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Tonight, I celebrate two amazing guides. It’s the 60th birthday of our dear friend Neal, and I’m fortunate to be sharing it with him at the Hideout; enjoying the work of an another amazing guide, Michael Zerang.
It was probably 2007 when Ben first awakened me to Michael Zerang and Hamid Drake. We had been at the music-trance-as-therapy game for well over a year, working out a vocabulary; vibing; and all that. I was trying to find a reference point for what I was contributing to our sessions. We were both learning new instruments and the music that accompanied them (sorta) together. Unguided other than by our own volition, we trolled forward. It was a year or so in that Ben helped me see the paths in the woods that preceded my stumbling into the forest.
This introduction to a Chicago legend came into full cycle when I learned that Michael had actually guided a friend and teacher, Quentin Shaw, when he was a very young student of percussion. That’s how history cycles, I guess.
Something odd happened during Martin Atkins’ presentation last night. I stopped counting the “Fucks!” when I finished eating my chocolate covered cluster-fuck from Bleeding Heart Bakery. It seemed a good enough time to stop. All of a sudden, it hit me! Martin’s barrage of sailorly slang is actually a built-in turd filter. Yeah! It actually helps protect his intellectual property. If you can’t acclimate to the deluge of dirty talk, then you won’t be capable of picking-up on the brilliant shit this guy is saying. It helps weed-out the brain-dead and prudish. Fucking potty mouth PROPHET!
After the presentation, we were spoiled with a Damage Manual set with Chris on guitar, and Martin on cocktail kit. This shit sounded sweeeeeet acoustic.
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Of course, me being a stubborn SOB, I didn’t heed his allegorical warning about not giving him a CD. He told quite an inspiring tale of seduction around a jar of homemade organic blackberry jam. Moral of the story: “Don’t hand me you fucking demo. I’ll sling it out of my car window somewhere between here and Madison.” (Ok that last part was paraphrased, because I had had a few beers and a cluster-fuck) But you see: it wasn’t really a demo. It was the Welcome-Shabiristan EP that we put out about a year and a half ago. I really do struggle sometimes to fit the stuff we make into a category, or even describe it to a friend for that matter. My friend and fellow parent Glenn Kotche thought it was pretty neat. I know his kid liked it because she told me. So, since Martin and Chris were partly responsible for the mess, I thought they should at least have a chance to listen to it.
When I awoke
I awoke the next morning groggy and dehydrated. As my eyes grudgingly drifted open, I slipped drearily into a state of day-dreaming. I envisioned, quite beautifully, that biodegradable brutly-screen-printed sleeve twirling through the sky; glistening like the sunshine reflected off a bird’s wings; seen from above. As it rotated like a golf disc gliding across the air current, it was a magnificent action—right until it got hit by a cross current, and slammed downwards. I can only hope that disc finds its way out of his Nissan within the city limits. I’m sure it would look odd enough for a 99 percenter walking by to pick it up and give it a listen.
I would consider it quite an honor for the Welcome-Shabiristan EP to be treated as a demo by Martin, and flung broad into the horizon. No one could do it sweeter disdain.
I’m going to geek-out and be a fanboy for a minute:
Something odd happened during Martin Atkins’ presentation last night. I stopped counting the “Fucks!” when I finished eating my chocolate covered cluster-fuck from Bleeding Heart Bakery. It seemed a good enough time to stop. All of a sudden, it hit me! Martin’s barrage of sailorly slang is actually a built-in turd filter. Yeah! It actually helps protect his intellectual property. If you can’t acclimate to the deluge of dirty talk, then you won’t be capable of picking-up on the brilliant shit this guy is saying. It helps weed-out the brain-dead and prudish. Fucking potty mouth PROPHET!
Of course, me being a stubborn SOB, didn’t heed his allegorical warning about not giving him a CD. He told quite an inspiring tale of seduction around a jar of homemade organic blackberry jam. Moral of the story: “Don’t hand me you fucking demo. I’ll sling it out of my car window somewhere between here and Madison.” (Ok that last part was paraphrased, because I had had a few beers and a cluster-fuck) But you see: it wasn’t really a demo. It was an ep that we put out about a year and a half ago. I really do struggle sometimes to fit the stuff we make into a category, or even describe it to a friend for that matter. Since Martin and Chris were partly responsible for the mess, I thought they should at least have a chance to listen to it.
After the presentation, we were spoiled with a Damage Manual set with Chris on guitar, and Martin on cocktail kit. This shit sounded sweeeeeet acoustic.
This morning, I awoke groggy and dehydrated. As my eyes grudgingly drifted open, I slipped drearily into a state of day-dreaming. I envisioned, quite beautifully, that biodegradable brutly-screen-printed sleeve twirling through the sky; glistening like the sunshine reflected off a bird’s wings; seen from above. As it rotated like a golf disc gliding across the air current, it was a magnificent action—right until it got hit by a cross current, and slammed downwards. I can only hope that disc finds its way out of his Nissan within the city limits. I’m sure it would look odd enough for a 99 percenter walking by to pick it up and give it a listen.
THESE GUYS MADE THE 80′s & 90′s LISTENABLE! Lucky in how the logistics staggered into alignment for me to make it. I was able to catch most of Martin Atkins’ presentation at the Double Door tonight. It was followed by an acoustic Damage Manuel performance with Chris Connelly. Got a b-ball jersey signed for Dez. (Figure he should know why daddy makes so much noise)
On Sunday, May 27th, The Exponential performed a nice droney set at Cary’s Lounge, on Devon St. in Chicago. Aside from having to fit 2 extremely talented collaborators on the stage along with the two of us, and some pedal trouble related to power strip kicking because of that, we played well and took lots of risks. The goal was to raise money to bail some of the arrestees from the #NONATO summit protests out, and we’re ecstatic that we were able to help meet that goal. Thanks to everyone who was involved. A SPECIAL thanks to all of the new friends we’ve made, and a BIG BURST OF LOVE for our fearless collaborators Johanna Weisbrock and Neal Rysdahl.
Below is the second half of our set. We started off with an interpretation of a Phil Cohran composition called “The Minstrel.” We proceeded from there with the juxtaposition of a couple of our core rhythms. Some slid in like poly-rhythmic companions, and others had the contrary elements of an anxious free jazz tantrum. You can listen here, and also download the track for your own sound library.