic, and all OK.
For the art direction of this release, Amnesia Scanner collaborators PWR scavenged the pop cultural unconscious, as if ventilating memory dissociated by trauma. The gatefold vinyl reveals a four-panel comic, full of iconic pre-millennial motifs, which arrive cut up and reassembled collage-style: fitting visuals for an album that channels Deftones as much as reggaeton, menace as much as the drop-outness of grunge. Refuse like the ‘90s and party like the ‘20s—if that seems senseless, you are doing it right.
John Zorn - (2016) Painted Bird
Tzadik – TZ 8342
The fourth CD in a 12-month period by Zorn’s most powerful new ensemble presents nine genre-busting compositions mixing jazz, metal, classical, world music and more. This time their trademark sound is augmented by the ringing tones of Kenny Wollesen’s vibraphone to create their wildest, most insane CD to date. Juxtaposing complex atonal lines, driving vamps, heavy metal riffs, improvisational madness, shredding solos and moments of profound lyricism, The Painted Bird is a surreal and expressive new world in sound. Moonchild meets Nova Express!
John Zorn - (2016) Sacred Visions
Tzadik – TZ 8345
“Sacred Visions” presents two Zorn masterpieces touching upon the mediaeval world. “The Holy Visions” is a Mystery Play in eleven strophes concerning the life, work and philosophy of 12th century composer, healer and visionary mystic Hildegard von Bingen, and is one of Zorn’s most beloved and acclaimed works for voice. Here it is coupled with Zorn’s latest string quartet “The Remedy of Fortune,” six tableaux depicting the changing fortunes of romantic love, which was inspired by the work of 12th century troubadour Guillaume de Machaut and receives a precise and passionate reading by the brilliant JACK quartet. Two wondrous modern compositions drawing on mediaeval spirituality, both sacred and secular!
John Zorn - (2016) The Classic Guide To Strategy: Vol. 4
Tzadik – TZ 8349
After over 40 years there is still no one who plays the sax quite like John Zorn. Using the instrument as sound maker, he commands a saxophone language of unmatched versatility. Collected under the enigmatic title of “The Classic Guide to Strategy,” five volumes were planned—“Volume 1” (1983), “Volume 2’ (1986), “Volume 3’ (2003) and now the penultimate “Volume 4” is finally made available on Tzadik. Filled with wit, drama, playfulness and intensity, the composer’s legendary virtuosity and powerful improvisational logic is on full display in this astonishing release recorded at EMPAC in early 2013. You have to hear it to believe it!
John Zorn - (2018) The Urmuz Epigrams
Tzadik – TZ 8358
With The Urmuz Epigrams Zorn returns to his roots, using the recording studio as instrument to create an intensely personal suite of compositions in the style of his legendary File Card compositions and Zoetropes. Dedicated to the visionary Romanian writer Urmuz whose small, scattered body of work predated Dadaism by decades, The Urmuz Epigrams is a suite of surrealistic miniatures more akin to philosophical aphorisms than actual music. The pieces are presented here in two iterations, as a set of “rare 78rpm records” complete with surface scratches and limited dynamic range, and as a modern reconstruction of same with the full blown studio sound presented in all its perplexing glory. Some of the craziest music in the Zorn catalog!
Mary Halvorson Quartet - (2017) Paimon: Book of Angels Vol 32
Tzadik – TZ 8356
After 13 years and 32 CDs Zorn’s expansive “Book of Angels” project is now complete! This final installment presents the last 10 unrecorded compositions from “Masada Book Two” and the variety, drama and lyricism is just as strong as the very first volume. Mary Halvorson, a longtime Masada fan and one of the most acclaimed guitarists of her generation, leads a dynamic quartet featuring Miles Okazaki, Drew Gress and Tomas Fujiwara. The music is intense, wild and incredibly varied—a beautiful and fitting conclusion to this historic Masada series—hailed as one of Zorn’s best!
John Zorn / Brian Marsella Trio - (2017) Buer: The Book of Angels Volume 31
Tzadik – TZ 8353
Well versed in the music of John Zorn, the trio of Brian Marsella on piano, Trevor Dunnon bass and Kenny Wollesen on drums is the perfect group to interpret a collection of compositions from Zorn's Book of Angels. This is one for the jazziest albums in the series, with echoes of McCoy Tyner, Andrew Hill setting the scene for this collection. "Jekusiel" opens the album with a strong trio performance, and everyone is playing in a very fast and percussive manner. The brash and intrepid piano soloing resonates through the music with thick elastic bass and insistent drumming in support and on the full band improvisation. Crisp-sounding drumming opens "Akzariel," leading to a rattling and flowing trio section. Storming keyboard work keeps the excitement building, and crafty drumming adds to the feeling of propulsion, making for a fast and ferocious performance. "Parymel" uses powerful bass to begin, and intensely hued piano playing and ripe percussion draw from a deep well of energy. The music is loud but impeccably played, taking the interesting melody and expanding upon it, creating music that is at the same time provocative and probing, with Marsella moving percussively up and down the keyboard and recalling the great Don Pullen. There is a haunted medium tempo theme to begin "Karkiel", which gives way to a tempest of piano, percussion and bass that delves deeply into the music's emotional resonance. This track uses dynamic tension to provide shades of light and shadow, from sudden slashes of piano to rippling cymbal play, then coming together with high-speed cooperation. "Tsirya" is another short and furiously played performance, with an excellent drum solo and then the trio coming together to create music that’s both vivid and self-reliant. The improvisation is brimming with energy and dizzyingly well performed and together the trio creates a boiling stream of endlessly fascinating rhythm. Another very exciting fast paced performance is "Zagin," with muscular piano abutted by the interplay of powerful bass and drums. Much the same is "Petahel," developing deeply percussive music from all three instruments and allowing the music to take energy from a choppy theme and ply it in a sparkling improvised section. This makes for a spirited performance, encapsulating a some fine drum soloing and trade-offs between piano and drums. The music on this album is made by a trio of kindred spirits, and they make sounds that are inventive and inviting, using the memorable themes from the Book Of Angels and cooking up superb music from them.
VA - (2020) Send Me the Bones: From the Earliest Syrian-American Recordings, July 1913 - June 1919
Canary Records – none
In the second half of the 19th century, troupes of Moroccans, Egyptians,
and Syrians performed in the United States at tent shows, circuses,
minstrel shows, vaudeville houses, and theaters as ethnographic/ exotic
spectacles for American audiences. Several members of the first Syrian
family to emigrate to the U.S., headed by a medical doctor named Yusuf
Arbeely (b. 1828, five miles outside of Damascus) who arrived with his
wife, niece, and five sons in August 1878, toured during the 1880s
offering paying customers (25 cents for adults; 15 cents for kids) a
chance to see people from the Holy Land in native costume. The 1893
Columbia World Exposition in Chicago offered many more Americans the
chance to witness aspects of Arab and Turkish culture at its pavilions.
(Three wax cylinders now at the Library of Congress, recorded in Chicago
by Benjamin Ives Gilman on the morning of September 25, 1893 by four
musicians from Beirut, totaling less than five minutes of sound, are,
strictly speaking, the first sound recordings of Arabs made in the
United States.)
Through the end of the 19th and beginning of the early 20th centuries
Syrian immigrants to the U.S. developed enclaves in about a dozen cities
and towns in Massachusetts, Pennsylvania, West Virginia, Michigan, and
New York. By 1920, over 150,000 Arabic-speaking immigrants from Greater
Syria (the Ottoman districts of Aleppo, Damascus, Beirut, Mount Lebanon,
and Jerusalem) established themselves in a variety of retail, service,
financial, and manufacturing trades, especially the garment business.
40,000 more immigrants from the Syrian diaspora had settled in Canada
and Mexico, 300,000 in Brazil and Argentina, and 40,000 more elsewhere
in South America and the Caribbean. In the wake of the catastrophe of
WWI, in which over 18% of the Syrian population died (including the
famine that killed half of the population of Mount Lebanon in 1915-18),
and the policies under French occupation in the 20s, most remained in
the Americas rather than return home, as many immigrants had originally
intended.
The first Syrian-American to have recorded in the U.S. was a composer
and pianist named Alexander Maloof (b. ca. 1884-85) who arrived with his
parents from Zahle (present-day Lebanon) in 1894. They applied for
citizenship the following year. He was already publishing sheet music of
his compositions as a teenager, had established himself as a music
teacher in Brooklyn by 1905, and was performing in public in his 20s.
His music often purposefully synthesized American and Syrian elements.
In 1912, he copyrighted “America Ya Hilwa” (which he called “For Thee,
America” in English) and campaigned for years to have it become the U.S.
national anthem. In September and October, 1913, he recorded his
ragtimesque piano arrangement of the traditional Ottoman tune
“Aljazayer” and an original composition called “A Trip to Syria” (a trip
that he himself never made). It is unclear whether the resulting disc
was marketed to English or Arabic speaking audiences. In April 1916 a
group credited only as “Syrian Band” recorded four sides for Columbia
records in New York and were issued as part of their E (ethnic) series
for the immigrant community; the hybridized style of those performances
are similar to material Maloof's Oriental Orchestra recorded and
self-released in the 20s. It seems reasonable to speculate that they
were made under his direction. On his own label, his issued a wide
variety of material by his own band as well as other immigrant
performers. After folding the label, he recorded several more sessions
for other labels in the 20s and 30s including Victor and Gennett Records
in Richmond, Indiana. (Among them were a series of organ solos marketed
to funeral parlors and roller rinks.) He produced piano rolls,
performed on radio, toured widely, and continued teaching into the
1950s. Richard M. Breaux’s excellent biographical article on Maloof
points out that when he died on leap day 1956 in New Jersey, his local
obituary pointed out his efforts to transcribe and preserve Levantine
folk music.
Arabic-language discs on various overseas labels were imported
physically from Beirut and Cairo during throughout the 1910s by
entrepreneurs including A.J. Macksoud who ran a series of music shops on
and around Manhattan’s Washington Street in what was then Little Syria,
while at the same time Victor Records issued foreign recordings
domestically in the U.S. for the immigrant market. It was not until the
Maronite priest Rev. George Aziz (b. 1872) recorded a single disc on May
15, 1914 in New York with violin accompaniment that the Arabic language
was recorded commercially in the U.S. (Again we refer those interested
in a recent biographical article on Aziz by Richard Breaux.) March 18
and 19 of 1915, the first Syrian recording star Nahum Simon began making
discs for Columbia.
Simon appears to have been a professional shoemaker, born January 25,
1890. He seems to have tried to emigrate through Ellis Island initially
in June 1904 at the age of 15, but after being detained for four days
for medical reasons, was deported. He successfully entered the U.S. in
1912, settling on Atlantic Avenue in Brooklyn with his wife Rahill and
their two American-born children Evaleen (b. ca. 1915) and Joseph (b.
ca. 1917). Between March and September 1915, he recorded 12 discs, and
then in 1916-17 another 21, all for Columbia. Their popularity catalyzed
a wave of recordings of Arabic-speaking immigrants that took place over
the second half of the 1910s. He did not however record again until the
1920s when he made 8 more discs for Victor Records (including two 12”
discs) and 3 12” discs for Columbia. After a few appearances of WBBC’s
Syrian Hour radio show in early 1933, we are unclear what happened to
him.
The only other singers to have recorded nearly as prolifically as Simon
during the 1910s and 20s were Selim Domani, who made at least 30 discs
for Maloof’s label; Louis Wardini, who made 6 discs for Victor on May
16, 1917 and another 25 discs for independent labels in the 20s
(including Maloof’s); and Constantine Sooss (or Souse), who released 17
discs on Victor and Columbia during the period October 1917 to February
1920. (Again, Richard Breaux has written biographical studies of all
three of them.) One factor ties together the recordings of Simon,
Domani, Sooss, Wardini, and (potentially) Aziz. They all include the
violin accompaniment of Naim Karacand. My own 2500-word biographical
article on Karacand was published at Breaux’s Midwest Majar blog, but
here is a brief summary:
Karacand was born on September 2, 1890 in Aleppo, Syria, where he was
raised Catholic. He arrived at Ellis Island October 10, 1909 and settled
in Brooklyn, followed by his younger brother Hicmat and parents
Abdullah and Susie. He was first married in 1912, and he had his wife
Najeema had three children (1913-17) - the period during which he
recorded scores of discs with Nahum Simon, William Kamel, Moses Cohen,
and several others as well as about 10 discs under his own name or
anonymously. His band at the time included Shehade Ashear (or Shehadi
Ashkar, kanun) and Abraham Halaby (oud), both of whom were Halabi
(Aleppan) Jews, or in some cases, oudist Toufic Gabriel Moubaid (born
ca. 1887-88 in Tripoli, Lebanon). During 1921-22, he was involved in a
protracted, bitter, and very public divorce that tore his family apart.
He recorded prolifically through the 20s for Maloof and Macksoud labels.
His Declaration of Intent to naturalize as the citizen of the United
States on July 10, 1923 was witnessed by his regular collaborator Toufic
Moubaid and the dancer Anna Athena Arcus, a native of Mersin, Turkey
five years his senior whom he later married. In 1930-32 Karacand worked
as a music consultant on films in Hollywood, notably including Mata Hari
starring Greta Garbo. In 1936-37, he traveled to Brazil for the wedding
of his brother Chukri and performed there before returning to Brooklyn
just after a retrospective concert of his work had been produced at the
Brooklyn Academy of Music. He spent the 1930s and 40s playing WHOM’s
Friday evening Arabian Nights radio program and performing constantly at
gatherings of the Syrian-Lebanese community. He continued to record
prolifically for independent labels through the 1940s and 50s in New
York. Among his last recordings were in 1958 at jazz-Arabic hybrid
sessions for Riverside Records under the direction of Ahmed Abdul-Malik,
who was then bassist for Thelonious Monk. Following the deaths of his
second wife and all three of his children, he died in Astoria, Queens in
1973 and is buried in Green Wood Cemetery in Brooklyn.
A composer and performer who was held in high regard in his community,
Karacand’s repertoire and skill allowed him to play with a wide variety
of performers from many backgrounds. Even among his earliest recordings
on this collection, he plays a classical peshrev (“bishro”) by the
Ottoman-Armenian Tatyos Effendi (tracks 17-18), urban Beirut/Cairo-style
classical tarab (tracks 5-6 and 9-10), and Syrian rural folk deke
dances (tracks 21-22 which were originally issued uncredited). His
collaborators included Jews (including Moses Cohen, who we suspect was
born in Aleppo ca. 1894) as often as Christians. In 1953-54 he hosted
the Orthodox native Aleppan violinist Sami el-Shawwa, who'd had a
parallel career to Karacand's in Cairo and Baghdad, having become the
single most celebrated violinist of the Arab world in the first half of
the 20th century. The two of them palled around for several months,
jamming at weddings.
Between May 1914 and February 1920, Columbia Records issued a total of
70 discs recorded by Arabic-speaking immigrants before ceasing to record
them altogether. Victor issued a total of 32 discs between September
1913 and July 1921 and persisted only sporadically through the 1920s. By
and large the market gap for Syrian-American performers on record
during the 20s was filled by the Maloof and Macksoud labels. This
collection represents about 5% of the total output for the time-period
it covers. Although lacking certain key performers (Souss in
particular), sourced from acoustically recorded discs in very mixed
condition from over a century ago, and lacking in biographical details
for two of its performers (William Kamel and Moses Cohen), I hope it
serves as window into in the musical world of a remarkable American
immigrant community deserving of more attention.
credits
released June 29, 2020
All tracks recorded at Columbia Grafophone's Woolworth Building studio
on Broadway except for 1 & 2 recorded at Victor Records' New York
City studio.
Instrumentalists on tracks 3-22 are likely Naim Karacand (violin),
Shehade Ashear (or Shehadi Ashkar, kanun) and either Abraham Halaby or
Toufic Moubaid (oud).
Recordings dates via Richard K. Spottswood Ethnic Music on Records
(University of Illinois Press) and Columbia Records E Series, 1908-23
(Mainspring Press):
1 July 24, 1913
2 September 18 1913
3-6 April 1916
7-10 May 1916
11-18 June 1916
19-20 January 1917
21-22 May 1919
Transfers, restoration, and notes by Ian Nagoski, 2017-2020
Thanks to Richard M. Breaux whose ongoing research into early 20th
century Arabic-speaking immigrants can be found at
syrianlebanesediasporasound.blogspot.com
Thanks also to Steve Shapiro, Nancy Karacand, and Jorge Khlat.
Further reading:
Elmaz Abinader. Children of the Roojme: A Family’s Journey from Lebanon. University of Wisconsin Press, 1997.
Donna Carlton: Looking for Little Egypt. IDD Books, 2011
Stacy D. Fahrenthold. Between the Ottomans and the Etente: The First
World War in the Syrian and Lebanese Diaspora, 1908-1925. Oxford
University Press, 2019.
Sarah M. Gaultieri. Between Arab and White: Race and Ethnicity in the
Early Syrian American Diaspora. University of Caltifornia Press, 2009
Princess [sic] Rahme Haidar. Under Syrian Stars. Fleming H. Revell, 1929.
Linda K. Jacobs. Strangers in the West: The Syrian Colony of New York City, 1880-1900. Kaliyah Press, 2015.
Salom Rizk. Syrian Yankee. Doubleday, 1943.
Najiba E. Saliba. Emigration from Syria and the Syrian-Lebanese Community in Worcester, MA. Antakya Press, 1992.
Lee S. Tesdell et al. The Way We Were: Arab-Americans in Central Iowa, an Oral History. Iowa Humanities Board, 1993.
The Demons Of Mind Music - (2019) Night of the Infernal Mistress CDr
Small Mercies – Small Mercies 003
Crossed Out - (1999) 1990-1993 CD
Slap A Ham Records – 055
Tracks 8 to 15 were recorded on February 15, 1992. Tracks 8, 10, 11 and 12 were originally released on the split 5" with Dropdead. Tracks 9 and 13 were originally released on the Son Of Bllleeeeaaauuurrrrgghhh! compilation 7". Tracks 14 and 15 are unreleased versions.
Tracks 16 to 21 were recorded on October 17, 1992. Originally released on the split 7" with Man Is The Bastard.
Track 22 was recorded on December 15, 1990 at a rehearsal.
Tracks 23 to 29 were recorded in April 1991. Originally released as the demo tape.
Tracks 30 to 41 were recorded on March 27, 1992. Live on KSPC Radio in Claremont, CA.
Tracks 42 and 43 were recorded sometime in 1992 at a rehearsal. Track 42 is a previously unreleased instrumental.
Tracks 44 to 47 were recorded on August 21,1993. Live at the Ché Café in San Diego, CA.
CCR Headcleaner - (2020) Street Riffs LP
In The Red Records – ITR-341
San Francisco’s CCR Headcleaner are back with a brand new full length of
dark, heavy, brutal, face-melting punk-adjacent stoner noise. These
guys are as good as fucked up acid fried rock n’ roll gets and Street
Riffs is their best statement yet!
Grim - (2019) Factory Ritual
Steinklang Industries – SK133
The post-industrial music pioneer from Japan surprises once again with simplistic purity in noise and sound. field recordings, junk noise and rhythms, organs and distinctive vocals – a mixture towards another great GRIM experience.
Grim - (2019) Lunatic House
Steinklang Industries – SK120
Jun Konagaya’s music—both the material released under his own name as well as his long-running output as Grim—has been an important part of my life for a long time, from my initial discovery of his debut Folk Music to falling in love with 2015’s Maha to the release of Memento Mori a few years ago. Throughout his eclectic, multitude work, there are recurring motifs that appear again and again, and Konagaya cements his singular style with a distinctive way of integrating melody into crushing abrasiveness; these elements are so recognizable that it’s always immediately clear it’s him (there’s even a consistent organ melody that repeatedly crops up and links different releases together). The opening moments of Lunatic House are so distinctly Konagaya that it brought a smile to my face. I haven’t been able to get ahold of the tape that preceded this release, Body, but Lunatic House is a fascinatingly diverse and unique progression from the artist’s recent output, melding Grim’s dual faith to beauty and aggression into a more cohesive style than ever before. Sublime, soothing guitar strumming is overcome by cycling waves of distortion assaults on “Luna,” music-box like reversed notes evolve into a seething rumble on “Tarantula,” and on “Voodoo Drive” a meditative field recording of a humanity-filled public place gives way to one of the most consuming and terrifying amalgams of sound I’ve ever heard, a restless mass of tortured, throat-tearing yells and crushing noise. Lunatic House is a new favorite from Jun Konagaya’s excellent discography, and with a classic, tear-jerking closing track that makes me recall every bittersweet lonely night I’ve spent with Travel or Love Song, definitely made my day.
Grim - (2020) Hermit Amen
Steinklang Industries – SK128
< Hermit Amen > is based on unreleased melodies made by GRIM with TASCAM porta one between 1980's and 2010's.
For all fans of early GRIM and JUN KONAGAYA material!
Cremation Lily - (2020) More Songs About Drowning CS
Self-released – none
washed out songs about drowning, sinking, leaving. no genre. no press.
long-awaited collaged waves of ambience and noise whirl with layers of
swirling vocals + melancholy beats.
guest voices from wicca phase springs eternal, døves and geoffrey rickly
(of the band thursday) + sound contributors such as moss harvest, false
moniker, plague mother, billy gomberg and daniel mothers feel like they
could only come together for a project this expansive + expressive.
xerox artwork by moss harvest completes the release, bringing a face + a
body to the cremation lily project.
washed away, understanding forever.
Damaged Bug / Black Pus - (2017) Less Artists More Condos Series #17 7''
Famous Class – FC043, LAMC – 17
The seventeenth release in the LAMC 7” Series. The tracks are available
for 'Pay What You Want' with 100% of the digital proceeds going to the
ACLU
“Rubber Lips” written and performed by John Dwyer © ASCAP "ONEEYEDFATGIRL"
Recorded at stu stu studio
“High Tide” written and performed by Brian Chippendale © Hit Points Publishing (BMI)
Recorded at The Hilarious Attic. Mixed at Machines with Magnets with Seth Manchester
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