Mechanical Jerk

"You know, a lot of great music was written during the Nixon regime. We're on the verge of a social movement not seen since then, so there's an urgent need for any music or noise that helps channel our collective energy and anger." - T.G.

"You got it." - me

This album came together pretty quickly, out of a heap of recordings mostly made in the past 6 months. It was almost accidental. By any measure, I don't have time to record solo material. I've been working full-time as a software engineer, and in my off-time working on that dissertation which, I promise, will happen soon. And on top of all that, I've got a project with Bob Pierzak under the Mayor Tacoghost banner which is going to totally blow your mind in the spring. But somehow I've been throwing ideas around more often, and more frequently than ever, I've been hitting the record button. So there you go.

It's not just me this time, though. I've brought in a lot of my friends for support here, and I'd like to thank them here. Some of them don't even know they're on this yet. You know, I plan on winning a Grammy with this one, so I figured I'd take the money and run.

When I showed Bob the instrumentals for the album, he ignored them. Then I asked him to write a few hooks for it and he got interested. We kicked some ideas around and ended up with the hooks for "Truckin', Not Sorry", "Feeding the Spaniels", and the gregorian chants in "Colliminal Messaging". His contributions to this album might be a preview of the collaborative approach we're taking on the new MTG material.

When I asked Bonnie Lander if she wanted to contribute some vocals, she agreed. Then, instead of doing that, we proceeded to record a completely different project with Clint McCallum which is forthcoming and sounds totally rad. I sampled a bit of her voice from those sessions. Later, she helped lay down some of the hooks.

Devin Connelly was down to record that guitar cameo immediately. And he totally shreds. I'll admit, I may have chopped up his guitar a fair amount, mostly in an attempt to make it less tasteful. He told me he wasn't upset by it.

Adam Goodwin doesn't know he's on this record. I sampled him via some of our old Molten Lava Eyeball Fiend sessions. I've hours (almost a day's worth) of material from those sessions. At one point, Sam Dunscombe (who also doesn't know he's on here) joined us and we pounded some amplified metal together. It was hot.

I used a number of home-made analog synths, vaguely clever recording techniques and new custom software plugins which I'll have to document at some other time. But really, the most important new element here is I'm getting back to thinking melodically and harmonically. Don't get me wrong, texture and rhythm are still essential but, at least in this recording, I also cared about that other stuff. Having purchased that cheap detuned electric piano might have had something to do with it.

Anyway, I hope you enjoy it. It's about an hour of music or noise. I hope it helps channel some of your collective energy and anger. It has mine.

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