Tabs Out | Catching up with Third Kind Records

Catching up with Third Kind Records
5.4.18 by Ryan Masteller

This isn’t really a batch, more of a catching up with Brighton, UK, all-star tape label Third Kind Records. You’ll note that the release dates don’t exactly match on all these, but can you blame me for that? I don’t have a wall calendar, I have a Philadelphia Phillies page-a-day tear-off calendar, so if ever want to go back and figure out what happened on a day in the past, I have to dig through my garbage to find anything. And it really only works for a week, because of trash pickup. Wait, I have a calendar app on my phone? Really… Hmm…

Doesn’t matter. We’re only going back a month and a half or so for Third Kind. Some stellar releases in the interim, gotta say. Might be that ocean air that just opens up the breathing passages, clarifying the internal, making label honcho Nicholas Langley a bit more attuned to the quality submissions coming his way, just a little more ready to pounce on the next sublime tape. Did I say “sublime”? I meant SUBLIME, in all caps. (Not the fake reggae band.) I highly recommend getting your hands on any and all of these. Act now, or that shady back-alley music Craigslist – you know, Discogs – is the only place you’ll be able to find any of these in the near future.


Let’s start here, because this one’s the newest, out April 21, 2018, the very day I’m writing this. Nick referred to Linden Pomeroy’s “Spirit Replica” as a cross between “Jim O’Rourke style songs, post-apocalyptic shoegaze, and ‘Selected Ambient Works II’-leaning ambient tracks.” I mean, that’s almost three of my favorite things right there! (O’Rourke comes in a close fourth to Totino’s Pizza Rolls.) But in reality, “Spirit Replica” is a sprawling sound world that you simply must immerse yourself in or it’s going to go right over your head. And that’s just the best kind of album, in my opinion, the kind you have to listen with headphones, door shut, eyes closed, start to finish. This thing is so clearly labored over, and so multidimensional that turning your attention away from it for even a second will likely ruin the whole experience for you. No, check that – probably impossible to ruin this experience. Just dive back in there somewhere.


I don’t know what “Huxian Farmers Painting Exhibition Hall” is, but I sure as heck know how to get there, thanks to the Bandcamp page for Kyle & Wilbur’s “Springtime Comes to Every Household”! So if I’m ever in China, I’m good to go. Kyle Clangin and Wilbur Armislow’s stylings have a Far Eastern vibe, certainly, in their careful and deliberate compositions. With Wilbur on flute and Kyle on electronics and “occasional” zither and violin, the stage is set for haunting atmospheres and melodies clearly inspired by rural Chinese life. Totally Zen, and the flute often takes on the characteristics of imagined bird flight, an idea that plays right off the lovely painting on the j-card. Hey, is it a Huxian Farmers Painting?? I don’t even know!!


There’s a reason I chose a photo of this tape for main post image. Just look at it! If we were still doing Look at These Tapes segments here, this would be a contender. And Endurance, Joshua Stefane himself, took the photography for this thing, as he usually does for his own tapes. The “Canadian bioethics researcher living in Japan” (I have wasted my life…) is back with another round of tense and sprawling ambience, the best kind of ambience if you ask me. Dubbing this a kind of “music for memory” (unlike, say, Caretaker’s “Everywhere at the End of Time,” which is sort of the opposite), Stefane injects the very essence of the life of the mind into these tracks, infusing them with a universal aspect that serves as a very easy touchpoint for entrance. Again, headphones probably required, but there is no better (or weirder) place to get lost in than your own mind. “The Wandering of Days” sets you up for hours of mental adventure (if you put it on repeat, that is).

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Tabs Out | Cloud Dweller – Winter

Cloud Dweller – Winter
5.1.18 by Ryan Masteller

You really wanna rankle me? Here’s how: specialize in crafting mood pieces in relation to events surrounding the locale of Allentown, Pennsylvania, a place where I have spent entirely too much g**-dam*ed time in my life. That’s me eyeballing you, Glenn Nelson, aka Cloud Dweller. Better yet, you could house your tape label’s headquarters there, probably in some hovel at the a$$ end of Linden Street or something. I am glaring straight in your m-effing direction, Endangered Species Tapes. Am I close? Thinking about Allentown from the safe distance of like 800 miles away is still like trying to scratch off every square inch of my skin because it’s itchy.

OK, sorry for being so negative. I mean, I’m OG, born in Allentown Hospital and everything, so it stands to reason that getting out of there was the best thing I ever did. Maybe I shouldn’t hold it against everybody that still calls the place home. And to be fair, there are times it can even be beautiful – heck, you can be from anywhere, or currently inhabiting anywhere, and the prospect of encroaching winter whiteout conditions is both exhilarating and awe-inspiring. That’s what Cloud Dweller captures here with “Winter,” based on his seasonal experience in Allentown … well, on side B, anyway. Side A was recorded in like Vermont or something, but we all know winter is winter and a snowstorm is a snowstorm, so quit trampling my narrative!

There I go again. Sorry, sorry! I don’t want to lose the thread that Cloud Dweller has a frigid grip on his synthesizer rig, icy tones penetrating the short days and long nights. Seriously, you can curl up under a warm blanket by a crackling fireplace while the wind howls outside and this “Winter” tape will still chill your bones. But that’s one of the best parts about winter, one of the ones I actually miss now that I’m the heck out of there: the cold makes the getting warmer all the sweeter. So turn off the lights, light some candles, and get under the covers while Cloud Dweller drones his “Winter” all around like snowflakes swirling in a gale. It makes thinking about Allentown actually … pleasant?

Random PS: How’s Double Decker’s tape game these days?

Winter’s in a teeny-tiny edition of 25 from Endangered Species, so hurry it up!

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Tabs Out | Final Cop – Broken Window

Final Cop – Broken Window
4.30.18 by Ryan Masteller

You gotta smash some windows to make an omelet, isn’t that right gang? The opposite is true too – if you don’t want that runny yellow shit getting all over your hands, you lock it up real good, real tight. Don’t let it out, don’t let the cracks show. Perfect order, perfect unity. We are all good little boys and girls, and we will NOT BREAK EGGS. I mean windows. We will NOT BREAK WINDOWS, or jump turnstiles, or spray paint graffiti all over the new bank that just went up downtown.

Final Cop has had enough of it too. The duo of Vern Ore and Peter Kris slings crisp industrial post-punk at your ear holes, the sonic equivalent of throwing an authority fit because they just can’t take all you jagoffs running around like there’s no law and order or anything. Because wouldn’t you know it, the more you get away with the little stuff, the more it builds to the big stuff, like ramming a garbage truck full of cement through the vault wall of the new bank that just went up downtown or something. That’s why Final Cop is here – to prevent garbage trucks ramming through bank walls, and thwarting masterminds who want to cause chaos by making off with that sweet cash. You know as a taxpayer you’re going to be on the hook for the big stuff, the Big Crimes, right?

Or, uh, Final Cop is taking the opposite stance while commenting on the state of urban crime? Or something. I dunno. I’m just head-nodding along to “Broken Windows” in my Walkman till my neck snaps.

Only four tapes remain from Skrot Up! Get em while they’re hot!

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Tabs Out | Tycho Brahe – s/t

Tycho Brahe – s/t
4.27.18 by Ryan Masteller

The REAL Tycho Brahe would never jam like this. This imposter, releasing a self-titled tape on Cleveland noise stalwart Mistake by the Lake, is all like, “Listen to me, my synthesizers rip through your psyche like supernovas rip through the space-time continuum!” Besides being totally wrong about what supernovas do, Fake Tycho Brahe also didn’t lose part of his nose in a sword duel in the dark, like Real Tycho Brahe did in 1566 at the University of Rostock in Germany. Look it up. Real Tycho Brahe also observed an actual supernova in 1572, but everybody thought it was some sort of strange heavenly light occurring between the moon and Earth, because of “celestial immutability” (freaking Aristotle). Real Tycho Brahe dropped some KNOWLEDGE on those fools, “De nova stella,” setting the record straight for, like, decades. But yeah, Fake Tycho Brahe, you just keep making your synthesizer music. We don’t need any new advancements in science or anything. [*Eyeroll*]

Ha, OK, look, I’m not really some sort of stickler for accuracy here. I’m writing about music after all; I’m not aiming for publication in some scientific journal, because let’s face it: research isn’t exactly my strong suit. So let’s focus on Fake Tycho Brahe for a second, because once I got all that junk out of my system, that crummy thirty-thousand-foot history lesson, I realized that this tape is an absolute gem, a stunner, a completely appropriate addition to the catalog of the city that brought you Emeralds. This vibe cycle of oscillations and melody permeates the brain and unlocks all sorts of potential avenues for understanding. Maybe Real Tycho Brahe was listening to the modular lute equivalent of this back in his day, inspiring him to write “De nova Stella.” Maybe Fake Tycho Brahe is pulling a fast one on us by including what looks like a supernova occurring among a forest on the j-card art, suggesting either that he’s in on the reference or just a fan of X-Files-related phenomena. Either way, smash sound and science together into cassette tape form, and you’re in for some far-out elliptical mind-blowery with this thing.

Let’s face it, both Tycho Brahes are real. Grab one of these 48 (or 50 – MBTL isn’t clear on that) tapes while you can, as well as a copy of “De nova stella” (in Latin!) from the fine company Amazon.com.

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Tabs Out | Sonic Syrup four

Sonic Syrup four
4.26.18 by Casey G

Sonic Syrup is an audio-column that explores recent offerings from the cassette underground with thoughts from Casey G.

Edition four of Sonic Syrup features:

CDX – All Night (Suite 309)
Junk DNA – Plastic Exports (White Reeves Productions)
Severed + Said – Incorporeality (Not Not Fun)
The Blue Tapes House Band – Selected Ambient Works (Blue Tapes)
Peter J. Woods & Andrew Weathers – A Whole New Alphabet (Flag Day Recordings)

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Tabs Out | Marta SmiLga – Lunar Maria, Vol. 1

Marta SmiLga – Lunar Maria, Vol. 1
4.2518 by Ryan Masteller

My almost-seven-year-old son doesn’t play with action figures or anything, he plays with stuffed animals, his favorites being Mario, Luigi, Toad, and Yoshi, because DUH. Also, I think he likes playing with them because he can throw them at other kids in the variation of tag they play at school. So it should be no surprise that his bed and closet are overflowing with random plush creatures and other ephemera. But maybe the coolest ones he has are stuffed globes of Earth, Mars, and the moon (called, yes, a “Hug-a-Moon”), complete with notations of political (on Earth) and geographical locations. He might be the only first grader who wouldn’t uncomprehendingly blink at the mention of Mare Ingenii, Mare Frigoris, Mare Nubium, and Mare Orientale.

How’d you do? Those ring a bell? Don’t tell me my kid is smarter than you, a grown adult! Ah, you shouldn’t feel bad though — I wouldn’t have had a clue either, not until I read that they’re all “dark lunar plains that early astronomers mistook for seas.” And it’s these that Marta SmiLga focuses on throughout her synthesizer song cycle “Lunar Maria, Vol. 1.” A synth-maker and stargazer from Riga, Latvia, Liga Smirnova uses the alias Marta SmiLga (tongue… twisted…) when she wants to get all tripped out on sci-fi and outer-space dream sequences. Every moment on “Lunar Maria, Vol. 1” captures the unearthly awe of early space exploration, when we humans started to figure out there’s a whole heckuva lot out there beyond the confines of Earth. From the Sputnik-y bleeps of “Mare Ingenii” to the interstellar fears conjured by the loneliness of “Mare Frigoris,” Smirnova reports on what she observes in the night sky, each track a deep dive into the everything our imaginations have ever whipped up about the cosmos. And in the end, those lunar plains may as well be space oceans, that’s how deeply immersed we get under Marta SmiLga’s dense spell.

Grab one of the edition of 100 from Crash Symbols. And by the way, the Hug-a-Moon makes for a pretty GREAT projectile, especially if you’ve got the kind of arm my son does. Plus he’s a lefty.

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Tabs Out | (2 Dads 2 Sons Emoji) – Untitled Modular Synthesizer Demos

(2 Dads 2 Sons Emoji) – Untitled Modular Synthesizer Demos
4.24.18 by Ryan Masteller

Sometimes you just stumble across something that makes so little sense that it renders everything around it obsolete, thus redefining the idea of “sense” so that, coming from that something, nothing else makes more sense than that thing you stumbled across. That’s how I felt when I peeped at this [2 Dads 2 Sons Emoji] artefact and beheld its utter weirdness coalescing into normality before my eyes. Nothing is as it should be. Yes, it says “edition of one” on the j-card. No, you can’t buy it. No, you can’t HEAR it. So I won’t even be embedding a Bandcamp or Soundcloud link below.

But considering the circumstances, I’m breaking all the rules today.

Dubbed over an actual copy of The Beatles’ “1967-1970” collection, because sometimes blank tape is just too expensive, “Untitled Modular Synthesizer Demos” is like an odyssey through the cracked psyche of [2 Dads 2 Sons Emoji]. The frenzied scribbles of the artist’s preferred instrument pinging around my headphones are SO MUCH MORE welcome than another runthrough of that goddamned “Octopus’s Garden” (damn you, Ringo! I’ll get you someday). And I mean, I LIKE the Beatles, in general. But this is just a handmade treasure that you’ll have to pry from my clutches long after I’m gone. Or for the right price on Discogs…

I kid, I kid! This is a total trip, and I’m going to take it again, this time with some assistance – liquid courage!

What are you still doing here? I can’t embed this one. I GUESS I could point you in the direction of Gay Hippie Vampire if you want to check out some of the more POPULAR releases by [2 Dads 2 Sons Emoji], like “Gayest,” or “Frotting.”

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Tabs Out | V/A – Doom Mix Vol. II

V/A – Doom Mix Vol. II
4.23.18 by Ryan Masteller

Comps are dumping grounds for neglected tunes that couldn’t make the album cut. Just look at the enormous stack of Warped Tour and Ozzfest and DGC and what-have-you CDs gathering dust in the corner over there and tell me they have a use other than landfill fodder. And seriously, you should probably get rid of all those.

…Which is what I WOULD HAVE SAID back in the days before the light illuminated the truth and these old codger’s eyes were opened for good! (But I still mean it: those CDs in the corner just aren’t good ones.) That’s right, I’ve come around to the glorious use of the compilation as a means for perpetuating the label brand, and it’s all thanks to “Doom Mix Vol. I,” which was my favorite release by California whippersnappers Doom Trip before that whole Mukqs tape came along (gosh, that’s a good’un, along with the REST of the tapes in the Doom Trip catalog). And now we’ve got a SECOND volume, “Doom Mix Vol. II” (duh), filled to the brim with Doom Trip artists old (R. Stevie Moore, Diamondstein, Heejin Jang) and new (Brayeden Jae, MrDougDoug, Dntel). If that name Dntel sounds familiar, you’d be right: you probably heard his song with up-and-coming singer/songwriter Ben Gibbard on the hit show “The OC.” (And I predict BIG THINGS for that fellow Gibbard, by the way – he truly is a treasure.)

All kidding aside, “Doom Mix Vol. II” is filled chockablock with excellent tunes, once again proving my old self wrong and solidifying the idea that diversity in sound unified under one roof can be just as cohesive and stunning as a single artist executing a singular vision. And on this second anniversary of Doom Trip’s existence, what better way to celebrate than by tripping fully through the “variety of approaches to electronic music” that the label’s pushing? I know that’s what I’ll be doing.

And in the spirit of calling attention to a compilation track surprising the hell out of me, here’s a standout on initial listen: Diamondstein’s “Taghut #2.” But don’t stop there, dive back in for the rest! Downloads are FREE FOREVER, but only 150 of the tapes exist…

And DON’T throw this tape in a landfill!

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Tabs Out | Episode #124: Stunned Records


Warm Climate - Camouflage on the River Wretched
Garrincha & The Stolen Elk - We Were Wyoming
M. Geddes Gengras - split w/ A.M. Shiner
Molten Honey - split w/ Masons
Jawsmoke - split w/ Nite Lite
Yek Koo - I Saw Myself
Andreas Brandal - Secrets of the Snow
Lunar Miasma - Three Legged Elephant
Xiphiidae - Iiustus / Transresonance Formation
Super Minerals - Be Brave Children of the Monsoon
Tricorn and Queue - Ashes Wander
Plankton Wat - Foundation Stones: The Stunned Box


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Tabs Out | Interview – id m theft able

Interview – id m theft able
4.19.18 by Jacob DeRaadt

Skott (aka: id m theft able) is one of those people that I knew through trading tapes of thrift-store cut-up in the mail for years before seeing him perform live with an amplified table of various re-imagined objects, prepared digital cut up, radio, and THOSE VOCALS. Since moving to Portland, Maine, I’ve had the pleasure of a lot of conversations with Skott about our shared love of experimental music and hair metal, growing up in small towns, and seeking out sounds on your own as a teenager. I wanted to ask Skott questions about elements that link up his total art worlds which seem fairly evenly divided between sound and visual collage. Here’s some of them that took place in summer/fall of 2017 about his visual and sound practice, the DOES series of shows he curates, side project 3D Jet Scooter,and his long-standing label MANGDISC.


You said something in an earlier interview about comparing your voice to a saxophone. Do you listen to much horn stuff?

Sure, I don’t focus on it particularly, but I do like free-improv and free jazz.

How does comedy fit into your perspective of your sound work?

I never set out to be funny, but I know that sometimes if I follow through with particular impulses I have people are probably going to laugh. I had a dream once that I ripped a soccer ball apart on stage, so I decided to try it in real life. So I got a soccer ball and tore the panels off one by one, the panels had strings attached between them and the ball and as I pulled them off I made a crude sort of lute. I plucked the improvised strings and sang in a falsetto. Of course people laughed, and though I wasn’t trying to be funny, I’m glad they were engaged. It was interesting to me so I did it, how people react to it after I do it is out of my hands. No response is invalid. That said, I like and am influenced by comedy.

When I was younger, I did worry about doing things that would undermine the “seriousness” of my intentions. This now seems laughably stupid and pointless to me. I did away with any pretense of being taken seriously/not seriously over time, and it’s quite liberating to simply have faith in my impulses and intentions and not worry about any of that anymore. Serious/not serious, fuck it, if I want to do it, I’ll do it.

I’ve always been curious about the process of how you come across all of these backwoods Maine objects that work themselves as motifs/repeated themes into your work. Can you tell me a bit about this process?

I’ve got several dumps all over rural Maine that I visit, one that I visit once a week and I’m on a first name basis with the crew there. They have a vague idea of what I do and will occasionally set stuff aside for me. Sometimes I actually bring a mallet with me and just go around tapping on things, auditioning garbage. Almost all of the stuff I use on stage that isn’t electronic I get at either the dump or thrift stores. I’ve never had the money to get fancy gear, and at this point I really don’t care to. Mine is cheap music, and I’m happy with that. I recently bought a $350 PA and that’s easily the most expensive piece of equipment I’ve ever bought.

How much does your visual art relate to the sound collages? They seem to make sense together.

I rarely ever start working with a concept, I just sort of… start. Sometimes I’ll have a particular word floating around in my brain, or a particular subject I want to address, but for the most part I don’t know what a piece is about, if it’s about anything, until I’m well into creating it. This is true both in terms of how I make collage and how I make music. I try never to let my initial concept burden me. If it makes sense to change direction in the moment, I change direction. I don’t want to be weighed down by my own ideas if I see some other direction that makes sense in the moment. With collages my intention is usually simply “I want to make a collage” and I sit down and start tearing paper. With music my intention is usually “I want to make music” and I just go. I’m not entirely anti-concept though, and sometimes having a structure of some kind can prevent you from falling into the same old patterns that you find yourself repeating.

There’s a lot of consistency with the CD abuse and tape editing in your work. What’s your process like for that?

I have a weekly radio show that’s basically me doing two hours of “sound collage” (their term, not mine!) every week. So, on Tuesday, I go into the the side studio before my radio show, do all kinds of naughty things to CDs, tapes, records, radios – whatever they’ve got lying around and whatever I’ve brought with me. The cut-ups I think you’re referring to I make in real time, fading and cutting in different elements that I think might make sense together. I’ll usually do 4 or 5 passes with a particular set of material until I get something that I like. Then, later, I remix that material on the air, add or subtract elements, splice it together with other things that make sense, sometimes add vocals or other acoustic sounds live.

Every CD player has a different way you can exploit it. Some deal with glitches in very different ways than the standard skip we all know. Every time they get a new deck at the station I’ll put an altered CD in there (I mostly only alter them with Sharpies or scotch tape) and see what I can get it to do. Most of my tape work is about quirks with tape loops, especially intentionally damaged ones, or recording things onto low fidelity tapes and working with that. Speeding them up, slowing them down, that sort of thing.

I don’t hear a lot of effects in your work. That’s very refreshing.

I like it raw, I always have. I do occasionally use effects, especially various types of distortion, but sparingly. Last week on the radio I took one of my rain recordings, sped it up, added a little distortion, then maxed out the gain on the mixer on top of that and made a little HNW on WMPG. It was actually pretty fun, but, in general, distortion almost always seems to remind me of rock music, no matter what you’re doing with it, which is by no means a bad thing, but isn’t where I want to be sonically a lot of the time. I’ve always thought of harsh noise and its offshoots as just a sort of extreme form of rock music, like a really awesome guitar solo that just goes on for a long time. I love it, but that’s just not where I personally want to be. I did use a little flanger on something the other night though.

How long has Mangdisc been around?

The first release came out in 1999, but I had a different label before that with the cute name of Melt Brain, and there were 4 or 5 releases, all of my music, well before Maang. If you count the negative and found series, I’m at around 120 releases.

What’s the biggest press you’ve done with Mangdisc?

I pressed around 300 copies of the Visitations CDR which came out in 2005. By way of their association with Time Lag Records, they were pretty hot shit at the time and Nemo from Time Lag actually asked me for something like 200 copies, so, I made them! The three members of that band are close friends (and I’m actually on that whole record, as Lovebunny, a secret half man half rabbit from the wilds of Windham) and I was happy to do it. It actually sold out quite quickly! That was an anomaly though and I’d say aside from that one 7 inch I did (which had about 250 copies) things rarely get over a hundred copies, and some of the titles there were only ever 4 or 5 copies of.

When you started doing the project, was it in relative isolation? Did you know about Prick Decay/Dylan Nyoukis/Jap Blonk’s’ work?

I had no idea about any of them when I started doing vocal work. My influences in that department were more Joan LaBarbara, Cathy Berbarian, Yoko Ono all of whom I got into in high school. I did know about Sound Poetry, Kurt Schwitters and all of that as well, so that was certainly in there. Most of my vocal influences were and are actually non-vocal. I really started using the voice mostly because I couldn’t think of a way to create the sounds I was imagining for various pieces, so I just started imitating them vocally. I actually made music for years before I started doing any extended vocal technique stuff at all. I first heard about Jaap Blonk after someone reviewed one of my tracks on some compilation and said “this sounds like Jaap Blonk recorded on the side of a busy highway” or something like that, so I subsequently found and immensely enjoyed his work. Dylan I’d heard about because he was a friend of Crank Sturgeons, but I didn’t hear his work until much later. Big fan of his too. Honestly, all of these folks have probably rubbed off on me in some way, but I’m probably every bit as influenced by rap music, or Robert Plant’s wailing or what have you.

How do you relate to the Portland experimental scene? It seems like you tour more than play live shows around here.

Portland has never really had all that extensive of a scene for this stuff so there really isn’t too much to relate to. To be honest, there’s more folks here in town doing it than there ever were before, so you’re sort of here at the peak of it, but as you well know there’s still not a lot happening. Portland isn’t nearly as cool as it thinks it is. I definitely play far, far more often in Massachusetts and elsewhere because there’s just more interest down that way. That said, there are a small handful of people in town doing work that I dig, yourself included.

Do you feel like something would change if you didn’t have the isolation of living in Windham? You seem like kind of a hermit to me.

I will say that I really like talking to people, but my natural inclination is sort of not to. Working at Strange Maine definitely keeps me social. I was a fairly isolated kid and didn’t really have any real friends until high school, so being a bit isolated is a normal state for me. I’m very glad to live out in the sticks so that I have the space to decide whether I want to talk to or see anyone or not. I’m also so glad to be involved with the store and to have made so many great friend through music and art. My creative impulses, such as they are, were definitely born of being a weird isolated kid with no one else around that I related to.

What prompted you to start doing the DOES Series of shows?

Well, I did shows at Strange Maine for 13 years and once that was abruptly stopped I had to do something. The last string of Strange Maine shows were relatively well attended, I was feeling really good about booking, so I knew I wanted to continue somehow. I was really influenced by Andrew Chadwick’s “Action Research” series in Gainesville, Florida. He’s never been tied to one venue, the series has always moved from venue to venue, and I liked the thought of that. So, I basically decided to see if I could emulate that. The Apohadion reopening has been awfully helpful for that. That place is amazing and I’m so thankful to Pat and the gang for letting me book there.

Let’s talk about 3D Jet Scooter, a trio you have with Frank Turek and Janane Tripp. Janane used to be in a band called Prisma that put out a record on Time-Lag Records, was in Visitations, and is in the Veasies. You seem to take turns determining who steers the direction or disrupts things, like Janane was doing last time you played.

3D Jet Scooter is me and two of my favorite people on the planet. Janane Tripp, known for her work in Visitations and Prisma, as well as her solo work, and Frank Turek who’s been making music and art in a myriad of genres and permutations around Portland since the late 80’s, I think. The range of what he’s done is amazing. I always tell people we’re a “spacey improv band”, but that’s pretty simplistic. It’s definitely improv, as the most we’ve ever decided beforehand is something like “let’s start quiet” or what have you. I really like the band, there’s something about the combination of playful personalities that works more often than it doesn’t. Sometimes it crashes, but usually it doesn’t.

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