Ardent EP re-pub

That our Philly scene was no stranger to Brett Anderson and the London Suede— that's one subtext of the Matt Stevenson-created Ardent cover. Mary was in on that too, without knowing it. So, here 'tis— the re-pubbed seven-song Ardent EP, un-stunted rock from the bowels of South Philadelphia. Shake off the jinx, let in the minx.

Bullett
El Goodo
Brown Eyes Like His
Ardent
Fortis Green
Streetlakes
4 Elliott

Mix Upload: Third/Sister Lovers

Feel (I saw) remix: Eris Temple lore

In 2008, Natalie Weyes Blood performed at the Eris Temple, where I'd recorded Feel. 

Acid Dropping EP

 

A keepsake of a time and a place, and of possibilities.

Acid Dropping EP is:

I. A Clangorous Din— Speck

II. Stone the Devil— Speck

III. Viaje entre las luces— Vince El Mejor

IV. Driving Home— MalreDeszik

V. Hipsters— Falki Hoz

VI. Feel (I saw) remix— Zenboy1955

Various Positions:

On the Soundclick Jazz Overall chart, A Clangorous Din reached #15, Stone the Devil #12, Viaje entre las luces #18, and Driving Home #29.

On the Soundclick Electronic Overall chart, Hipsters, a.k.a. Ode On Jazz (3, with Falki Hoz), reached #20. Feel (I saw) remix reached #8, making it a national hit. 

Featured on Things You Heard When You Were Dead (shane p).

All tracks feature spoken word by Adam Fieled, from (respectively) Opera Bufa, This Charming Lab, When You Bit..., Ode On Jazz, and Curiosities. 

From Funtime Records, and Jamendo.  

Produced/engineered by respective artists, Eris Temple, and the Kelly Writers House. 

A Clangorous Din re-pub

Speck, in Cali, took some of the nicer passages in Opera Bufa and went to town with them. This was in '21. A Clangorous Din made a top 15 showing in the Soundclick Jazz Overall chart, and a top 10 showing in hearthis.at Electronica. Here: Jamendo's re-pub. 

For Bloomsday. and Christmas

7 Chinese Brothers

Assimilating the spots of time we all live through, some people are lucky enough to spots of time that either are, or become, holy to them. I have a few. The spring of 1998 in State College, Pennsylvania was a holy time for me then, and remains one to me now. Odd, because I should’ve been graduating, and was not. Yet I was graduating— from a realm of confusion and discomfort, a perpetual inability to express myself in writing, into a new, expansive realm where I could take language and go wherever I wanted to with it. The French Symbolists were with me. I still had the Beats around. Eliot I was just starting to grok. Yeats and Romanticism were still in the future. But when I got picked up by a writing whirligig or virus, living in a bedsit flat in North Halls, a little slice of a room, I got dropped into a place where I felt the earth move with my pen. Clean was my first masterpiece. Absurdist, bizarre, but a masterpiece nonetheless. All brought on by extensive donning of black leather pants. Daddio. Don’t keep ‘em on for three months. Clean heralded a sense of absolute rebirth. Enhanced by the extremely intense, bewitching sense of earth magic in central Pennsylvania. Great weather, in the spring of ’98, Centre County. Seventy-five and sunny all the time. I moved into yet another South Atherton Street sublet. The daily writing jags were about a task I could do, from a sense of manhood earned. R.E.M. is, of course, perfect to hear in a little college town. Holy. And my choice for the spring of ’98 happened to be Reckoning. So that the best of my time in State College was always spent floating slightly above the ground. If you can earn that sense of floatation with serious creativity, you have gained religion.