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You know, it’s funny. I was just thinking how horrible twitter is now for just sending out thoughts you might have at the moment. Or how Instagram is all image etc and thinking, “back in the day I’d just post to my website these dumb thoughts when I felt them” and it was like the biggest smack in the forehead. And sometimes I think of this kid who came up to me in Croatia in about 2009 and told me he wished I had kept up my website where I just posted rants and things I was listening to and all that. And that was back in 2009! So, maybe this will be the beginning of many more dumb posts, only existing in my own world. Or maybe I won’t post again for like 8 months as per usual. Who knows?

Figured I’d just post this Stones vid because it’s amazing. This song was always a tough one to cover because even though it’s one of my favorite songs ever, that “needle and the spoon” line makes one wonder what even does “truth” mean when covering a song that one loves. Townes used to cover this as well.

Did I ever tell you the story about when I was asked to perform at a Townes tribute and I thought it’d be a good idea to cover some crazy obscure Townes song and I got pretty drunk before my turn and it was the only time I’ve heard the “boos” (I’m sure I’ve had tons of boos throughout the years but the good lord has kept them mostly from my ears, except for this night)? Maybe that one will be the next post.

Anyway, I love Dead Flowers. I covered it at KHSU and put it on the B side of my first 7″. Did I ever tell you about how I tried to do my own 6 organs version of The Stones’ Heaven? That’ll be another story. Man, I already got so many…


And here’s Heaven.


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I’m pleased to announce that orders are now open for a very special project I have been working on with Canadian artist Kenneth Reaume. The Transfiguration of Saint Eustace is a joint project consisting of an 18” x 24”, FIVE screen print with a new 20 minute Six Organs of Admittance digital download EP in the style of the single-song suites that have appeared throughout the years and were collected on the RTZ comp. It is strictly limited to 100 copies)


The song was mastered by Patrick Klem at Klem Sound and is available as a 24 bit and/or 16 bit Flac as well as MP3. The art was printed by the wonderful folks The Half and  Half in Columbia, SC. Kenneth and I have been working together for over a year to develop the sound and vision for this piece. We’ve had a few moments of direction that I can only attribute to the hand of the good Saint himself (if you believe in that sort of thing). Kenneth has opened up orders on his website today for his half of the print run, for which he has made a special artist edition that he has signed, along with the digital downloads and a hi res download of the art.

When I eventually do this bandcamp revamping that I have planned I will put my copies up on that site as well (not signed by Kenneth). You can order from Kenneth on his site on this page. He also has a video of his work on progress on the piece. To hear some clips from the music, visit my instagram.



Posted by & filed under Hexadic.

It is with excitement that I announce the next Hexadic record, Hexadic III:




This record is a compilation of some of my favorite musicians making music using the Hexadic System. It features:

Moon Duo

Jenks Miller

Meg Baird & Charlie Saufley (Heron Oblivion)

Tashi Dorji

Richard Youngs

Stephen O’Malley, Tim Wyskida (both ex-Khanate) & Marc Urselli

Phil Legard

Phil should be known to those who have been following the system as he has been not only composing with it but also exploring its context and possibilities in a series of posts that can be found here. The people I asked have all been very supportive of the project from the beginning. In fact, when I asked a couple of the folks (Richard Youngs and Stephen O’Malley) if they might be interested in doing something for a record, they informed me that they already recorded using the system and sent me their tracks immediately (I’ve been sitting on them for a couple of years now so it’s very cool to finally share them).

Mostly I’m just really humbled that everyone on the record took their time to compose music for this release. At first the artists may seem wildly varied but I feel the magic of this record is that the Hexadic system provides a skeleton for the music so that it all seems of one world. It is very much a Hexadic record. I will post more soon about the individual tracks. Thank you to everyone who contributed. It’s hard to convey how much it means to me.