Announcing "The Body Electric" & My Most Ambitious Painting Yet

"If you're really listening, if you're awake to the poignant beauty of the world, your heart breaks regularly. In fact, your heart is made to break; its purpose is to burst open again and again so that it can hold evermore wonders."

- Andrew Harvey

"The essence of all beautiful art, all great art, is gratitude."

- Friedrich Nietzsche

I'm immensely grateful for the nearly 3,900 people that have signed up for this newsletter over the last three years – for your time and attention, for your encouragement – but most of all, for being blessed with the chance to enrich your lives with my work, to give you something in which you can find meaning and inspiration.

But look, guys. I'm having a hard time balancing "listen" and "express." I don't know how to fill this void, this speakerbox, this opportunity to say – but only what you need to hear. So what do you need to hear? Tell me this and I will do my best.

I'm ready to put the days of unfocused explosive creativity behind me and start channeling this energy into something that will truly serve the needs of the people with whom I have connected. To find the sweet spot that will illuminate and exalt us all the most. To do what only I can do in a way that sets your life on fire like only you can burn.

Because it's time for that. From here on out, this newsletter isn't just my rant box; it's my platform for putting my understanding and ability to work for you in the most ambitious, crazy, brave-hearted way we can conspire to achieve.

And with that, I have some things to share with you that I hope will turn you on and get this started.

..:: Visual Art ::..

The first is the most ambitious live painting I have ever attempted...you'll want to click on this one for a full view so you can appreciate all of the detail:

Going Somewhere (Tree of Flowing Jewels)

2011 01 23 Quixote's (Praang)
2011 02 03 Hodi's Half Note (Invisible Allies, Bluetech, KiloWatts)
2011 02 15 The Aquarium (O Fo Sho, Heavy Is The Head)
2011 02 17 The Whole (William Within, Luke Redfield, Noah Earle)
2011 02 26 Cervantes (Papadosio, Heyoka, Larva Ink)
24"x48" – opaque pens, acrylic, & spray paint on masonite
original painting for sale – email me to inquire
11"x17" poster prints $25 each (two for $35) – order by email
full-size stretched canvas giclée poster prints (series of ten):

$400 – order by email

This painting came with me from Denver to Fort Collins, out to Fargo and Minneapolis, and then back to Denver over the course of a month in which I worked on nothing else (artwise). It's the largest piece I've ever done, and because my markers have three-millimeter tips that set a boundary on detail, it's the first live painting in which I've managed to actually accomplish the multiple levels of fractal self-similarity that I allude to in the rest of my work. There's a quality to it that I've only experienced in states when even solid objects seem fluid and selfhood streams like tattering clouds through the gusty sky of the Great Imagination. I can almost hear this painting. It whines and whirs, whispering insect secrets into auroral night. Everything else, every zipping thought and mammalian contraction, shuts off when I look at it, and there is nothing left but the ancient and infinite truth of life, mind, and time...an open secret in which all of our human splendor and dignity, story and drama recedes into unnoticeability, empty as I stare at a foreign sky in silence.

(click to enlarge)

On a slightly less epic note, I've added several new images to my online sketchbook archive on Facebook. If you're not already a friend of my art page there, you might want to be – you'll get updated about my new work a lot faster that way.

..:: Music ::..

As I've gotten more well-connected in the dance music scene through my live art, I've co-evolved to make my music more suitable for the venues and audiences that ordinarily support music made on laptops and synthesizers. Those of you who've been following me for a while have watched as it has mutated, branching off into both intricate percussive fretboard magic built for festival stages and elaborate acoustic-electronic soundscapes at home in chill-out tents and other dusky liminal spaces.

Now, I'm pleased to announce that the transformation is complete. My newest album drops this Sunday – the Spring Equinox, March 20th – morning after the closest Full Moon in years, and a perfect time for the advent of a new age in which the carbon-based past of rosewood and human flesh meets the silicon-based future of blinking lights and loving machines. The Body Electric is my ode to the marriage of the animal and mineral, tradition and novelty.

Recorded live over two weeks at shows in Colorado and North Dakota (while I was working on the painting above...what an epic month!), it's my latest and greatest effort to redefine the guitar so thoroughly that the music shines through unimpeded by instrument. This is acoustic music liberated into an entirely new sonic landscape and philosophical vista. And it comes complete with a lush, poster-sized hi-res file of the hybrid ink-and-digital cover art I designed as a visual counterpart to the music, for your psychedelic eyeball pleasure:

The Body Electric (2011)

The link goes live on March 20th and then it's a free download for you and everyone else...but anyone who donates more will receive a download code for the unreleased recording of my concert in Sinai, Costa Rica at the Geoparadise Festival on New Year's Day 2011. It's a performance I'm proud of, including my best-to-date live take of fan favorite "You Don't Have To Move" as well as a collaborative loopscape with shamanistic throat-singer Matthew Kocel and some of the more unguardedly silly between-song interludes that have ever flowed through me.

In the meantime, you can listen to and download two tracks from The Body Electric – "Tunnel Run" and "Touring The Body Electric (SHORT)" – on my Soundcloud page. And you can watch the video for "Tunnel Run" – stitched together from a year's worth of going over bridges – right here, right now:

(If you can't see it here, you can watch it on Vimeo, Youtube, or my Facebook music page.)

Again, thank you from the bottom of your heart for following me down these corridors of the imagination and into the ornamented chambers I find there. If I've managed to open you up even a little bit to the vast wild isness of our lives, mission fucking accomplished. Goodnight, you guys.

Playing The Body Electric, Part One

I believe that we as a species are currently witnessing the evolution of a new relationship between the inner and outer worlds, renegotiating that tricky self/other boundary...and in the process we might ultimately reach a new platform of musical development at which the individual has internalized not just the other players, but the instruments themselves.

But first, a bit of necessary exposition in the field of developmental psychology, so bear with me, here...

I went to grad school for Integral Theory, which meant studying the intricacies of human mind/body development. One of the recurring themes of "growing up" (which of course extends into ongoing adult development, although most adults seem unwilling to admit that such a thing exists – as if someone with their own job and car has reached the goal posts of maturity) is that we all rely on our environment to take care of things we eventually learn to do ourselves. As we grow more accustomed to assuming personal responsibility for some psychological or physiological function, we go from not even noticing that we're being taken care of, to seeking sources in the external world that will satisfy that need, to satisfying it ourselves.

One example would be how newborns don't even know they need to eat; but eventually learn to inform their parents when they're hungry, and finally manage to feed themselves. Again: young children are unaware of "the rules;" older kids learn to follow them (but don't know how or why they are in place); and adults can not only obey or disobey, but explain why certain rules are necessary for a functioning society.

(Quick check: If you think that the statement "Murder is wrong" is true "because God said so," I love you but you don't qualify as an adult in the modern world. You're still relying on external support for your moral system. If this concerns you, go read Robert Kegan's book In Over Our Heads and then find a few more literate friends.)

So what does this all mean for music? Well, it means we were born right in the middle of a revolution.

Archeologically speaking, instruments appeared first as more or less extensions of the natural environment...hollow reeds, rocks, sticks, and animal gut strung across a bent frame. The earliest instruments emerged from human experimentation with accidental noises and animal calls...what po-mo sophisticates such as you and I would call "found sounds." Ethnomusicologists observe a trend from these earlier instruments, capable of a limited expressive range (typically only a handful of notes, and only one at a time) toward more intricate devices capable of producing complex polyphony. (Think about the difference between relatively ancient intruments like a shaker or hand drum and relatively contemporary instruments like a guitar or piano...or even more contemporary instruments like the laptop.) In other words, the history of human musical instrumentation follows that same developmental curve: first, a symphony of natural sounds; then, a symphony of humans playing simple instruments; then, one human playing an entire array of chords, with remarkable tonal variety, on one instrument. Like so:

These trends seem likely to continue even further as we continue to deepen our relationship with technology. Groundbreaking child psychologist Lev Vygotsky built his developmental model on observations that use of tools within a cultural substrate are often the means to new levels of development (that a child learns to write letters exactly as taught before developing his own handwriting, for example...take it one step further and eventually the child learns to write with any marking object or create his own). From a different field, but with a similar understanding of the flow of things, technology writer Kevin Kelly says that we don't really live in "The Age" of something until it's so much a part of the background of our experience that we don't even notice it until it breaks. We don't live in The Age of Computers...yet. But we will, as soon as computers shrink to invisibility and are embedded in everything.

Likewise, I think we don't live in an Age of Instruments...but we're about to. We're coming up on a new world in which playing music by crude manipulation of some boxy device will be left to the retro-ers and traditionalists. An era when we can speak symphonies as easily as we can form sentences.

This may sound somewhat akin to claiming that soon we'll be able to give up scissors and cut paper with our bare hands. But what I mean is that we may learn to exercise not only conscious control over our hands and voices, but over the subtler biological circuitry of our bodies - those systems responsible for our breath, heartbeats, and brainwaves - in order to make music that is directly translated from tiny electrical potentials through novel electronic interfaces into sound. Not only are people already rigging electroencephalograms to synthesizers, but some are developing full-body suits that communicate musical dimensions of dance in a much more intricate and expressive way than any keyboard-and-pedal control surface ever could.

As a compulsive futurist, I have little doubt that this would bring the evolution of instrumentation to the logical conclusion of a trajectory along which the means of music are increasingly internalized. And of course, music itself grows in complexity at every step along this path - of course, the music made by a group of people all playing polyphonic instruments is potentially much more complex than one guy trying to imitate bird calls by blowing across a blade of grass. There isn't an end point; each new development opens up an entirely new realm of musical expressive possibility, in which each person becomes the entire orchestra of the previous realm. So what will this mean when we have polyphonic synths hooked up to each of a person's once-autonomous bodily functions, have trained that person to operate each "instrument" independently of the others, and throw him in a room with forty other people similarly prepared?

What kind of music can we expect to grow out of early experiments, such as these...

Phil Stearns has bent circuit boards through a biofeedback unit and uses his body as a variable-resistance conductor to make experimental noise music.

Daito Manabe has attached myoelectric sensors that turn the electrical impulses of his muscles into sampling, trigger, and loop controls.

And THIS guy is processing an EEG (electroencephalogram) signal through mediating algorithms to turn raw brainwave data into an intelligible composition (although the guy with the helmet is certainly able to use his info of the device to "compose Beethoven-like music, and make it fast and loud!"

(Written for Colorado Music Board.)