Fresh Ear Candy for Your Hungry Head

Greetings everyone. Fond salutations. Fervent civilities.  And Happy National Mayonnaise Day.

I’m beaming to you today, in the midst of lockdown, direct from Biscuit Bend Studio in the capital region of New York. And I bring ear candy to spice up your day!

Outnumber the Living has finally released its debut album, Elegies for Solaris. It dropped just this morning and is available on dozens of platforms, just like all the other Quadrivalent/Biscuit Bend productions. And just like them, it is completely FREE at the Bandcamp site.

For now, there are no hard copies available. It is stream/download only and will stay that way as long as feasible. Get your copy now and share it with your friends!

Outnumber the Living @ Bandcamp

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Stay safe, everyone. And let your creative side out. There’s never a time like now!

New Music! Oooohhh

Don’t wanna read?  Click the album cover to go listen:  FrontCover

Greetings everyone, Octopodian and “normal human” alike!

Yeah that’s right, I used scare quotes.  What even is a normal human, anyway?  I’m calling you out.  Provide evidence of your normality and humanity or else risk being categorized as something questionably other.

I’ve roused from the sweet silent slumber of blogging hiatus to bring you fresh news!  There have been developments on the music front I must share.  How could there not be?  It’s been a couple years since I posted an update (sorry about that).

Let’s see, where to start…

The big news for folks interested in my toodley-tunes is that all my projects are now available for FREE on their respective Bandcamp sites.  Not only can you still stream anything (and read along with the lyrics) right there on the Bandcamp player without having to download or install any apps, but now you can download the original music for your very own without signing up for anything or paying a single cent!  Unless bandwidth becomes a problem, this will continue indefinitely.

And let’s be real here—bandwidth won’t be a problem unless I win the popularity lottery.  But as the saying goes, you can’t win if you don’t play.  My obscurity adds to your benefit:  imagine the cred you’ll get when you talk about the recording artist you follow who releases albums in several genres and publishes books, too?  And the material isn’t even dismally horrible!  Or so my closest, ego-coddling friends tell me.

Additionally, hardcopy CD prices have been slashed in half.  Most of them are just $5 (the Enantiodrome EP is only $3) plus a modest flat rate for shipping.  These are full-length LPs, people.  This is not a drill.  And there are bundles available, so check out the bands!  If you’re feeling it, reach out and let me know what you think.  I would warm my heart to find out that some of my work made it into your regular spins.  Likewise it would give me a great guffaw to hear that you thought it was so bad, you had to listen to other music immediately just to get the remnants of it out of your ears.

For those of you who have followed my work…

Mother’s Mistakes has changed status to inactive, due to the passing of my very good friend Frank, who made up the other half of that project.  The two full-length albums we completed together are available and will continue to be.  I’m very proud of them and I know he was too.  Since the release of Seldom Reached and Never Kept, he and I had put work into a pair of albums, one featuring each of us.  As a Biscuit Bend product, his album will be available to interested parties who inquire after it.  If there is interest, I could set up a streaming service for Frank’s music.  Let me know if that piques your interest.

The album I composed as a partner-piece in our final endeavor is now available as the latest album under the Orphic Elegy name.  The official release date is April 1, 2020.  It is titled After Sunset, and is available for free download and streaming at the Orphic Elegy Bandcamp.  If you like it, consider buying a hardcopy for only $5.  Who else can give you such value?

On the horizon…

Outnumber the Living’s album is complete will be made available some time this year.  I’m really excited to put this record out—it’s my first full length metal record engineered entirely on my own.  The fellows really put in their best and it shows.  It seriously rips.  Er, wait…slaps?  It slaps.

The Daybloom album is fiiiiinally in its last throes of production.  I am able to dedicate a lot of time to it this spring and will get it out of my basement and into your ears soon.  Kate and I are currently discussing the hardcopy design.

My second book is not far from being complete.  The writing is mostly complete and has been for a while, as it is a collection of short stories I have composed over the years.  But, since many of these pieces have been sitting for some time, I am giving them a final revision before putting them into print.  The cover art is done.  I plan to record an audiobook version soon, and I expect to get this whole thing released mid-2020.

As always, The Octopode will be the first place to find updates and links to new available works, previews, etc.  Thanks for checking out this post and have a damned good day!

-ML

I Can’t Say “Lake Titicaca”

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Why don’t people notice when their speech is goofed up?  Does that guy with a lisp just not realize that everyone around him is able to pronounce sibilants that he always misses?  Does that girl who makes all her Ms into Bs and her Ns into Ds because she’s restricting exhalations from her nose not hear that other folks aren’t doing this?

I think that we get used to the little handicaps we introduce into our speech for one subconscious reason or another.  They become a part of our habit and are effectively invisible.  Or inaudible, rather.

Nothing brings those errors into crisp contrast than recording yourself speaking, and then listening back.  Most folks dislike hearing their own recorded voice, due to the fact that it is a different experience than hearing it as you speak.  When you speak, you experience both internal and external stimuli, so when the sound is separated from your body and played back, it sounds foreign.  You don’t like it because it isn’t you, isn’t a sound you would want coming from you.  And it’s embarrassing, because you realize it’s how everyone else hears you.

I use that example to help guitarists understand why they hate the sound of their rigs miked up and recorded.  When you are playing with an amplifier in the room, all that low-end boom from the cabinet and the reflections of the room make up part of your sensory experience.  As does the feeling of playing it, of having that resonating instrument in your hands.  Separating and playing back the sonic response from a point right in front of a speaker (where the mic is) takes away much of the original experience and thus, much of the enjoyment.

For the last couple months I have been recording my own voice, reading Shame the Devil, a novel I published a few years ago.  Recording an audiobook.

It’s been hell.

I sit there and read a sentence, hear myself missing syllables, slurring consonants, having weird vocal breaks in the middle of passages that you can only understand by using context . . . and then I do it again, and again, and again.  Trying to stop that behavior.  Failing.

And it gets worse.  There are a lot of parts of speech I simply cannot pronounce.  Normal things that when I try to mouth them, cannot be uttered by the equipment in my head.  Like the word grasp.  I can pronounce it all the way out to the P, but put it in a sentence and I cannot do so without taking so much time it breaks the sentence in two and ruins the rhythm.  “Trying to understand more than he could grasp put him in a difficult situation” becomes “Trying to understand more than he could grass, puh, put him in a difficult situation”.  I hear it, I know I’m doing it and I know what I’m doing wrong, yet I cannot change it.

I should have taken speech class in elementary school.

My Ss are too soft.  My Ts are often missed or only implied.  My CHs are inconstant.  I can’t seem to get out of an M fast enough to keep rhythm, so I either sit on it too long or avoid it altogether, making “mountains” into “mmmountains” and making “permanent” into “peranent”.  I cannot say “Lake Titicaca” more than once unless I am allowed to take four seconds to do it.  I cannot say “Lake Tiki Titicaca” at all.  Not even once.  Maybe if I have eight seconds.  It should only take about one second.

My advice to you, is never to record your own voice.  It’s like going into a bathroom somewhere, and looking at yourself in a mirror under that weirdly penetrative fluorescent light that exposes every bit of skin damage you’ve had since you were eight years old, and makes you look like you haven’t slept this month.  It’s reflective of a part of you your brain has willfully trained itself to ignore.  Sometimes, ignorance is best.

However, if you’d like to hear me masticate an entire novel with my nasal, error-laden, lisping, always-sounds-like-he-has-a-cold voice, you should absolutely listen to me read my novel.

You can get the audiobook for cheap or free, or just check out a three-minute sample of it, at the Amazon page for Shame the Devil.  Just click on the mic:

micpic

Check Out This Song! Part 932

New Music Available!

And you can listen to it right now, for free.  Go ahead, see if I can hook your interest in 60 seconds.  I DARE YOU.

After four years of patient effort, Mother’s Mistakes is releasing a second album.  Titled Seldom Reached and Never Kept, it’s a big step in a more progressive direction for the project.  Stepping away from compact song structures, we dove into long-form composition and held nothing back.  Paired with lyrics focused on darker content, the music of this album builds a brooding, complex emotional arc.

Click Here to Stream Audio and consider purchasing a download or a hard copy at the Bandcamp site.  For a limited time, those who purchase Seldom Reached and Never Kept will also receive a free hard copy of the first album.

You are an Adult and Potential is Useless

nopotential

Today I was browsing through the funny images that stream to me on the little electronic shiny thing I carry around with me, saving them and sharing them, when I came across a concept that struck me like a brick.  The kernel of wisdom is found in a comic I will not share here per the wishes of its creator, so instead I will simply state the last bit of text, wherein it is contained:

“…you are an adult and potential is useless.”

Whoa.

This simple, intuitive concept has never occurred to me.  Nor has it been related to me, or appeared in something I’ve seen until today.  But there is much importance here.  It’s something I’ve been gradually interfacing with recently.

I’ve talked at great length here about considering your own death when setting goals.  The great conceit of setting your life’s aim and undertaking your life’s work, I argue, is that you have unlimited time in which to do it.  I think this blanking out of the truth, willed by the self and assisted by others, results in great loss for many of us.  This is something I try to keep close to my heart.

The balancing act between my creative interests has always been driven by the fact that wider pursuits means less results.  Time is limited.  If I pile my plate full, I won’t finish anything.  And my plate is way too full.  I am an advocate for specialization of your craft, yet I live in constant violation of that principle.

The arc of your life is a finite thing, and it is not the same at the beginning as it will be at the end.  Where in your progress should you be when you are 25?  40?  75?  At what point should you allow yourself to slow down, admire your work, and take a less involved approach to doing the things you love to do, setting smaller goals instead of larger?  Will you reach an age where your contributions are no longer relevant?  Will you expire before you can finish?

How can you ignore these questions?

Death and the often slow approach of death are great simplifiers of the passions that enthralled us.  Yes, the happiness of pursuit is the model, but achievement is a part of that.  If you have a single work that you dedicate your life to, at what age should you complete it?  Setting the goal just prior to your death is self-defeating; you won’t know when that is or be able to act appropriately when you do.  As well, wouldn’t you prefer to have years upon which to enjoy your accomplishment?

You are an adult and potential is useless.  Do not develop potential as an adult.  You are past that level in the big game.  You have either decided on your primary skillset or it has decided on you.  This has already happened.  Do not be fooled by the notion that you are keeping options open or opening your mind to new things.  These are important positives but they do not apply to the major pursuit of your life.  There are just as many challenges to take on and benefits to reap at this stage of your life’s work; happiness is not found by returning to the drawing board time and time again, forever.

So what is your reason for being, and where in its progress are you?

Sticking to Convictions

What do you do when faced with a disaster?

So many of us tend to disregard the emotional impact of negative things.  As though it shouldn’t matter how you feel.  We make practical excuses to disguise the emotional decision we have made.  But why?  Emotions are a huge part of us, and why should it be a bad thing to acknowledge that they inform our choices?

When faced with a major setback in a project, it is normal to want out. No matter how strong your desire and conviction to pursue your goal, your emotional commitment can be waylaid by a disaster.  Knowing that this is temporary, and allowing yourself to acknowledge the feelings but wait them out before making a decision to walk away, is the responsible way to handle it.  Throwing up your hands and making what could be a solvable problem into a permanent defeat is the cowardly way.

The work of coming back from catastrophe is in itself a confirmation of your commitment, and a reaffirmation of your conviction.  Even if you do it badly, just the act of doing it puts your heart back where it needs to be.

Sometimes that work is made worse by the degree of the disaster.  Sometimes, it’s hard, back-breaking, filthy work.  I wrote about such an event that happened to me shortly after I started work on my log cabin.  You can read about it here.

wheelbarrow

Touchin’ Stuff

I like touchin’ stuff.  Do you?

I remember the first time I touched a bass guitar with the intent to use it.  I was twelve.  Nothing I did sounded good, and the songs I was learning were ones I didn’t like much.  But there was a complete sensory experience involved in having the instrument strapped to me, and laying my hands on it.  The weight of it.  The finished wood of the neck.  The strum in the amplifier.  The smell of metal on my fingers.

It is intoxicating; the experience of interfacing with a reality that holds a potential for you.  Linking with a corporeal present that you could bend into the shape of an as yet impossible future.

I wrote about this in my log cabin chronicles this week.  You can check it out here.

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How Short Can You Horror?

worm

Another month, another Misfortune 500.  Very short tales I come up with to go alongside random images.  The pic above is a banana peel with a bit of stringy banana material on the end of it.  I thought it kind of looked like a worm.

I’ve talked before about how the backstory is what makes the pictures into horror, or into whatever you’d like.  You, the writer, have all the power.  How many words do you need to exercise it to your satisfaction?

Check out the story I set down to go with this image here.  C’mon, it’ll take two minutes.  Lemme know what you think.

Moving: Progress or Regress? part 2

doorhandle

Last week I discussed the decision-making process I went through in choosing to move in with my girlfriend, and I hope that you could see echoes of your own cognitive approaches to heavy decisions. I wanted to make it clear that the decision wasn’t easy, and that my requirements and desires were being addressed in the choice. I needed to elucidate the process for you, because I planned to share with you this thing that has happened when I have shared the news with others: I have been ridiculed for it. I thought about it for a time, and decided what I believe is going on. Perhaps you’ll chime in as well.

What would you say to me, were I to tell you in a conversation over a drink, that I am moving in to the downstairs apartment of my girlfriend’s duplex? Keep in mind that I am 37. Here are some of the responses I have had:

“Well, that sounds like you’re moving forward.”
“She’s keeping you in the basement now?”
“She won, huh?”
“Finally joining the rest of us stiffs.”
“I guess we know who’s calling the shots.”

Now, not everyone talks to me this way. Some folks congratulate me and wish me luck. Some of them even mean it. But the comments above and others like it have prompted me to shut my mouth about it.

There’s a peculiar pattern about those comments. They all come from a single demographic: middle-aged, married white men. Men that fit into the classic stereotype of the bread-winner milquetoast father and husband whose wife controls the household and to a degree, him. Ideas like the “To-Do List” that she writes for him, the one room where he is allowed to decorate as he pleases i.e. “Man Cave”, the withholding of physical intimacy based on her whim which he must not challenge, even at great personal difficulty, etc. It’s an antiquated gender role that isn’t quite out of prevalence in the US, coming after the male-dominated home stereotype of the 50’s and before, but before the more modern equality-based models.

These men who deride me when they hear that I am giving up my own place to live with my girlfriend all grew up believing (and consequently still believe) that the right and normal course for an American man is to marry and become a domestic slave. A man whose only respite is when he can get away from the wife, into the garage, or out drinking with the boys, or other activities that she scarcely tolerates. A man whose spare time is spent working around the house at her bidding, on jobs he does not believe need to be done. A man who desperately wants sex but is only given it once in a long while when she deems his recent behavior (see: housework) rewardable.

This is the situation they looked for, found, and now struggle with. They believe it is fitting. They perpetuate it. And of course, they see it as appropriate for everyone else, too. And as they say, misery loves company. They delight in projecting their own deplorable situation on another male, because it confirms the validity of their choice to put themselves into awful circumstances.

But I do not believe it is fitting. Thankfully, neither does my gerlf. She and I plan to approach things from a position of equal footing, and to respect each others’ needs, plans, and desires as being of equal importance. Supporting each other, rather than limiting each other. I have found, partially because of the derision I’ve experienced when sharing the news of my move, that such an equality-based approach to cohabiting is not just what I’d prefer, but it is actually a hard boundary for me. I become angry at the suggestion I might do otherwise. And I wonder if this points to my own childhood. Did I flinch when my mother handled my father’s sincere feelings as trifles? I am unsure.

Perhaps it is the fact that one approach reflects love, and the other reflects resentment, and the fact that I see this makes me sensitive to suggestions that I would accept the latter in the guise of the former.

How does this reflect your own living situation? Are you and your partner on unequal footing, even if you planned to be otherwise? Did you ever date someone considerably younger or older than your own age and find their values in regard to living together were skewed compared to yours?

Moving: Progress or Regress?

doorhandle

So I’m doing a thing next month that has been a long time coming. Though I have my reservations, I’ve decided it is the thing for me to do: I’m moving in with my girlfriend.

I’ve always been fond of living alone. I had no siblings, and when I went off to college I hated the idea of sharing a room (and didn’t, for the most part). I had to share a home with others for much of my lengthy six and a half years at school, but not a room, not almost at all. When I moved to New York I shared my place with the girl who moved here with me, and the crucible-effect was a part of why we split not long after. Since then a few important ladies have come to live with me as romance bloomed between us, and left as it wilted. But I am still here, in this apartment I moved into more than thirteen years ago.

Next month I’m trying out another domestic pairing of the romantic kind, but this time I’m moving in with her.

This apartment I’ve inhabited for a third of my natural life has a heavy weight of memories in it. Hard to face, impossible to uproot. Since my best friend and canine companion Blake died in March, it just hasn’t been right. I had never set foot in the apartment without him prior to that. Even on the day I arrived after driving 5 days, in the middle of bitter January 2004, he and I fell asleep on the floor under a single small blanket together.  He was a part of my home, and what’s left is incomplete. Add to that the work that my . . . we shall say “motivated” . . . landlord has done on the bathroom and kitchen, forcing me to move out of them and cram my things into the rest of the apartment, and my home becomes a place where I feel unwelcome. An interloper. Every day I come home and I don’t even know which workmen have been in there. They handle things they have no business handling. They break things. They have even stolen.

But as uncomfortable as my home has become, the discomfort is still not why I’m leaving. I’m leaving because my gerlf and I have been together for almost two and a half years, and the relationship hasn’t deteriorated at all. No dealbreakers. No major upsets. No ebb and flow of doubts and hopes. Its simplicity is its strength, and now it has stood the test of time. Well, some time. A considerable amount.  And it is the norm, the done thing, to try living together when you’re in a relationship.

She’s a home owner, which changes things. Dating in your thirties is a different ball game than in your younger years. Where fashionable disillusionment, occasional willful irresponsibility, and uncertainty about future prospects were chic in your twenties, romantic in a classical way, and even sexy, they smack of immaturity and stagnation in your thirties. Things like that must be no more than infrequent meanderings into indulgence, sitting atop an established set of life-circumstances. Money. Job. Home. Security. Rather than exulting in an ongoing level of hardship due to consistently shying from responsible decision making, we build a situation than can withstand such deviations, as long as they come in moderation.

In addition, sharing her mortgage and utility bills will be markedly cheaper than paying my own, to the tune of three grand a year, and twice that per year soon based on rent projections for my apartment. It makes financial sense. Also, more amenities await me there. I’ve been a laundromateer for so long, it feels like I never quite grew up in that respect. Folks over 30 in laundromats smell of a bad life decision or two, don’t they? I’ll be able to join the great self-laundering adult crowd once I begin cohabiting with the ladyfriend. And of course there’s the simple fact of trying out our relationship in a home-sharing situation. It has not been tested against this challenge, and it’s worth a shot, as the potential reward could be grand.

But one of the biggest reasons why moving in there seems do-able is that her home is split into two, with the downstairs being its own complete apartment, and the tenants she is renting it to are leaving. I would get my own complete apartment, right in her home. This takes off the pressure of sharing a home to a great extent, allowing me to set up my own space once again, in a new location. For those of us (you, perhaps?) who attach themselves to their living spaces, this is huge.

And I am one of those, no doubt. My home is a centering space. A jumping-off point from which I launch my life like an assault on my goals. I need it like clothes, food, and water—a place that is solely mine, where I am alone, comfortable, and able to think. To relax. To watch cartoons and eat pizza and not bother putting on clothes to do it. Privacy. Without such a place, I am never comfortable. And my stress level rises and rises.

So, the decision to move is going forward. I told my landlord. I started planning. I don’t even intend to move back into my kitchen after he finishes work there. Just going to keep receding, until nothing is left.

But there’s a thorn in my side as I go through these motions. Something to do with the way that other people are reacting to this news. That’s why I’ve composed this journal-esque blog entry for you this week. I want to know what you think about this kind of life choice. What would you say to me, were we discussing it over a beer after work?

Next week I’ll unpack the feelings of animosity that my coworkers and friends have lent a hand in creating, and talk about the way that our reactions to others’ choices reflect on ourselves.