[EDIT: We have found a drummer, and are still looking for a keyboardist.]

I’m working on something different. Over the last few months, I have been developing an experimental hip-hop project with a lyrical co-conspirator. We have determined a musical direction, and now we are in search of other voices to help us move forward. Here is our statement:

Drummer and Keyboardist wanted for experimental, progressive hip-hop band.

We are an as yet unnamed duo, looking to expand our sound with like-minded, skilled musicians. We are aiming to create something different: mixing hip-hop, progressive rock, space funk, ambient, industrial, and electronic, played by real musicians in real time. We have developed a direction, and we need others to come into the fold to help us move forward.

About us: We are Trill (vocals) and Benjamin (bass/keys). Our aim is to find the sliver of overlap between experimentation and musicality, chaos and groove, freakish and soothing. We utilize odd time signatures, dense chord structures, and unusual sounds, in the pursuit of something new and different. Lyrically we are focused on social issues, introspection, and politics. Influences include (but are not limited to): King Crimson, Wu Tang Clan, Saul Williams, Ministry, Bootsy Collins, Kanye West (the somewhat sane version), Aphex Twin, Pharoah Sanders, etc., etc.

What we’re looking for: we are looking for a competent, musical drummer and keyboardist. While the music may be somewhat technically demanding, we’re not looking for this to be a showcase for chops. Groove is most important, even if it is in 7/8. Our ideal drummer would be able to incorporate electronics into their kit, be comfortable in odd meters, and respect dynamics; the ideal keyboardist would be someone who understands chord structures and leading tones, and can develop interesting, unusual sounds. We are hoping to limit the band to four people (vocalist, bass/keys, drums/electronics, keys/DJ/synth/whatever), so there will be plenty of space for you to carve out your position, while also requiring you to cover a lot of ground. Creativity by way of limitations is key.

This is to be a collaborative writing project. We’re looking for musicians to commit to composition, rehearsals, and gigs. This is a creative endeavor, and therefore money isn’t a central concern. Interested parties are encouraged to get in contact.

Below are some unfinished demos and edits of our work:

Untitled XII

Jam #1 Edit

Untitled III Edit

Untitled V Edit

Untitled I Edit

Untitled VII Edit

Mellotron Thing Edit

Interested parties are encouraged to make contact: contact@ufodeathcult.com

Moving forward is impossible when progress is impeded by the past. How can new work be created when old work continues to demand one’s attention? While it is true that all art is never completed – it is merely abandoned – recorded music’s technical aspects sometimes require a reworking, if only to lift a veil to reveal the true intent beneath. In order for me to move forward with new work, I had to revisit two of my previous recordings, in an effort to move my vision past the limitations that my meager skills and equipment had at the time imposed upon it. Taking the lessons learned from reworking 2015’s Erased, I have now completed re-tracking, re-mixing, and re-mastering 2020’s On Darkest Wings.

On Darkest Wings was initially recorded during the pandemic lockdown, written and tracked over a period of six months. It is a mostly xenharmonic piece, utilizing microtonal and fretless instruments of my own design, in addition to standard intervalic instruments. This record also incorporated drum machines extensively – a technique that I had heretofore rarely explored. The mangled drum loops and electronic textures informed the writing process, leading me to delve into unfamiliar, and – dare I say it – danceable territory. If one can dance in 13…

This amended recording is the last time I will delve back into my previous work (unless some well financed record executive opts to have a professional mix engineer remix it). My skills as a recording engineer have improved greatly by revisiting these records, and I hope to utilize those new found skills in future endeavors. For now, there is no more looking back.

It is time to create something new.

Our modern gods demand our unrelenting narcissism. We are constantly called to sacrifice our dignity upon the altar of the almighty algorithm, simply for the mundane purpose of selling advertising. To be a successful artist one must be constantly posting – to blog, to tweet, to stream, etc. – regardless of whether we have anything meaningful to say. I personally take umbrage with this approach, as I don’t find it productive to discuss my work unless work is actually being done. That said, perhaps my reluctance is counter-productive, as being entirely silent creates a black hole from which my music cannot escape. Therefore, I will strive to be a little less absent from the discussion, while hoping to strike a balance between crass promotion and the mystery of the creative process.

To wit, there have been some significant movements of late with my work with UFO Death Cult. Over the last few years I have been hard at work studying the process of production and mixing, with the aim to improve upon some of my previous recordings, which to my ears have sonically never lived up to the musical ideas contained within. With these newly developing skills as a recording engineer and a significant investment in new computers, software, amps, and effects, I have re-tracked and remixed my 2015 release, Erased.

Erased was… difficult to make. Its impetus was in the untimely death of my dear friend Daniel Guidry, the only musical soulmate I have ever known. I hoped to make the record that he and I never got to make – a task that was perhaps too arduous to attempt alone. Inspired by the maximalist approach of King Crimson’s Thrak, Strapping Young Lad’s City, and Ornette Coleman’s Free Jazz, Erased essentially comprised of two bands playing interlocking and conflicting parts. two synchronized drumsets, layers of guitars (standard and microtonal), tons of synths, samples, effects, and (my first attempt at) vocals pushed the track count well over seventy. While I was confident in the concept, at the time my meager equipment and skills as a recording engineer could not do it justice. This re-mix seeks to rectify those errors.

I hope that this newly re-mixed recording sheds some light on these songs which had previously been lost in the murk. I hope that this can reach new ears, and reach those forgiving minds that will give it a second chance. And I hope that Danny approves of the work I have done in his name, wherever he is.