In 2012 the pedal company Acid Fuzz was making Spaceman three-in-one pedals based on the effects from the Vox guitars that many of us, including Anton and myself, used in the Brian Jonestown Massacre. It’s a fuzz, treble boost, and repeater rolled into one—it’s the Acid Fuzz Sonic Boom three-in-one pedal, the exact same three-in-one format he’d been building. The builder hand-wired about 25 custom units specifically for the Brian Jonestown Massacre and stamped our logo on the back; eight went to band members, the rest were sold on tour and vanished almost immediately. This particular pedal is one of the only germanium versions; I think he managed just three germanium-transistor builds. So it’s the germanium version, one of three ever made, and one of roughly 25 total with the custom Brian Jonestown Massacre logo on the back, all meticulously hand-wired.

This set list is from a BJM show in my backyard in October 2001, my first year in the Brian Jonestown Massacre, and it has the songs we recorded at my studio for the Braver Repetition and Noise album. It was probably one of the first times we played them live—"Let Me Stand Next to Your Flower," "Open Heart Surgery," "Never Never the Less," "Sailor." That was the new album then, though it hadn’t even come out yet. The paper’s got a serious twenty-six-year-old stain on it—really, it’s more stain than paper.

This is a signed poster of The Brian Jonestown Massacre drawn by our artist friend in perfect Simpsons colors, pretending we’d appeared on the show. We put the image on T-shirts for our 2009 tour when Matt Hollywood rejoined, and those limited shirts are now valuable. My favorite detail is our logo in Simpsons form. Left to right: Colin Hegna (bass), Ricky Maymi (guitar), Dan Allaire (drums), Anton Newcombe (sitar), Joel Gion (tambourine), Matt Hollywood (cigarette & guitar), me—Rob Campanella—(organ), and Frankie Emerson (Phantom guitar).

Expanding on my love of The Simpsons, I've been doing this Bart piece on a mug. I really like when Bart finds his, like, calm, so to speak, and I wanted to capture that. I like the color scheme; it's brown on speckled brown,. The clay is called B-mix with speckles. The speckles don't come out until the final firing, so it's fun to watch it transform—it's like getting freckles in the sun. He looks a little baked; he's chilling.

Marge is one of my favorite Simpsons characters, and when I started doing ceramics I wanted to bring that love in. Infinity Marge was one of the first pieces I made; people loved it, so I kept going. I was trying to match subject to object: a full body felt wrong for a mug, so I painted just the head, and as I shaped the hair I realized it could wrap all the way around. I kept adjusting to the shape of the mug to make it work.

This is a tape cassette recording of my cover of “O My Stars” by Michael Hurley. I learned the song for a Michael Hurley tribute show which I did a few weeks back at this great venue in LA called Scribble. And yeah, I absolutely love this jam.

So these are interesting. I went to Vinyl Ceremony to press records myself, and kept the “Self-Pressive” stamper plates—we did the work together, pressed the grooves into the vinyl. I’d never pressed a record. There are actually two plates, one for side A and one for side B. This is the first one of these, Ghostnote 1A. There aren’t a whole lot of identifying features, it’s just impressive. I think they’re good to prove that it really happened, that there was a source, and that effectively that’s the end of it—not pressing more of these. This is from a super-limited run of five records, from an LA improv, likely at Gold Diggers, and a session in Berlin. Kyle Kaivita, now in the Philippines, designed that tape-and-ice artwork. I love making stuff the easy, fun way and getting it directly to fans—the direct economy. Physical objects: you can hold them, rotate them, and tell their story. I love coupling music to a tangible medium - experience the things you love, then let them go. I prefer experiences and a few meaningful pieces. Seeing friends use things I’ve given them is such a great feeling.

I pressed a super limited run of records myself at Vinyl Ceremony, and the “Self-Pressive” stamper plates were given to us to hang on to. I haven’t pressed my own records. This is one of two plates, side A and side B. This is the second side, and labeled Ghostnote 1B. It’s impressive. The plates mark that this happened, and that there was a beginning and a conclusion—no more of these. This is from a super-limited run of five records, from an LA improv, likely at Gold Diggers, and a session in Berlin. Kyle Kaivita, now in the Philippines, designed that tape-and-ice artwork. I love making stuff the easy, fun way and getting it directly to fans—the direct economy. Physical objects: you can hold them, rotate them, and tell their story. I love coupling music to a tangible medium - experience the things you love, then let them go. I prefer experiences and a few meaningful pieces. Seeing friends use things I’ve given them is such a great feeling.

This is record one of five, “You Are So Beautiful.” Just what came to mind when I was writing it, for no particular reason. The exclamations—it’s what I put down anytime I write something. Standard procedure. One of five on the record, with a heart. Hearts everywhere. The liner card says “what do you mean?” It’s also not connected to anything. I went to Vinyl Ceremony to press the records myself. Dropping the first record on the tray was fun. I had gloves on—you have to because of the temperature. This is a super-limited run of five records. The A-side is with Kyle Kaivita, who also designed the tape-and-ice artwork; Kyle live-loops sample beats and Rhodes-style keys while I add sprinkles and vocals. It was an LA improv, likely at Gold Diggers; the second track is maybe from Berlin about a year and a half ago, with Delwin Campbell. Physical objects: you can hold them, rotate them, and tell their story. I love coupling music to a tangible medium - experience the things you love, then let them go. I prefer experiences and a few meaningful pieces. Seeing friends use things I’ve given them is such a great feeling.

Vision board for my leader, Mike.

Bobby Z. in the peak of his power. The charismatic leader behind the sixth grader-led splatball revolution was living in an abandoned bus in the deciduous jungles at the outskirts of town. My eyes had to be covered with saliva-saturated newspaper wads so his location would remain a secret. At the time he controlled seven or eight mercenaries, most of them fifth graders. Many said that Bobby was misunderstood, but that it was a dangerous venture to engage in conversation with him for over three minutes. His logic was a krazy straw of twists and turns, soaked in a biosludge that would always somehow hit its mark and leave you blind...or all-seeing. One of one.

Landscapers Of Paradise Trim Only Wind. Colored Pencil on Card Stock. 25W x 19H

This one-of-a-kind cassette holds the very first recording of a song that’s very dear to me, “No More Velvet Curtains.” It’s a demo recorded at Scenic Burrows on 01/25/2026. We had a lot of fun making it, playing with all the keys in the studio.

This is a vintage dream country disco leotard that I bought to make some some beautiful photos with. Orange is a power color of mine. I'll say that. So I just instantly knew that Il could make a great image with it, and you do need that to share your music sometimes. It helps. I believe that this leotard is from the sixties or seventies. It's quite old. And it's got some fringe and and it's got a cute little star on the hip with a little fall of sequins.

This is a test pront of a screen that we made for a first run of merch where we put this on some totes and some T shirts, and it's an image of me snapping, which has always been an iconic part of my performances.

This is a Graves record called Summr Bummr, released on Secretly Canadian’s offshoot Saint Ives, with a tiny pressing of about 200. This is one of the last two I had—so now I will own only one. All the covers were homemade: this on I defaced an Evie record sleeve with an X-ACTO knife and backed with colored construction paper.

This Cassingle contains a one-off recording with Cory Gray at Scenic Burrows, 01/17/2026. The song's called 'F.O.E’ named for the Eagles Lodge on Hawthorne and 49th, that was a long standing bar known for record swaps and dance parties. This is a demo of a new track that'll probably appear on a Graves record in the next year or two.

This is a test pressing of a record that was a collaboration between me and Adam Selzer of Norfolk and Western, longtime Portland producer at Type Foundry. We were both really enjoying the old doo-wop band The Fleetwood's music in the early 2000s and decided to cover some songs. We recorded them in my studio apartment on 16th and Clinton on a Tascam 388 and had a lot of fun. Friends popped over to help, and we made the record. It came out on Mike Dixon's label PIAPTK—he'd begun releasing these kinda crazy one-off little records, short runs.

This is a limited edition, private press, forty five seven inch single that we put out in collaboration with Alana Amram. Her single is on the other side. It's a double A side or a double B side depending on your mood. The artwork is done by Gregory Stovetop. this was the first song that we finished from what became the Disturbing Wildlife full length LP, before there was a record deal. i believe there were only 250 made and Alana grabbed half. this is the only signed one currently in circulation.

Recorded 2013–14 with Michael Leonhart at Candyland in the West Village, plus overdubs at various locations incl my own Church of Electric Dirt. Guests include Scott Metzger, Nels Cline, Tim Kuhl, Robbie Mangano, Stuart Bogie, and maybe Yuka and Miho from Cibo Matto—i'll confirm once I have the credits. This is a test pressing; the label carries a somewhat illicit image, easily identified. I painted it with “traffic safety vest” archival ink borrowed from my partner, Sarah La Puerta. The album is Disturbing Wildlife by Invisible Familiars. originally released in 2015 on Fat Possum / Other Music. test pressing comes with a photo of the houseboat where the album was conceived and a hand-typed / signed origin story- both also one of a kind!

here's a one of one: an instrumental improvisation on a theme (later to be recorded with lyrics), which i played on a Wurlitzer electric piano at Horse Barn on 12/12/2025 in Kingston, New York, recorded by Joey Weiss. this cassette is the one and only recording of this instrumental version!

I wrote Beach Blues at the Sou’Wester in Seaview. Initially, the song was about myself and how I was feeling inconsolable, but then it also related to at least a meld of two different partners that I've had. It's called Beach Blues because it's about being on vacation, when it's not good enough even when you're at a beautiful place sometimes. This is a one off recording of this song. And it was recorded at Scenic Burrows with Cory Gray in January 2026.

This is the test pressing for the record 'Seein’ Things' by Fronjentress. That image came to my mind when my friend Cory was telling me a story about the current news.

This is a thrift store painting that I found and was immediately drawn to because she's clearly so beautiful. And when you flip over to the back side of the painting, it says “More energy. Dear Biggie, here is your mother's portrait of you. I just want to give it to you.” with a weird signature. So this was the painting that inspired me to write the hit song, Your Mother's Portrait of You. And it was used for the cover art of the second Fronjentress record.

This handmade spalted maple candle stand and candle burn on the stage in front of me as I play solo guitar sets.

Here’s the set of acoustic guitar strings I used on the cassette recording of the Pink Crane. These Augustine strings aren’t the gauges printed on the cover; I had Augustine custom gauge them. Inside each envelope are the actual gauges. Those are the gauges I use—the way I play my guitar, the way I string my Healy 12 string. Charge

First track is "forest lights"— solo acoustic fingerpicking in open C at Joey's house Friday afternoon. This is the first recording on my new Trevor Healy 4M custom 12-string acoustic. The second song is “Pink Cranes” comprised of finger-style harmonics.

I drew the design for this poster for The Velvet Teen’s homecoming show on our 2015 US tour, the lettering title is the intestines. My friend Jason Taylor printed it in Santa Rosa—he’s a great printer, and I really dig the result.

I drew this while The Velvet Teen was on tour opening for a band called Covet in Vermont in 2022. I was freezing at the merch table with time to kill because no one was buying anything, so I sketched this cool rocker. This year in October 2025, when we needed a T-shirt design for some shows, Judah used that rocker drawing, which I think is hilarious.

This tape’s a solo demo of “Last Fathers” recorded at my house in Santa Rosa using Logic. It began as two songs I merged into one. This demo was tracked in late 2024 and the final version finished this year. The art is just my hand-sharpied doodles.

Love this shirt. During the Para Llevar USA tour, we drove through West Virginia, and went off route 30 minutes to visit the mothman museum. What a cool story!

I bought this cowboy hat in Sheridan, Wyoming while selling Internet in a little cowboy town to fund the para llevar tour—gotta pay the bandmates, gas, and hotel rooms. I toured everywhere with this sombrero and love it. It fits and molds to anyone’s head, looks great on everybody, and I think it'll look good on yours.

This guitar is special to me. I bought it in Zihuatanejo, Mexico four years ago. It starred in my 'energy of light” video where I played beside crashing waves and rode a donkey on the beach. It's also the same guitar used to record my most-played song 'Incognita.' It holds magic and is precious to my journey as a musician.

I painted this as a guitar pick prototype that says "Andrea Maddox and the Hey Y'all's." We produced about 100 picks and 100 stickers, and I bring them to our shows. It's small, cute, and people love it. It sits on the merch table. I made the display from scrap wood and leftover acrylics—it was fun to make on a simple wooden plank.

This is the t-shirt screen print for our first EP Long Drive Home, recorded at Joey’s Horsebarn. It his is the first test print, signed by me!

Movin’ On is a song I just wrote about dating, meeting someone new, being really into them, wondering if they're into me, and dealing with their lack of communication. If you want me, talk to me; if not, I'm moving on—I’ve got one foot out the door. We recorded it for Ghost Note’s single series at Joey's Horse Barn, where we also did our EP and a live studio session. Joey and I are now working on a solo project featuring me on keys, my main instrument though I don't play it with my country band. On this track are Matt Berger on drums, Cory Gray on piano, Bella Kosmacher on fiddle, and Joey Weiss on bass.

We're at the edge of some beautiful place, and the owl, who's the star of the animation that I just made, is flying overhead. I'm curious to think about what's happening inside that house at this moment. It feels pretty magical. Maybe people are sitting at a table and playing cards, eating ginger cookies, and drinking tiny coffees. There's probably a dog laying in front of a fire, and there's an owl flying overhead.

This is another rock Cairn. It's also sort of similar to the other painting inspired by awe—of nature and a reverence for it. Again, the idea of a rock cairn feels ancient and memorializes some sort of spirit that has lived. These pieces were used as background in a stop motion animation short that I made recently, which will be featured here on Ghostnote. I took a picture of this painting, printed it out, then cut out pieces to use as background in the animation. I like repurposing my work to have different lives.

This painting is inspired by the idea of rock cairns. Back when I used to do archaeology, and we would be wandering around Central Oregon scanning the ground for evidence of human culture, we would come across rock cairns, and I would think, "Oh my God. This has been here for so long, and this is somebody's memorializing someone or, you know, making some sort of structure that says “I was here and I was thinking about something or someone” But I also have been feeling really connected to nature lately and really into planting native plants in my yard and just thinking about how we humans want to control everything and how, for example, planting natives in your yard is a way of saying, "I'm not in control. I'm letting go and letting the earth be be the leader, " which is what us humans should be doing. So that's the inspiration for this painting.

An old friend shared this song with me when I was having a hard time. That friend is now somewhere else, we don't know where! Not gone, but not around like before. Whenever I hear these lyrics I kinda take stock of everyone in my life that I care for. And I think about how crazy it is that we're all here at the same time, and instead of being something else, like a cool rock or something, we’re us, I don't really think God is real. It's okay. (Recorded by Cory Gray at Scenic Burrows, Vancouver, WA December 4th, 2025. Only 1 tape made.)

I made this mask when I was, like, 16. I was a a TA at the in the ceramics class at my school. So that basically meant I cleaned up after people, and then I got to make whatever I wanted to. And I made this weird gender bending little red riding hood wolf character and then glazed it and then painted it also with acrylic paint. And I wove the rope. At one point, I had attached it to a hood, and I did wear it, but it's very uncomfortable. It's heavy, and it hurts my face.

This is a painting of my partner, John Paul Harrison Rapp- who is also a musician. It shows him in the Halloween costume he’s kind of becoming known for every year. He doesn’t really like to dress up, but it’s pretty easy to paint on a bandit mask and you’re instantly in a costume, so that’s what he goes with. He also loves books; that’s why there are books behind him. He’s a big reader, always has been. We’re both readers, yet lately I’ve drifted toward audiobooks—don’t know what happened to me in the past five years, but that’s more my style now. He still likes real books, and most of the stuff in our apartment is books at this point.

“Insatiable” is one of the first songs I ever wrote and recorded, so it's very old. I originally recorded it on a cassette 4-track. For the lyrics, I used a piece I'd written describing a dream experience. The piece wasn’t intended for a song so the singing came out in a unique way (to me). This song has always stuck with me. I thought it would be fun to re-record it, and I think Cory captured it really well.

It's called Alone with My Thoughts, another spray-painted background with the sun—or maybe the moon—shining on a golden tree. Golden grass and little wheat-looking plants grow around it. It represents being alone and absorbing your own creative magic. The plants aren't a specific species, just leaf shapes I like to draw.

The sun is setting in some ghostly golden landscape. Spray painted sky, a tree and it’s shadow ghost. Stars and sprouts appear as night descends.

This is a handmade leather guitar pick my crafting puppeteer dad made, and I signed it. I’ve actually played several of my guitars with this pick. I wanna say he made it within the last fifteen-ish years, though I can’t quite remember—my memory’s not very good. A leather pick gives a sound that’s sort of nice for bass or a thicker acoustic guitar. It’s durable, so you can throw it in your purse and you might not lose it as easily as you would a normal pick.

Cassingle! “Feel Like Makin’ Love”. This is, you know, my party hit. If I'm at a party and wanna play a sing along, people enjoy this one. Never recorded it before, this is the only recording of it. And it was recorded at Scenic Burrows with Cory Gray in December 2025 with Sam Brewer on the drums and the bass and some lead guitar. We tried making love twice, but the first try was the best.

These are handwritten lyrics to the song Danger, which I wrote while living on 39th in Hawthorne—you know, maybe I was falling in love a little bit, maybe with the city, maybe with a person. Back then my guitar player at the time, Jeff, added some noodly guitar parts, and they really made the song. I have good memories; it reminds me of old Portland and of first moving here after coming from Asheville, North Carolina. The track ended up on Dirty Radio, which came out in, like, 2011, I think.

This is a cassingle of a song called "Coronation." It's a tune I wrote in the dead of a pretty intense Idaho winter—really bitter cold. The piece is about the coming of spring and hope in a new season, so it carries a sense of warmth breaking through. It's just acoustic guitar and vocals, and that's pretty much it. I recorded it at Scenic Burrows in Vancouver, Washington in December 2025, then dubbed the track to tape cassette.

This is a cassingle (tape cassette single) of a song called Rabbit Stew by Tispur. Rabbit Stew is a pastoral tale about a dog that gets lost chasing a rabbit. It’s a testament to my upbringing in Southeastern Idaho on my family's farm.

This is a Polaroid from a cassingle session with Cory Gray at Scenic Burrows in Vancouver, WA on December 3 2025. In this picture im playing my first full size acoustic guitar that I got when I was about 15 years old. So I've had it for a long time. And it's an Art and Luthiery Canadian guitar. It's got a nice black lacquer finish, which I carved into at one point in my early twenties, and a helicopter is flying over the moon. Very low.

I don't know what I have to say about this thing except it's not Miles Davis. I really don't know. It was an evolution—like most of these -until it finally revealed its identity completely. I'd like to talk to this person, but they're not really looking at you, kinda preoccupied, so I wouldn't bother them. I do really like solar shields; I can't actually wear standard sunglasses. If I wear them, it has to be the full coverage. Otherwise, you're seeing two different things at once, and I'd rather not.

This painting is Mount Saint Helens thinking about “it”— a pre-eruption, thought bubble of what’s to come. Inside there’s a hammerhead shark; They haven’t evolved for forty million years, so the hammerhead hit its peak design and like the mountain has been that way for millions and millions of years, They’re both, in my mind patient but potentially catastrophic, destructive forces— patient killers waiting it out just below the surface.

About fifteen years ago I found this jawbone in Eastern Oregon and glued it to this board. I added dried-out bottom-of-the-bucket paint—great texture, kinda bone-like yet still soft. For years I saw a vague face, the jawbone serving as the jaw. After living with the piece forever, I finally knew what it was: the jawbone is the Titanic and those ridges are smoke stacks. A long journey to that epiphany, and yeah, some things take a really long time.

This acrylic on wood painting is titled Jimi Hendrix's Meandering Blues—and we've all been there before. Oh, that's funny., I have blues and greens, all the feelings. I picture myself as the floating cube, trying to avoid the blues. Completed in 2025. (17.5x21.5)

This is goofy brand Lee and Nancy sand in a can. Good for the beach, the sandbox, glass, flocking, castles, clams, touching, and more. I made this in about 2016 in Slab City as part of a project where I found discarded aerosol cans in the desert and brought them back to life. I was part of an experiment called Sunfort. Before that, I was the caretaker at Salvation Mountain, on the National Registry of Folk Art Historic Places. It's a man made art mountain by Leonard Knight, a work built over thirty years from hay bales, adobe, and hundreds of thousands of gallons of paint.

This painting is called Light Green Fella—basically all the emotions and thoughts when you’re feeling green, inspired by a Michael Hurley song. It’s sort of Kermit too, I guess, with Kermit down in this pit in the bottom left. It’s all the emotions and thoughts that one has while feeling green in this fucked-up world and all the shit going on. Acrylic on canvas, with a homemade frame out of old-growth doug fir.

This is Down With Wilco, my biggest Minus 5 seller, recorded in Chicago with Wilco (The Band). It came out a couple times as a double vinyl, but has been out of print for a long time. Last year Yep Roc wanted to do a reissue, and I made it more like the original record. It only has one song different from the original CD, and everything is from the actual sessions, whereas the double album had extra tracks that were stretching the concept a bit. So this is the purest version. It sold out instantly because it was a Record Store Day thing. I barely even got a copy of the original release, though I did snag a couple test pressings.

It's a test pressing of the five-record box set I put out in 2013 with Yep Roc Records. The original box set was limited to 750 copies. So it's kind of rare in itself, but, this is one of the test pressings. So there's five LPs inside it that are just marked by letters Sides A-J. 57 songs or something like that. All new at the time in 2013. It was mostly recorded in my studio at the Dungeon Of Horror. At least all the songs were finished and mixed there. A few were done at Type Foundry with Adam Selzer. But we only tracked like six or six/seven of the songs, you know, in the live setting. Otherwise, I had people do drums in my basement or do tracks in far off places, but mostly it was done in my basement. Some players on this record are Jeff Tweedy, Peter Buck of course, Linda Pitmon, Joe Adragna, Jim Talstra, Ezra Holbrook. God, there's so many people. Dennis Diken and Jim Babjak of the Smithereens, Chris Mars!, Mike Mills of REM, John Ramberg, Kurt Bloch, Laura Gibson, Wesley Stace, Tucker Jackson (one of many excellent Portland pedal steel purveyors), Jenny Conlee. Ian McLagan and Bill Rieflin -- rest in peace, my dear friends. And Casey Neill, Jesse Greene. The usual assortment of quality.

I've done three volumes of Neil Young songs since the pandemic. I started doing it just as a activity because I was locked inside -- and what could be more fun than playing Neil songs? Pretty soon I had a whole double album worth of stuff, and then I thought, maybe I should write a couple songs about Neil or inspired by Neil. So I did those, and I added those to the the first record. And then I've done two more volumes since then, and one of them has, like, five or six songs that I wrote myself, inspired by Neil. Suddenly it's 2025, his eightieth birthday, just a couple days ago. And, I thought, well, I'm gonna do two original songs, and I'll call it Neil Young Vol. IV. I had planned on doing a seven-inch for his birthday, but no way I was ever gonna get that together in time. So I just recorded these two songs last week (with help from Joe Adragna) and put them up on Bandcamp, and this cassette will be the only physical manifestation of it, for now anyway. Neil & Crazy Horse had a song called Fucking Up, so this is Fucking Up 2. It's about getting old, you know. But staying young too. And the other song, Requiem for a Horse... I mean, I may be jumping the gun because I don't know that Crazy Horse is dead or anything like that. Of course they're not, but, you know, I felt like maybe their days playing with Neil might have come to an end. Maybe - I mean, I don't know. It's open-ended song though. It may be called a "Requiem", but the chorus is “the horse lives on and on and on” So, you know, it it could go either way. And either way, it's beautiful.