This is exciting. I look forward to the release of Good Dogs.
Your production method ties directly into something I developed called the Certificate of Embodied Production (CEP).
The first iteration was tied to a label and record club where the songs would be recorded through the CEP methodology and then released only offline. The original tagline was “The future of music is offline.” I could not find any artists willing to take the leap, although they all loved the CEP concept.
The CEP concept is a method for how a recording is made, rather than an analogue recording concept.
Instead of fidelity to the source, think fidelity to the act.
Your comments on being in the room, eye contact, committing to the take, and the risk, trust, and vibe that result from not relying on what I call the infinite undo playlisting of modern recording production are spot on.
The CEP certifies recordings that do not use pitch correction, generative AI, or grid correction. It has its roots in the philosophical insights of the philosopher Susanne K. Langer, who argued that music is a presentational symbol that necessarily contains epistemological import and presents to us the morphology of felt life. I gave a presentation on this two months ago at a philosophy conference in Vienna, where my argument that modern recording practices destroy this vital source of knowledge was received with excitement and support by the people immersed in the work of symbolic forms and epistemology.
My published research on the crisis of gridification is meant to show that perfect music is teaching us to see difference as error in need of correction, rather than as an opportunity for collaboration, and that music recorded through the CEP methodology presents to us an image of life as we actually live it. We are not perfect people, so why should our music be?
At its core I created the Certificate of Embodied Production as an intervention in the crisis of democratic coordination because how music is made shapes how we live together.
I love the fact you are releasing this on vinyl only for a few months. Looking forward to it.
A snapshot of an artist’s perspective as he reflects on the recent creation is a rarely experienced joy. Thank you for this. We enjoyed hearing GOOD DOGS in St. Paul the other day.
This makes me so happy! After all the shows, traveling, and the 1000s (?!) of times you’ve played Midnight or Wait So Long, what a gift that you still make music together. And we get to experience that gift in our own way. Thank you!
Anticipation is a wondrous thing and not only do I get to see two shows in August, but now a new album. Hot diggity dog! 😁. Vinyl, yes please.
Thank goodness your rock n’ roll gear got stolen all those years ago. Long live TBT!
This is exciting. I look forward to the release of Good Dogs.
Your production method ties directly into something I developed called the Certificate of Embodied Production (CEP).
The first iteration was tied to a label and record club where the songs would be recorded through the CEP methodology and then released only offline. The original tagline was “The future of music is offline.” I could not find any artists willing to take the leap, although they all loved the CEP concept.
The CEP concept is a method for how a recording is made, rather than an analogue recording concept.
Instead of fidelity to the source, think fidelity to the act.
Your comments on being in the room, eye contact, committing to the take, and the risk, trust, and vibe that result from not relying on what I call the infinite undo playlisting of modern recording production are spot on.
The CEP certifies recordings that do not use pitch correction, generative AI, or grid correction. It has its roots in the philosophical insights of the philosopher Susanne K. Langer, who argued that music is a presentational symbol that necessarily contains epistemological import and presents to us the morphology of felt life. I gave a presentation on this two months ago at a philosophy conference in Vienna, where my argument that modern recording practices destroy this vital source of knowledge was received with excitement and support by the people immersed in the work of symbolic forms and epistemology.
My published research on the crisis of gridification is meant to show that perfect music is teaching us to see difference as error in need of correction, rather than as an opportunity for collaboration, and that music recorded through the CEP methodology presents to us an image of life as we actually live it. We are not perfect people, so why should our music be?
At its core I created the Certificate of Embodied Production as an intervention in the crisis of democratic coordination because how music is made shapes how we live together.
I love the fact you are releasing this on vinyl only for a few months. Looking forward to it.
https://musicalform.org/cep
Woah! I love this. I will check it out now.
“Morphology of felt life” what a beautiful way to describe music.
A snapshot of an artist’s perspective as he reflects on the recent creation is a rarely experienced joy. Thank you for this. We enjoyed hearing GOOD DOGS in St. Paul the other day.
This makes me so happy! After all the shows, traveling, and the 1000s (?!) of times you’ve played Midnight or Wait So Long, what a gift that you still make music together. And we get to experience that gift in our own way. Thank you!
Anticipation is a wondrous thing and not only do I get to see two shows in August, but now a new album. Hot diggity dog! 😁. Vinyl, yes please.
Thank goodness your rock n’ roll gear got stolen all those years ago. Long live TBT!
So exciting! See you guys in Cheyenne in a few weeks. Hope to hear a couple of the new songs.
Damnit you made me cry.
I’m always so excited when you give us new music and so thrilled to watch you succeed. I feel like i’ve watched you all grow up.