This is a promotional 45 of my track Dos and Don’ts from the album Blue Eyed in the Red Room. I received a box of these from the label when the album came out. This song was a favorite among buyers and so the rest sold while I toured across Europe. I happen to come across my personal copy of it and noticed I had one extra. So this is the extra and I’m reluctantly letting it go. I’ve numbered and signed it for extra authenticity. Gruff and I made this song when I first moved to Los Angeles in 2002. I moved into an apartment off of Melrose Avenue in West Hollywood. I didn’t know Los Angeles at all and realized I had moved in the center of an area where almost everyone around me were aspiring actors, models or very young. Gruff arrived and slept on my sofa for three days while recording this song in a small bedroom inside my apartment. When we finished, we celebrated at a Thai restaurant who had a staff of transgender servers who were so fun and got us wasted. The next day Gruff went off and back on tour.

This is a promotional 45 of my track Dos and Don’ts from the album Blue Eyed in the Red Room. I received a box of these from the label when the album came out. This song was a favorite among buyers and so the rest sold while I toured across Europe. I happen to come across my personal copy of it and noticed I had one extra. So this is the extra and I’m reluctantly letting it go. I’ve numbered and signed it for extra authenticity. Gruff and I made this song when I first moved to Los Angeles in 2002. I moved into an apartment off of Melrose Avenue in West Hollywood. I didn’t know Los Angeles at all and realized I had moved in the center of an area where almost everyone around me were aspiring actors, models or very young. Gruff arrived and slept on my sofa for three days while recording this song in a small bedroom inside my apartment. When we finished, we celebrated at a Thai restaurant who had a staff of transgender servers who were so fun and got us wasted. The next day Gruff went off and back on tour.

This is part of a series I did of gold and black works, inspired by Klimt's gold and Picasso's abstractness. It is a portrait of my space, including my wife, the queen of our castle, my little mini acoustic guitar which I strum often, our wood floor and our fig tree house plant. I did a series of about 10 of these and then they morphed into a bigger series which I may continue to expand on, I keep getting bigger and bigger with my canvases, one day I may need a barn. Most of the initial series were two toned but this one needed a little splash of color and the oil pastel gave it both color and a little extra added texture which I thought suited it perfectly.

I grew up in Virginia, where the state bird is the cardinal. It gave me a false sense of state pride when I would see a cardinal out in the wild. My bubble was burst later in life when I found out 6 states have the cardinal as their state bird. Though they are still some of the most magnificently majestic descendants of dinosaurs around, so it's no wonder over 10 percent of our country prefers them the most. This is yet another example of me using both birds and patterns in my work. This one was inspired by some of my birds before it and it inspired some of the birds after which I'm sure will inspire more birds. Why do I love birds so much? I'm not sure but my guess is they often have great hairdos. This one started just the bird and a blue background. I liked it and it was a good study in form and shape and the colors were very American and Virginian, but it was just missing something, I called it done. But over the next year I started using various patterns in my works and I realized all it needed was some texture in the shape of patterns. And voila.

I grew up in Virginia, where the state bird is the cardinal. It gave me a false sense of state pride when I would see a cardinal out in the wild. My bubble was burst later in life when I found out 6 states have the cardinal as their state bird. Though they are still some of the most magnificently majestic descendants of dinosaurs around, so it's no wonder over 10 percent of our country prefers them the most. This is yet another example of me using both birds and patterns in my work. This one was inspired by some of my birds before it and it inspired some of the birds after which I'm sure will inspire more birds. Why do I love birds so much? I'm not sure but my guess is they often have great hairdos. This one started just the bird and a blue background. I liked it and it was a good study in form and shape and the colors were very American and Virginian, but it was just missing something, I called it done. But over the next year I started using various patterns in my works and I realized all it needed was some texture in the shape of patterns. And voila.

I had never heard of Sun Conures before, but a friend was telling me they were his favorite bird. And with good reason, they are certainly not lacking in the pizzaz department. Naturally it wouldn't take long before they worked their way into this piece. I couldn't say for sure what influenced this one, but I feel like there is some bossa nova and Art Deco in there. Art Deco is pretty angular with their birds and these ones have sort of a jazzy smooth Bossa Nova feel to them as well. I believe that I was actually listening to Stan Getz and other Bossa Nova legends at the time. My mom is Brazilian and used to listen to it while she'd be cooking dinner and I bust it out sometimes around the same time of day. I've tried writing some myself and it never really worked out well, except for one tune I did with my sister which she sang in Portugese.

I had never heard of Sun Conures before, but a friend was telling me they were his favorite bird. And with good reason, they are certainly not lacking in the pizzaz department. Naturally it wouldn't take long before they worked their way into this piece. I couldn't say for sure what influenced this one, but I feel like there is some bossa nova and Art Deco in there. Art Deco is pretty angular with their birds and these ones have sort of a jazzy smooth Bossa Nova feel to them as well. I believe that I was actually listening to Stan Getz and other Bossa Nova legends at the time. My mom is Brazilian and used to listen to it while she'd be cooking dinner and I bust it out sometimes around the same time of day. I've tried writing some myself and it never really worked out well, except for one tune I did with my sister which she sang in Portugese.

I had never heard of Sun Conures before, but a friend was telling me they were his favorite bird. And with good reason, they are certainly not lacking in the pizzaz department. Naturally it wouldn't take long before they worked their way into this piece. I couldn't say for sure what influenced this one, but I feel like there is some bossa nova and Art Deco in there. Art Deco is pretty angular with their birds and these ones have sort of a jazzy smooth Bossa Nova feel to them as well. I believe that I was actually listening to Stan Getz and other Bossa Nova legends at the time. My mom is Brazilian and used to listen to it while she'd be cooking dinner and I bust it out sometimes around the same time of day. I've tried writing some myself and it never really worked out well, except for one tune I did with my sister which she sang in Portugese.

Having fun is the name of the game. I like to ride the line of fun and serious. This one obviously tips a toe into the goofy. But as with any good self portrait it is also a self deprecating look at one's truths and a tad pornographic in nature. Heavily influenced by Picasso and some of his beach goers and his loose interpretation of the human form, which lends nicely to the blending of gender through colors and shapes that I have explored in other works. The stripped shirt my caricature of myself is wearing is a nod to Picasso's beach goers outfits and perhaps his own personal style as well. My Adidas is the title I decided to use because I feel like I sort of look like the Adidas logo in this painting. Satire at it's most subconscious I suppose. This colorful piece is def one of my favorites.

The wife and I went for a bike ride down the PCH one day and ended up at a little cafe of the side of the road. When I say little I mean a rather large bright yellow old house that was converted into a cafe. We found a quiet spot on their balcony. It was a slow day and the only other guests on the deck we some little, not shy, birds, looking for some crumbs and stealing our food when we weren't looking. My wife was wearing big sunglasses and looked lovely as always. That afternoon gave me good vibes and that evening I went home and was inspired to make this, from the big glasses to the yellow to the birds, this was a synopsis of the day.` I had been toying with some oil pastels recently and decided to grab a wooden canvas, something I'd also been toying with recently. After a layer of gesso I was ready to roll. This particular pastel box did not have the most amazing colors I've ever seen, but thankfully there were a few exceptions, like the brilliant yellow and the magnificent magenta used here. I think the bright colors plus the big eyes / glasses and simple face lean this piece into the world of pop art and it's something I'd like to explore more in the future. I added a fixative to this after finishing so no worries about the pastel brushing off.

After a life altering year in losing my dad, I did what I know best as a songwriter; turn my pain into art. I self released my first EP in April 2023 just before the anniversary of my dad’s passing. And with it I decided to create a coloring book for a therapeutic listening experience. This custom coloring book is a one of kind hand-made booklet bound with multiple art designs inspired by the songs of my debut EP 'In Its Time'. Each page is crafted from the lyrics of each song that takes you on an emotional journey of loss and healing. I personally believe that the act of coloring is one of the best kinds of mindless therapy out there. It has helped me more times than I can count so I wanted to create my own version of this art form in the hopes of helping someone.

ATOMS FOR PEACE was the band name for a side project for some of our favorite musicians. I thought the name was so 🔥 I borrowed it for these piece of work representing my foray into a new media as a multi-hyphenated artist. This particular piece includes items such as a sticker from a bag of fruit, a sequence of the lunar calendar and a group of imposing African warriors. These images evoke a spirit of perseverance and remind me to rise above even in our most minute daily battles. 1 of 1

Flora and Fauna #1 part one in the series FLORA AND FAUNA. A few years prior to Covid-19 lockdowns, I began to construct collages using educational pamphlets and old local newspapers. Little did I know the practice would prove to be not only therapeutic and cathartic for me personally, but others started taking notice and requesting custom pieces to add a splash of flavor to their homes. Commissioning artwork is cool from a financial standpoint, to actually generate revenue from your creative contributions, but the reward of knowing friends willingly display my works of art in their home is truly beyond gratifying. As a Science teacher, I spend many hours combing through curriculum designing lessons for my 4-6th grade students. Many of the textbooks may become outdated as modern discoveries dispel the theories of the past, but much of the information is still useful and the graphics hark back to a time period before digital copies, advanced printing methods and photoshop. In an effort to repurpose the images and also highlight our relative closeness with the other living things in our eco-systems, The FLORA AND FAUNA series was born.

Flora and Fauna #2 part two in the series FLORA AND FAUNA. A few years prior to Covid-19 lockdowns, I began to construct collages using educational pamphlets and old local newspapers. Little did I know the practice would prove to be not only therapeutic and cathartic for me personally, but others started taking notice and requesting custom pieces to add a splash of flavor to their homes. Commissioning artwork is cool from a financial standpoint, to actually generate revenue from your creative contributions, but the reward of knowing friends willingly display my works of art in their home is truly beyond gratifying. The FLORA AND FAUNA series grew from a love of nature and wildlife and wanting to highlight our closeness with the other living things on our planet Earth.

this painting took many stages.. i couldn’t seem to land anywhere to my liking .. so i just kept painting almost as if i was possessed.. its a bit darker than most of my work.. i found out the day after i finished it that a friend of a friend had passed in a tragic way.. i like to think i was tapping into their energy and communicating through them. a wee hokey , maybe.. but it resonates w me and this piece..

My first book! I’m so excited to share this body of work with the world! It started in 1998 and follows my photo life until 2016 through the indie music explosion during the early aughts! The strokes - Yeah Yeah Yeah’s - Modest Mouse - The Shins - Hot Hot Heat - Interpol and the list goes on and on.

From a series of self portraits during my time painting in NYC in 2014 exploring distortions through water and reflections

From a series of self portraits during my time painting in NYC in 2014 exploring distortions through water and reflections

I've been drawing Buddy and his friends since I was a teenager, and now, Buddy seems to live on nearly everything I own—as well as things I don't… He is a companion, a muse. Sometimes, it feels like I'm speaking to others through Buddy, while other times, it's as if others are communicating through Buddy to me, conveying what I need to hear. This collection is a group of Buddy’s talking to me, reminding me to love and to enjoy myself. He knows what’s up! Buddy, in a way, has become my personal version of the Enso circle from Zen artistry—an expression of the universe in a single, effortless stroke. Much like the Enso, Buddy embodies the essence of my creativity, capturing the spirit of creation within fleeting moments. Buddy is also influenced by the vibrant culture of graffiti and street art, which resonates deeply with the Enso circle's nature. Graffiti culture, with its quick, fleeting creations born from self-expression, seems to parallel Buddy's essence. The disorienting nature of touring finds Buddy emerging as a constant amidst the whirlwind—a steadfast anchor in my life, offering stability through it all. Buddy encourages peace, love, mischief, and a profound connection to inner realms, serving as a guiding reminder of how I want to navigate life. More than just a character, Buddy is a friend. I live by a motto: everyone deserves a Buddy. In moments of loneliness, Buddy's simple smile has been a source of comfort. Sharing that feeling with as many people as possible drives me, for it has been a positive force in my life. When Chris from Ghostnote presented the opportunity to join the platform, it felt serendipitous. Venturing into this new artistic realm feels exhilarating—an opportunity to share the profound connection with Buddy to those eager to embrace this enchanting world. I want bring not just Buddy's character but also a passion to spread joy and connection through these whimsical creations. It's a chance to share a piece of my heart with those who resonate with Buddy's presence—a shared journey through art, love, and delightful mischief.

18x18” When I moved out to LA the resounding message from my family was simply to ‘enjoy myself’. And my personal mantra became ‘I’m here to be creative and enjoy myself’. That has helped with the existential anxiety of having relocated to the other side of the world, for apparently no real reason… I've been drawing Buddy and his friends since I was a teenager, and now, Buddy seems to live on nearly everything I own—as well as things I don't… He is a companion, a muse. Sometimes, it feels like I'm speaking to others through Buddy, while other times, it's as if others are communicating through Buddy to me, conveying what I need to hear. This collection is a group of Buddy’s talking to me, reminding me to love and to enjoy myself. He knows what’s up! Buddy, in a way, has become my personal version of the Enso circle from Zen artistry—an expression of the universe in a single, effortless stroke. Much like the Enso, Buddy embodies the essence of my creativity, capturing the spirit of creation within fleeting moments. Buddy is also influenced by the vibrant culture of graffiti and street art, which resonates deeply with the Enso circle's nature. Graffiti culture, with its quick, fleeting creations born from self-expression, seems to parallel Buddy's essence.

18x18” Listening to Pink Floyd, Dark Side of The Moon, while doing this piece. Thinking about things like time and love, as well as being drawing to the pastel colour palette while listening to ‘Any Colour Will Do’. Washed out, out, full of love, and awareness that time isn’t what we seem to think it is. Buddy seems to live on nearly everything I own—as well as things I don't… He is a companion, a muse. Sometimes, it feels like I'm speaking to others through Buddy, while other times, it's as if others are communicating through Buddy to me, conveying what I need to hear. Piece 3 in a collection of four 18x18 Buddy’s in canvas with speech bubbles of love and enjoyment. Buddy, in a way, has become my personal version of the Enso circle from Zen artistry—an expression of the universe in a single, effortless stroke. Much like the Enso, Buddy embodies the essence of my creativity, capturing the spirit of creation within fleeting moments. Buddy is also influenced by the vibrant culture of graffiti and street art, which resonates deeply with the Enso circle's nature. Graffiti culture, with its quick, fleeting creations born from self-expression, seems to parallel Buddy's essence.

18x18” I've been drawing Buddy and his friends since I was a teenager, and now, Buddy seems to live on nearly everything I own—as well as things I don't… This canvas is a version of Buddy that might live on some things I don’t own. Scratchy, spray painted, quickly, with no room for second thought, just getting him down quickly and with whatever energy exists in that moment. Buddy, in a way, has become my personal version of the Enso circle from Zen artistry—an expression of the universe in a single, effortless stroke. Much like the Enso, Buddy embodies the essence of my creativity, capturing the spirit of creation within fleeting moments. Buddy is also influenced by the vibrant culture of graffiti and street art, which resonates deeply with the Enso circle's nature. Graffiti culture, with its quick, fleeting creations born from self-expression, seems to parallel Buddy's essence.

12” Diamter Meet Boom, Boom & Boom. They represent Buddy’s spiritual guides, or maybe his multiple inner personalities…. I’m not entirely sure yet as they only showed up in Buddy’s world earlier this year! But they have since become a constant alongside Buddy. Sometimes he’s running after them, sometimes they’re running after him… it’s a whirlwind adventure, whatever is going on. This piece is simply an introduction to the characters…

12x36” I've been drawing Buddy and his friends since I was a teenager, and now, Buddy seems to live on nearly everything I own—as well as things I don't… He is a companion, a muse. Sometimes, it feels like I'm speaking to others through Buddy, while other times, it's as if others are communicating through Buddy to me, conveying what I need to hear. This collection is a group of Buddy’s talking to me, reminding me to love and to enjoy myself. He knows what’s up! Buddy, in a way, has become my personal version of the Enso circle from Zen artistry—an expression of the universe in a single, effortless stroke. Much like the Enso, Buddy embodies the essence of my creativity, capturing the spirit of creation within fleeting moments. Buddy is also influenced by the vibrant culture of graffiti and street art, which resonates deeply with the Enso circle's nature. Graffiti culture, with its quick, fleeting creations born from self-expression, seems to parallel Buddy's essence. The disorienting nature of touring finds Buddy emerging as a constant amidst the whirlwind—a steadfast anchor in my life, offering stability through it all. Buddy encourages peace, love, mischief, and a profound connection to inner realms, serving as a guiding reminder of how I want to navigate life. More than just a character, Buddy is a friend. I live by a motto: everyone deserves a Buddy. In moments of loneliness, Buddy's simple smile has been a source of comfort. Sharing that feeling with as many people as possible drives me, for it has been a positive force in my life. When Chris from Ghostnote presented the opportunity to join the platform, it felt serendipitous. Venturing into this new artistic realm feels exhilarating—an opportunity to share the profound connection with Buddy to those eager to embrace this enchanting world. I want bring not just Buddy's character but also a passion to spread joy and connection through these whimsical creations. It's a chance to share a piece of my heart with those who resonate with Buddy's presence—a shared journey through art, love, and delightful mischief.

“Lavender” When I was planning the release for my single, “Lavender,” I considered having the cover art be a painting I made myself. I created a few different designs but wasn’t sure if they were right to be the cover art. If I was going to go that route, I would’ve used this one. But I put the paintings aside and decided I would use them for something more exclusive for my fans. Art in all forms is something I personally value a lot, and it’s not everyday that you can buy an original painting from your favorite music artist. I’m so excited for whoever gets to have this in their home! Lavender represents purity, grace, devotion, and peace. When I painted these, I was feeling so peaceful and meditative, just like the feeling I had when I wrote Lavender. I hope that feeling is passed along through my creations. Made with love from a high vibrational heart 💟 12 in x 15 in

“Lavender” This is the second painting I made that became an early contender for the cover art of Lavender. I wanted to try a few different ways of painting Lavender to see if any of them felt right to have as the cover art. But once we did the photoshoot for the single, I fell in love with those photos and decided to keep these paintings for something more exclusive for my fans. Art in all forms is something I personally value a lot, and it’s not everyday that you can buy an original painting from your favorite music artist. I’m so excited for whoever gets to have this in their home! Lavender represents purity, grace, devotion, and peace. When I painted these, I was feeling so peaceful and meditative, just like the feeling I had when I wrote Lavender. I hope that feeling is passed along through my creations. Made with love from a high vibrational heart 💟 12 in x 15 in

“Lavender” This is the second painting I made that became an early contender for the cover art of Lavender. I wanted to try a few different ways of painting Lavender to see if any of them felt right to have as the cover art. But once we did the photoshoot for the single, I fell in love with those photos and decided to keep these paintings for something more exclusive for my fans. Art in all forms is something I personally value a lot, and it’s not everyday that you can buy an original painting from your favorite music artist. I’m so excited for whoever gets to have this in their home! Lavender represents purity, grace, devotion, and peace. When I painted these, I was feeling so peaceful and meditative, just like the feeling I had when I wrote Lavender. I hope that feeling is passed along through my creations. Made with love from a high vibrational heart 💟 12 in x 15 in

Part 1. Buddy in the world, melting a little but still smiling. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 2. No plan, just a vibe, but that idea isn’t really plugged in ya know…? Just an idea… something a friend told me once. But at that time, I thought I knew what it meant… but now I’m not so sure I did. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 3. No plan… the world continues to wear you down, while you continue to try share your point of view back at it. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 4. Rebel without a cause… frustrated by the world, lashing back out at it, encouraged by the message of RATM, as well as those funky little spirit guides, of course. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 5. But there are always signs pointing the way… reminders, messages from the universe, signposts letting you know you’re on the right path despite the chaos. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 6. You followed the signs, and you’ve remembered the only thing to do is to sit still amid the madness. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 7. When you sit still, you can hear them clearly, your guides, your inner voice, your angels, whatever you want to call them. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 8. And when you do what they remind you to do…. In you go! Spiralling to that beautiful inner world. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 9. It’s in there that somethings start to make sense in their own way. It may seem dark, but it’s not, it’s truly beautiful. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 10. It’s with that, sitting and facing yourself, that what you thought you knew starts to become a bit clearer… These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Part 11. And that, my friends, creates balance, harmony, peace, and a happy mood. These pieces were created over a couple of weeks, drawn without a set order in mind. I aimed to craft a series of Buddy pieces and purchased an 11-canvas multipack of the same size. Randomly, I would draw on them throughout the day, finishing each piece before letting it rest. When they were all completed, I laid them out, wondering if a collective narrative would emerge. Much to my delight, a story seemed to reveal itself. Arranged in a sequence reflecting my own journey, these artworks encapsulate my narrative. It's akin to navigating life's currents while concealing inner struggles behind a persistent smile, unaware of the disconnection in my ideas. Despite persisting with a smile, I feel as though I may be slowly melting beneath life's weight. Yet, I cling to the flicker of hope, yearning to share a message of love amidst it all. There are moments of rebellion against chaos, moments when I'm convinced of my path. Yet, persistent signs guide me, leading me towards meditation—a journey inward where guides offer counsel. This inward journey feels like a spiral, both daunting and strangely beautiful. Amidst it, I discover, think, and encounter my guides, offering reassurance and safety. Familiar thoughts and anxieties persist, yet now, I comprehend them better, finding solace in this understanding. I've come to realize that sharing the love I yearn for lies in delving within myself. This body of work encapsulates a lifetime yet also feels akin to a solitary moment—a single morning. It's a reflection of life, born not from a plan but from an intuitive vibe. I envisioned a series of paintings that tell a tale, refraining from contriving the storyline. Instead, I let the art dictate its narrative. Stepping back, an inherent order emerges, aligning seamlessly to mirror my journey. This ability to perceive the bigger picture has been a profound gift, empowering me to heal what needs mending.

Portrait taken by Autumn De Wilde for the press campaign to promote my debut album, ‘Linda Vista’

I believe handwritten lyrics are becoming more valuable as we get deeper into our technological age. It can be a rare, immersive experience for the listener to have handwritten lyrics to their favorite songs. I wrote out the lyrics to Lavender (in purple pen of course!) and signed it as well. Truly a one of a kind item to own!

I believe handwritten lyrics are becoming more valuable as we get deeper into our technological age. It can be a rare, immersive experience for the listener to have handwritten lyrics to their favorite songs. I wrote out the lyrics to Lavender (in purple pen of course!) and signed it as well. Truly a one of a kind item to own!

Every time I make a new recording, I keep a dedicated journal that I fill up with production ideas, mix notes, and lyrics for that given album. Inevitably, some grocery lists, doodles from my daughters, and other random things show up in there as well. This journal was created and kept for my 5th studio album, “We Are Like Warriors,” and in addition to those aforementioned items, it has hand-written lyrics to all 12 songs in the back. I began recording that album in my 42 square-foot shed/studio in the spring of 2019 and finished it in my basement studio in late 2020. It was finally released on my birthday, February 2, 2021 and never has an album taken me longer to produce. I was interrupted by a busy gig schedule, producing records for other people, a pandemic, bursts of new songwriting inspiration, and the busy demands of family life. If you look close enough, you’ll see that arc of time and life in this journal.

Every time I make a new recording, I keep a dedicated journal that I fill up with production ideas, mix notes, and lyrics for that given album. Inevitably, some grocery lists, doodles from my daughters, and other random things show up in there as well. This journal was created and kept for my sixth studio album which had the working title “Western Sky” but was eventually titled, “The Devil’s Rope.” In addition to the aforementioned items, it has handwritten lyrics to all 10 lyrical songs in the back. I began writing that album in the thick of the COVID-19 pandemic. During that time of stress and uncertainty, I stayed sane and at peace by spending more time than ever alone in the forests and mountains of my beautiful home state of Montana. You can hear those themes deeply woven into the lyrics of this album and read them written in this journal. I recorded the album in my home studio which is in the basement underneath my daughter’s bedrooms. To avoid waking them up when I worked at night or during their nap times, I played everything in this album, whisper quiet, with pre-amps cranked. I’ve never recorded an album like this before and I’m happy with the tones it created. When my younger daughter, Isla was awake, while I was working, she was strapped to my chest in a baby carrier. That was a new approach to album production as well. I finally signed this record to A-Tone records, (an imprint of Extreme Music), they changed the name to “The Devil’s Rope” and released it on 11/11/2021.

These are lyrics that were hastily written down in Adam’s own handwriting and was the pad of paper he used while tracking vocals on the album “Like A Fire That Consumes All Before It”.

Every time I make a new recording, I keep a dedicated journal that I fill up with production ideas, mix notes, and lyrics for that given album. Inevitably, some grocery lists, doodles from my daughters, and other random things show up in there as well. This journal was created and kept for my sixth studio album which had the working title “Western Sky” but was eventually titled, “The Devil’s Rope.” In addition to the aforementioned items, it has handwritten lyrics to all 10 lyrical songs in the back. I began writing that album in the thick of the COVID-19 pandemic. During that time of stress and uncertainty, I stayed sane and at peace by spending more time than ever alone in the forests and mountains of my beautiful home state of Montana. You can hear those themes deeply woven into the lyrics of this album and read them written in this journal. I recorded the album in my home studio which is in the basement underneath my daughter’s bedrooms. To avoid waking them up when I worked at night or during their nap times, I played everything in this album, whisper quiet, with pre-amps cranked. I’ve never recorded an album like this before and I’m happy with the tones it created. When my younger daughter, Isla was awake, while I was working, she was strapped to my chest in a baby carrier. That was a new approach to album production as well. I finally signed this record to A-Tone records, (an imprint of Extreme Music), they changed the name to “The Devil’s Rope” and released it on 11/11/2021.

These are the handwritten original notebook lyrics from my debut album ‘Little Black Book’ released in 2017 under One Little Independent Records. The lyrics are from ‘Prettiest Song’, ‘Wake Me Up’ (which was rewritten from a previous version) and the very beginning song seeds and concept of ‘Still Frames’. I save all of my notebooks with my ideas and lyrics in them and these 3 are particularly special to me. They take me right back to the moments of creation, and I remember exactly where I was writing them. It’s a very special artifact from a really important time in my life as an artist and creator.

This is the chord sheet for my song 'Medicine' from my album 'Promenade Blue.' It includes a lyric sheet and was used during the studio tracking at Memphis Magnetic in February 2021. (What a time to be alive.) we would run these off in the morning and every player would have one in front of them through tracking. You can see some alternate lyrics on the sheet, which was the working version at that point.

This is the working sheet for my third record, Never Twice. A lot of times while I'm producing a record, I end up making checklists, layer lists, and obligation lists. Takes that I like, takes that are done, and what needs adding. So this would probably happen after basic tracking, knowing that we were going to be doing overdubs. You can see guitar, percussion, vocals to recut. Ladies, fellas. Britt, who was singing back up with me at the time, Britt Lauren Manor and I did a duet on I Cry. And a finally pretty amusing section I have here is No Good. So I'm really wondering which of these takes didn't do it, or if I realized I needed to revisit them. We've got a really nice coffee stain up here in the corner that gives it that lived-in studio authenticity. And on the flip there's some scribbles as well, TBDs and somebody's address. Pretty cool little piece of memorabilia from 2015 when I was finishing Never Twice, my third album.

In a chic West Hollywood hotel, Brett from Ghost Note delves into the future of music. During the discussion, a personal touch was added by writing a name on a piece of paper and capturing the moment with a photo. This interaction highlights the blend of personal connection and forward-thinking in the music industry.

Here's a lyric sheet I made for my song called Ghosts by David and the Arc. I included some random tags of images with the various lyrics.

I create character design sheets to visualize music themes. These characters, inspired by influences like Looney Tunes and Pulp Fiction, help shape the album's look and sound. The C37 mic was the mic I wanted for vocals. Characters from past albums, like Tank Dog, continue to influence new projects.

I create character design sheets to visualize music themes. These characters, inspired by influences like Looney Tunes and Pulp Fiction, help shape the album's look and sound. The C37 mic was the mic I wanted for vocals. Characters from past albums, like Tank Dog, continue to influence new projects.

This is me doodling, trying to come up with logo ideas. I used lined paper because it was in front of me. One design is angular and linear, the other is round. In high school, I used graph paper, so everything was angular. The circle was an attempt to break out of that and do something more psychedelic. I wanted to create a logo like someone else's, someone I was obsessed with at the time. The circle is spot on, though I probably used something handy to draw it.

A poll conducted by the Alternative Press in 1997. The best and worst of The Brian Jonestown Massacre. The Palace, a venue where we opened for bands like Love and Rockets and the Charlatans, where we never had a good show. We were definitely early adopters of a website in 1997, though I don't remember its appearance. Concerts and festivals were hard to remember, though highlights were touring with Blur and playing with Radiohead, the best live bands.

This is the supersonic fuzz gun schematic, hand-drawn by me. Unfortunately, there's no date on it. It includes all the markings and was even used as print filler paper, which we used to clean out the silk screens. We always hand-drew these from what we were putting in solderless breadboards, arranging all the parts. This was my language to describe the parts using rectangles and squares, helping us build these things. It was all wired together on small perf boards, with wires connecting all the parts, assembled by referencing this drawing. Everyone constantly referred to it as the guide for building. It was insane to think about, and you could see changes or clarifications made to the parts. This provides insight into the beginnings of Death by Audio.

This is the first of seven set lists I illustrated from the Moby European tour, celebrating 25 years of Moby’s album 'Play.' I drew this on the set list in a dressing room after soundcheck, having some extra time before the show. Initially, I thought I did it in London at the O2 Arena, but it was actually at the next show. I started with Moby's little idiot character and added elements relevant to London, like Big Ben, the UK flag, telephone booths, taxis, and tea of course. To stay on brand with Moby, I will donate a portion of the sale of this to an animal rights organization of Moby’s choosing.

This is the second set list I illustrated from the Moby tour, and it might be one of my favorites. I love the floating croissants and Moby's little idiot coming out of the coffee maker. I created this one while in Barcelona. It's challenging to make art daily on the road, especially on this tour, as we were in a different country each day for shows. Although I wanted to illustrate each set list in its city of origin, time constraints made it difficult. I completed these after the fact, but I really love the baguette, the full Eiffel Tower, and the stars. I like how I incorporated the stars into Moby's name. Also a portion of the proceeds of this setlist will be donated to an animal rights organization of Moby’s choosing.

The Maya Lumen custom notebook is designed for capturing your thoughts, inspirations, dreams, sensations, and experiences. It serves as a space to document the energy that emerges as you live life, listen to music, and connect with the world.

This journal is a dot notebook, allowing for versatile use. It can serve as graph paper, or you can create your own lines or leave it blank. Use it as a sketchbook, design a planner, make lists, and shape your life.

This mighty red dot journal is not one to be forgotten. With a color and design like this, you'll never forget your planner anywhere you go ever again.

This dot journal includes an elastic band to keep everything secure, two ribbons for organizing your life and thoughts, and a pen holder to ensure you're always ready for inspiration. The collage combines magazine images with custom watercolor art.

This neon sketchbook features paper that is versatile for a number of mediums, pencil, pen, ink, or even some light watercolor. Let the vibrancy of the cover guide you.

This hardcover dot journal offers a moody container for your thoughts and dreams. The elastic ribbon keeps the notebook closed so you can press flowers and findings. This notebook also features 2 ribbons to make sure you never lose your place.

This full-size sketchbook allows you to dream big and take up space. The page is never the limit. The paper is ideal for dry mediums and light washes.

This is a map my friend Yoichi drew for me on the first day of our tour in Japan. We had separated and were supposed to meet back up to take the train into the city for the show. I was carrying a lot of stuff, including a guitar case crammed full of T-shirts and records. It was very heavy. I followed the map, or at least I thought I did, until I found myself walking out of town. I had missed the spot where I was supposed to turn off. It was crazy hot that day and I walked for maybe an hour and then had to turn around and walk back. When I finally got to the meeting place, Yoichi looked at me very seriously and said “Didn’t you follow the map?”

This is a hand written note with a little drawing on the title page of my poetry book. The poems focus on memory, family, inherited identity, and place.

So all the crystals and shapes and things, it wasn't tribal. The colors were vibrant, and the patterns were intricate. It was a beautiful display of artistry. The craftsmanship was evident in every detail. Each piece told a story of its own.

Marriage is the New Going Steady one page of sheet music hand written by Kristian on nice card stock. One of one. Signed by the band.

Meta Meta one page of sheet music, handwritten by Kristian on nice card stock. Signed by the band. One of one.

Connie by El Ten Eleven is a unique piece of sheet music, handwritten by Kristian. This one-of-a-kind creation captures the essence of the band's distinctive sound. Each note is carefully crafted, offering a glimpse into the creative process. This sheet music is a testament to the band's innovative approach to music. One page on nice card stock.

So these are some handwritten notes that we were taking during the recording and tracking of Budos Band VII, our upcoming album. These are some working titles that we use. Some of them made the cut in the end. But, yeah, as we go along, we like to loosely keep track of what we're doing in the studio so that we know when we're going back to listen back to takes, to overdub, to mix. We have some sort of reference point, and these are the notes that our drummer Brian took with some of the song titles that he had in mind at the time. And, again, some of these made the cut for the final record and some didn't.

Here are some more studio notes from The Budos Band. This is from our second day of recording, The Budos Band VII. These are some working song titles that we had, some of which made the cut, some of which did not. These are kept for us to be able to go back and reference at a later date or during that session for overdubs, for mixing, so we know what's what. Especially as an instrumental band, having some sort of reference for what songs and what title tracks are is helpful since we don't have lyrics to refer back to.

Here are some more Budos Band studio notes from our second day of tracking Budos Band VII. These are notes that we keep with some working track titles for a reference point so that when we go back and listen or do overdubs or mix, we know what songs we're talking about, since we don't have lyrics in our songs. This is especially helpful for us.

Here's my sketch for the single art of 'Laid to Rest' featuring the four horseman. Leroy From The North logo sits in the top corner. I drew a red horseman with crown and bow, one with a sword, a black horseman holding scales of justice, and a pale horseman representing death—just some easy topic. It’ll likely serve as the album cover, set against a moody landscape. The record itself feels moodier than my others—more indie, less polished. It’s finished and ready to go.

This is the draft set list from the first show we played in 2025, in connection with the release of our seventh album, Budos Band VII. You can see tons of notes, cross-outs and scribbles; we hammered it out in rehearsals leading up to our Yonkers, New York set at Yonkers Brewing Co. The sheet mixes brand-new songs with classic Budos cuts. We later turned this mess into the concise, cleaned-up version for use onstage, but this page is the working copy we wrote in advance of the show.

This is an original pencil drawing of the sweet old souls that we used as the artwork for our album, and it was made by a really dear friend, Emma Allen. This drawing that was from a photograph that was taken of me and James when we were playing one of our early gigs as the sweet old souls.

This is a set list from my first time playing in Ireland on 04/26/2023, and I played at the Cobblestone in Dublin. And it was a significant show for me. I'm incredibly Irish and just to play there felt so correct. And I had done an Anne Briggs cover with my friend Devra Hoff, and I got to sing it there. It was just the best. That's a lot of songs, Europe likes you to play. I think that was probably that was maybe like an hour, hour and hour and ten. I think the longest set I ever did in Europe was 30 songs in a church in France. They're so patient there.

Seeing as how I’m a huge supporter of Ghostnote, the first thing that came to mind to list here, in light of recent activities in Eastern Europe, was this Soviet-made guitar I used in the Monarchy of Roses video. It’s an amazing looking guitar, but not the most reliable, I’m sorry to say. It just sits collecting dust, and I thought adorning it with a Ukrainian flag, and passing it on to someone to show support of Ukraine seemed like the perfect use for this idle instrument. Слава Україні!!! J… (this sale will go toward helping the Ukrainian effort to defend themselves against this injustice)

After a chance meeting with Bleeplab's John Mike, hot of the heels of his collab with Dâm Funk, we spoke of making some device that would embody the spirit of performance in a form factor that was portable & playful. The that thesis became the Delaydelus and the success of it led to a more ambitious Delaydelus 2 a few years following.

It's interesting and makes for a good test. This is a Eurorack sequencer.

This is a test.

This guitar is a knock-off Fender from Vietnam, that was used by the band Dirty On Purpose. The original owner bought it for $50 and smashed it. I mounted the damaged body above my door for a long time before deciding to transform it into a real Jaguar. I added a genuine sixties Mustang neck and took it to shows, where it often got smashed. The wood, likely evergreen or pine, caused painful splinters, leading me to eventually retire it. Despite its rough condition, I made modifications, including taping over damaged areas and drilling a hole for the whammy bar. The neck was reinforced with glue, and the controls were removed, allowing for a simple plug-and-play setup.

This is one of the earlier Death by Audio pedals I made. It combines a brass master clone with a boost drive circuit. I built it while working at a toy design place, using metal boxes from fake chemical kits they sold. This pedal is unique, sometimes glitching out, but the sound is incredible. It has sharp edges and a bit of craziness, showcasing the madness wired into it. The sound is unparalleled, and the ability to switch the octave and change the tone is fantastic.

This is a plastic object, a container shaped like a giant blue pill, given to me and my partner, Martin, by our friend, Michael Brown, a sculptor. He thought we might like it. We discovered that rotating its halves produces a sound, which we sampled for a song called "The Crying Pill" on the album "Plastic Anniversary," recorded at Snow Ghost Studios in Whitefish, Montana. We've toured the world with this plastic pill, taking it to places like Australia, Paris, and Baltimore. I love it dearly and wanted to share it with everyone in the ghost notes world. The album "Plastic Anniversary" explores the sonic potential of plastic objects, from trash to artificial human flesh and breast implants. This humble object is one of the richest sound-making plastics we've found, and we still love playing the song live.

The Simmons electronic drum trigger pad played a significant role in the music of the iconic duo, Hot Victory. Known for their innovative sound, the duo utilized this technology to enhance their performances, creating a unique auditory experience. The pad's versatility allowed them to explore new musical dimensions, contributing to their distinct style and sound. This particular pad was used live to trigger synthesizers which allowed for a full band sound. Each hex pad in the honeycomb served a specific purpose in its programming and execution within the midi chain.

This is Fast Eddie. He was the assistant engineer on Mnemonic Pulse’s second recording Pasigraphic. Fast Eddie appeared on my ESQ-1 synthesizer and spent his last moments on the high G key. I pushed him to the edge of the keyboard interface, and he continued to assist with the remainder of the recording. I am endlessly indebted to him.

This is a Peavey Classic 50 amp, two 12" speakers, which I bought in 1997. It was the touring amp for the Butchies, (and appears on the cover of our third album "3") as well as the amp for my solo tours and touring with Amy Ray from Indigo Girls. This amp has a rich history, having toured with Sleater-Kinney and the Gossip in 1999, as well as a tour with Indigo Girls the same year, and has some intense after-party stories to tell. In 2004, it shared a stage with Cheap Trick in Myrtle Beach, South Carolina.

This Electra Jazz Bass guitar was made in Japan in the early 70’s. This Riff stick became my first bass guitar in 1991. Since then, it has been records on many on my old bands albums including The Siren Six “The Voice with A Built In Promise” album and the “Young and Professional” EP. It was my main bass guitar on countless U.S. and Canadian tours from 1995 onward. It returned to its home in Japan for a tour with The Siren Six! In 1997 and continued to join me on stage with my old band End Transmission, and countless other bands and shows all over the place after that. I have since used this bass on numerous THEMES recordings and continue to do so. IT’S ALSO IN MOVIES It’s in countless videos of my performances with The Siren Six! It has also been is a major motion picture. In 2020, this guitar was also featured as a movie prop in the Netflix original feature “Metal Lords:”, for which I was a guitar instructor working with the cast. There’s a riotously funny scene featuring this guitar, where a high school dude auditions to be the bass player for a metal band and he gets so wild that he steps on his own cable and unplugs himself. This scene could very well be based on my own lived experience. You can preview that scene here: https://www.netflix.com/tudum/videos/bassist-tryouts-gone-wrong-in-metal-lords This Beast is truly a one of a kind original.

The Magic Mouse is a sleek, wireless device designed for seamless navigation. It features a multi-touch surface that allows users to perform gestures like swiping and scrolling with ease. The mouse connects via Bluetooth, ensuring a clutter-free workspace. Its rechargeable battery offers long-lasting power, making it a convenient tool for daily use. The Magic Mouse is compatible with various Apple devices, enhancing the user experience with its intuitive design.

The Magic Mouse is a sleek, wireless device known for its multi-touch surface, allowing users to perform gestures like swiping and scrolling. Its design is minimalist, featuring a smooth top with no visible buttons, enhancing its aesthetic appeal. The mouse connects via Bluetooth, offering a seamless experience with compatible devices. It is rechargeable, eliminating the need for disposable batteries, and its compact size makes it portable and convenient for travel. The Magic Mouse is popular among users who appreciate its functionality and design, making it a staple accessory for many Apple enthusiasts.

This is an Ocarina flute, known for its beautiful sound. I've used it to play various songs over time. It's a great instrument made of ceramics. I got it a couple of years ago online and have used it mostly for live performances. It doesn't have a name.

This is a beautiful ceramics Ocarina that I've had for a while. It's an amazing instrument, and I love playing it. It was featured on both my second and third albums.

I have a beautiful gold-colored tongue drum, a very versatile instrument. It's small, making it easy to take anywhere and play music.

I have a beautiful gold-colored tongue drum, a very versatile instrument. It's small, making it easy to take anywhere and play music.

This is a handheld neck scratch massage kneading tool. A few years ago, I started experiencing what I thought was carpal tunnel in my hand, which worried me as a musician. It made playing the guitar and piano difficult. Initially, I believed the issue was in my arm, but it turned out to be in my neck. I got this tool and periodically knead both sides of my neck throughout the day. The carpal tunnel sensation disappeared, as it was due to a buildup in my neck cutting off circulation to my arm. This tool has been great, allowing me to play guitar and do what I love pain-free. It's part of the journey of aging and finding what works. Not everything works for everyone, but this has worked for me. I use it regularly and am grateful for it.

This is a handheld neck scratch massage kneading tool. A few years ago, I started experiencing what I thought was carpal tunnel in my hand, which worried me as a musician. It made playing the guitar and piano difficult. Initially, I believed the issue was in my arm, but it turned out to be in my neck. I got this tool and periodically knead both sides of my neck throughout the day. The carpal tunnel sensation disappeared, as it was due to a buildup in my neck cutting off circulation to my arm. This tool has been great, allowing me to play guitar and do what I love pain-free. It's part of the journey of aging and finding what works. Not everything works for everyone, but this has worked for me. I use it regularly and am grateful for it.

This is my tortured cassette player; we’ll need it for testing.

Pearl Sensitone brass 5x14. Been all over North America

This is Nick's turntable. It's amazing that it's automated, so I don't worry about scratching the record. I can't tell who made it, but it says 'Happy Holidays from Atlantic Records' and has a cool pattern of trees and paint drops.

This is an mbira, the national instrument of Zimbabwe and a lesser-known cousin of the kalimba. It’s a cool little instrument, and I absolutely love it. Tuning is a nightmare, though thankfully I rarely have to; I slide the keys in or out and bend them so they stay put. It’s challenging, and I need to build up some calluses, but it still sounds nice.

This is a box of Runts—candy I’d forgotten existed until the other day—and I’m glad to confirm they still taste just as awful as ever. Though the box is nearly empty, I didn’t help eat them because they’re gross.

This Wurlitzer electronic piano has two knobs: one for volume and one for vibrato. A retro deco font spells out “Wurlitzer Electric Piano” beneath the logo. The body is made of a white, hard material reminiscent of a camper shell. All the keys are in excellent condition. There's also a pedal, barely visible in the picture, that adds expressive dynamics. We've used this Wurlitzer to record some truly awesome music.

A 25% shorter, first-person restatement of the speaker’s memories and feelings about their childhood mini drums.

Well, this is my trusty attack decay tape reverse simulator. I don’t have the slightest clue what it does. Somebody gave it to me on a road trip—I traded a Twix candy bar for it because I thought it was really cool. I’ve carried it everywhere since, hoping someone will show me how to use it or plug it in with me to create some pretty cool music. I love the colors: orange, brown, and black. My favorite colors are green or blue, but this just works for me. It’s packed with cool gadgets, buttons, knobs, and whatnot.

This is the Gibson ABR-1 bridge for my 1995 SG. When I first started playing guitar, my buddy DB and I both wanted Gibson SGs. I don’t remember why in particular - maybe because Ian MacKaye played one in Fugazi? Anyway, he got one first, and then somebody he knew was selling this one, a 1995 Standard in Gibson’s “heritage cherry” finish. My dad helped me buy it, and it became my main dog from ‘97 through today. I have more expensive guitars that are “nicer” but my SG is most valuable to me. I replaced the bridge before a tour last year because this one was cashed from decades of less than delicate playing that left the saddles gouged. The guitar’s finish is worn and it’s banged up and scratched and dented and I accidentally snapped the headstock in the heat of the moment in London once. But it’s a survivor and the foundation for the guitar tones I’ve carved out over twenty-some years. I want to be buried with it (no coffin, next to a tree).

These cables came from Clava Studios in Bridgeport, Chicago. I was there from the late ’90s until about 2010, and they were already in use, so they’re probably ’90s vintage. They were likely used on Califone, Joan of Arc, Modest Mouse, Friend Enemy, etc. I’m pretty sure the owner, Jim, or Rich—unfortunately named Richard Seaman—made the cables.

Alright, let me tell you about these pads real quick. They’re Clava custom-made mic pads, and, honestly, people don’t really use this kind of shit anymore, but I still keep them around. When a signal’s too hot—say a mic output is overloading your preamp and you can’t turn it down far enough—I just drop one of these in line. It still passes phantom, and everything comes out 30 dB lower, nice and clean. Richard Seamen designed the circuit and mounted it inside those little wood blocks; he even made the blocks himself—yeah, Richard Seamen not Dick. We’ve got a bunch sitting here: thirties and a few twenties as well. Handy pieces of gear.

The Digitech XP100 Whammy Wah pedal was massively important to the origin of the ETE sound. It's the bending, keyboard-ish sound that comes in at about 0:23 in My Only Swerving. Kristian used this particular pedal on many tours roughly 2006-2009. As you can see by what is written on the back of it, he used it until it didn't work anymore! This pedal does turn on if plugged in, but doesn't work properly. It's a piece of touring music history.

The Digitech XP100 Whammy Wah pedal was massively important to the origin of the ETE sound. It's the bending, keyboard-ish sound that comes in at about 0:23 in My Only Swerving. Kristian used this particular pedal on many tours roughly 2006-2009. As you can see by what is written on the back of it, he used it until it didn't work anymore! This pedal does turn on if plugged in, but doesn't work properly. It's a piece of touring music history.

I always wanted a custom pen made with the same material Wilson Audio enclosures are made from. A machinist friend of mine worked with me and I had this 1/1 pen turned to fit my hand comfortably. After this Proto pen was made I liked it so much that it was used in many Wilson Audio design projects, especially the design work for the Chronosonic XVX. I mark all my art with a combination of 4 and 4. The markings on the side of the pen are 2 sets of 4 lines I scratched into the X-Material.

I’m pretty sure this is the lanyard we were given when Augustana opened for One Direction for the last shows the band played at O2 Arena in 2015. Harry Styles is a huge fan of Dan and the band, and we were floored when we were asked to be an opener on some shows of their farewell tour. Harry was so kind and cool, and you could tell he was on the cusp of all the great things he would soon go on to do. My ears rang for days from the throngs of screaming girls- unbelievable.

Christmas 1990- Dave Wilson gave an airplane book to his son, Daryl Wilson, with a hand written note on an inside page which provided inspiration for Daryl’s future endeavors. Dave Wilson’s stylized signature is well recognized and in this example you see what he commonly did with his children by signing it “Dad.” 

From Adam: “So I’m standing in a local cafe in Zurich, the day of the first show I played in Switzerland and lo and behold I see me, Vin and Matt staring back at me in a picture taken thousands of miles away in Austin, Texas. But on a poster that someone else from another country made and then a separate person from another country hung in the cafe…in anticipation of me coming to sing in public. It was one of the most surreal and fantastic things I ever experienced. So when a pretty Swiss woman asked me what I was staring at I told her about my weird experience looking at this poster and she just reached up and took it off the wall for me and told me I should have it.”

Memento from a really lovely short tour we did down the west coast. Both shows were incredible. At the show in L.A. I got to play “Be My Baby” for Jeff Barry (who was in attendance).

A career highlight was being nominated for the Male Vocalist Award along some of the greatest male vocalists of all time. Steve Winwood, Del McCoury, Delbert McClinton, and John Anderson. Del McCoury won the award, I recall, but again it was an honor to stand next to him that night. I performed a song from Dennis DeYoung’s Hunchback of Notre Dame during the show, and Alison Krauss came up to introduce herself and tell me how much she enjoyed it. I could hardly speak, and I remember just staring and laughing at her. A very surreal moment, for sure. I was nominated for this after I sang the challenging title roles in Dennis DeYoung's Hunchback of Notre Dame and Marcus Hummon's Francis of Guernica.

A career highlight was being nominated for the Nashville Male Vocalist Award in 1998 along some of the greatest male vocalists of all time. Steve Winwood, Del McCoury, Delbert McClinton, and John Anderson. Del McCoury won the award, I recall, but again it was an honor to stand next to him that night. I performed a song from Dennis DeYoung’s Hunchback of Notre Dame during the show, and Alison Krauss came up to introduce herself and tell me how much she enjoyed it. I could hardly speak, and I remember just staring and laughing at her. A very surreal moment, for sure. This program has been a prized possession of mine for over 30 years.

Notably one of the greatest casts of singers ever heard on the Broadway stage, The Civil War received several Tony nominations before abruptly closing a month after the award show. Goosebumps were experienced by many lucky audience members during the short life of this show, but friendships were made and cherished among the largely transplanted cast members, who moved from all over the country to NYC. I was honored to be included in this group and I’ll never forget the excitement of hearing the band start the first chord of the show each night. I knew I was about to experience and make music with some of the very best of the best performers and musicians in the business. Singing Frank Wildhorn’s music was a highlight of my career.

A favorite story about my Les Mis Broadway experience is that I had only one half of a put-in rehearsal when they threw me on as Valjean. Now, I had a “choice” of whether or not I felt I was ready, I was told, but who do you know that would say no? It was all a very rushed process, as you can tell from the staging notes I scribbled into the score. It was a harrowing experience, no doubt, but it turned out to be a successful one. The director (whom I spent no time with preparing the role) said, “I have no idea what you were doing up there, but it won’t happen again.” I remember responding to him “You’re welcome.” And then they put me on the next night. Ah, the glamour of Broadway. A little-known fact, I did carry a young Nicholas Jonas on my shoulder for many a performance. He weighed significantly less than the other Gavroche, so it was always a pleasure when he was on. His dad and his brothers would visit backstage often, and it was always fun when they were around. Good people.

This is the original setlist from my first headline show at the Lexington in London in 2016. We played the majority of my debut album ‘Little Black Book’ and opened with ‘I Should Know Better’ which was a B side recording from that LP. There is a video on YouTube of a behind-the-scenes from that night of the show! I remember Westerman was the support act for the show and it being a really amazing and exciting night. You can see some shoe prints on the set list from someone on stage :)

I've been using Dunlop guitar picks for many years, specifically the .73 and .88 gauges. These picks have been with me on every tour, album, and show I've played. One pick, in particular, has been in my pocket for many years and is my absolute favorite. It's my go-to pick and I’ve always got one on me

I was commissioned by the Electric Forest Festival in 2019 to create the official artist series poster. They commission an artist each year to create a special poster available only for sale at the festival. This is a three-color screen print and the first edition of 250 sold out within two hours of the festival opening. Due to the overwhelming demand - i have since issued a second edition of digital prints that are available on my web store. I kept only about 5 or so AP (Artist Print) editions to for my personal archive. This one has a little ink bleed out on the top corner and there's some other slight variations in the density of ink, making this a one-of-a-kind print. The other AP prints are numbered, however this is the only one with just “AP”.

When the pandemic hit and lockdown started, I could not play with my band, I lost a lot of work and client projects were put on hold. I decided to focus on my fine art studio practice and make a series of prints. This artwork began as a lino cut block print, which I turned into a silkscreen print and eventually onto a t-shirt series. This came from the edition of simple one color 11”x17” prints, but I decided to hand-colored this one, making it unique and a one-of-a-kind piece. I love this image; it's simple but inspiring and a mantra that helped me focus on growth during such a challenging time.

I have made many posters and flyers for bands over the years. This is the original ink illustration for a poster, which later became the iconic merch design and branding asset for the band Kalu and the Electric Joint. Kalu James has been a dear friend of mine for many years, and I've seen his band form from a small monthly residency at the legendary Continental Club in Austin, Texas, - to many years later, watching him play sold-out theaters and many festivals. I have been making artwork for this band since the very beginning, and have countless pieces of original work in my archive. I don't think I'm quite ready to give this one a new home yet… since I think it's one of my favorite illustrations i’ve ever made. I created a backdrop space at the top for the band names, show dates, and featuring artists text which I hand draw on a different layer to be added in later.

This is another original illustrated poster design for the band Kalu & the Electric Joint. It was for a two night run at the Legendary Continental Club in Austin, Texas in 2022. There are two venues in the Continental Club - a smaller more intimate space upstairs (where Kalu held his residency for many years) and the downstairs stage for bigger acts. (where these shows took place). It was a special moment in the history of the band and i flew down to attend both the sold-out shows. We did a special small run of poster prints I signed only available at the event. This is also one of my favorite poster illustrations I've ever done, and holds many great memories of that time.

This is another original poster illustration. It was a triple headlining show with three bands on the bill: Kalu & the Electric Joint, Medicine Man Revival, and Think No Think. These are truly some of my most favorite bands. I genuinely love their music so much, and it was such an honor to make this poster for the show. It's crazy to think that this date, February 28th, 2020, was probably the last time any of these bands would play before the pandemic hit, the world shut down, and everything got really weird. I remember I had some strange owl encounters in the month I was making this, so that's probably why I put them on the poster.

Eastside Magazine put me on the cover of their February issue in 2020 to support an article that interviewed several musicians about finding our place in the music. It’s wild to think that this was put out just weeks before the pandemic officially began in the US. If they redid the interviews and article today, I wonder how our answers might be different.

This is a poster from 2016 for 10k Records - '52 Singles in 52 Weeks.' I produced 3 or 4 of these singles, including collaborations with Nicky Blitz. We did 'Money and Dope' and 'Feeling Fine,' which was featured on FreshFinds on Spotify. I also worked on 'Carrot Cake' with Mister Witch.

This is a Japanese practice book. I'm currently learning katakana, hiragana, and the 10,000 kanji of the Japanese language. I amd currently composing a musical inspired by Japan, Hawaii and many of my European travels. Learning the Japanese language is a challenge and a high honor, as the language visually is incredible. It's slow going, yet this is my first Japanese writing practice book. I wake each morning and study in preparation for anupcoming trip to the country. It means a lot to me on a sentimental level, which is why it's priced accordingly. The proceeds from this book go directly into musical patronage of my mobile recording studio and theatrical production.

This is the band lineup poster for the 2nd annual Curly Family Reunion Festival held at Camp Wilkerson in Rainier, Oregon, that I helped put on with Sam Farrell from Curly Cassettes and Adam Zeek, August 30th through September 1, 2024. Poster design by Farrell & Zeek.

This is the cardboard cutout the fans were able to purchase for Major League Baseball during the COVID year of 2020. This is the official Paul Wall cutout for the Houston Astros.

This is a rolling tray I got in 2013 to use at our studio PLD in Houston, Texas. We rolled about 1,000 blunts on here. There might also be some drank residue somewhere, allegedly.

This is a baby bottle that we used when we went to Memphis for Young Dolph Day in the park. We performed at the park, and then we went to the studio with the Late Great Young Dolph and Drumma Boy. After a long night of sipping and smoking, I saved the baby bottle, and we all signed it to commemorate a great night. Signed by Paul Wall, T Farris, Stunna Bam, and Young Dolph. Rest in peace, Young Dolph.

Part 3 of 3 to my first pitch saga. I became good friends with the Dodgers' clutch first baseman, James Loney, who is originally from Houston, Texas. And while I was in Los Angeles, he asked me if I wanted to throw out the first pitch and he set it up. The Dodgers are one of my favorite franchises in all of sports, so I immediately said yes. Thank you to the Dodgers because they showed me SO much love. Shout out to one of the classiest organizations in sports. Now to my pitch. I stepped to the back of the rubber, and threw an inside fastball, and got the thumbs up from the Dodgers manager, the legendary Don Mattingly. As I walked by the dugout with James Loney, Matt Kemp, and Clayton Kershaw, I saw Juan Pierre and he joked with me that my pitching had gotten a lot better since the breaking ball dirt ball that got away from me when he was playing with the Cubs (vs the Astros in part 1 of the saga).

Part 2 of 3 of my first pitch saga. The Houston Astros were playing a home game against the Los Angeles Dodgers in Minute Maid Park on July 25, 2007. These are my favorite teams in all of baseball, and I was blessed with an opportunity of redemption since my first pitch got away from me and hit the dirt. I had been practicing to make sure I got it over the plate this time. Luckily, I got it over the plate, but, unfortunately, I threw an outside fastball that almost went past the back catcher. Unfortunately, redemption didn't come on that day. But the Dodgers would play an huge part in my first pitch redemption story.

This is a hand painted and silkscreened show poster by artist Sam Farrell onto which I penciled notation for a few of the melodies on the record.

So this is a 1 of 1 jersey from a celebrity ball game that I had put together for the release of my all time high album. I brought out a bunch of my friends and homies while I was living out in LA, rented out this gym. You know, we all got custom jerseys, and, you know, shoes, and just had a good old time. And this was my jersey, number 9. I'm also a life path number 9, if you're into that stuff. And I signed it, because it just looked like something that had to get signed and framed. So, yeah.

So this here is a official poster and artwork. It's actually screenprinted on card paper for my first ever show in New York, first ever show in the United States with my band, The Posters. Back in the day, I think this was, like, 2014, maybe. Artwork done by my creative director, Fred. Obviously did a mean job. One of my favorite show posters ever.

So this ball is from my all time high album drop, celebrity game in 2022. Well, I had invited a bunch of my homies, hoopers, and artists, and friends in the industry to come play. And at the end of the game, I had everybody sign this ball. Some very special signatures on this ball here.

Here's a pick I've carried with me and used on the road for a long time. It was my pick I used on the Jeff Beck tour, which was his last, and I used it almost every night. It holds a lot of meaning and magical powers

Alright, we're recording now. You want me to talk about this, right? Let's start with the colors. This is a dragon, a Christmas gift from a long time ago. I'm not sure who gave it to me, but I really enjoy it. I've always kept it around and made it part of everything I do. The blue around the ridges and the green underbelly are interesting. I never really looked at it closely, but it's kind of weird. I keep it around and include it in my photography. I didn't change the black because it was too much work. I added some gold on top with a Sharpie when I was bored, thinking it would make it pop. Alright, let's cut it there.

This here is a legendary cup, from a dope moment in time from when I dropped my “Dark Songs To Drive To” album. Heard if you drink from it, great things happen. This one ain’t been drank from though. Just a signed piece of art.

This is the big daddy of watches, the iced-out Baby G, a G-Shock watch inspired by artists like Pharrell in the early 2000s, where I grew up. I had this watch produced by my jeweler for a specific song called "Iced Out Baby G." The song went viral. Jake Paul celebrated his first fight win to this song all night, and it went crazy. He even joined a remix of it. This watch is a piece of me, literally a piece of culture.

This is the embroidered sash worn by the five year old Genevieve Pouillon for the cover photograph of the 2017 record by Susurrus Station, entitled "Miss Anthropocene."

The Forest Book is a captivating narrative that explores the intricate relationships within a forest ecosystem. It delves into the lives of various creatures, highlighting their interactions and dependencies. The book paints a vivid picture of the forest's beauty and complexity, emphasizing the delicate balance that sustains life. Through engaging storytelling, it invites readers to appreciate the wonders of nature and the importance of conservation.

This is a record by Billy Vaughn.

This chest is one of my favorites, holding all my life savings. It contains a thumb drive with all my Bitcoin. It's amusing because you wouldn't expect something that looks like a toy to hold all my wealth. It's a method of hiding in plain sight.

I used this mic for a pivotal scene in my As It Was video which signifies the joy coming back to me after a long stint of depression during covid years

This rug has been everywhere since the inception of cobra man. I sat on this rug and wrote “Cadillac” It was given to me as a gift but I want to gift this to you. It’s cozy/well worn and very special. I think it’s about 4ft by 4ft and handmade by a personal friend in Los Angeles. As you can see, Bone Man my dog has also taken a very big liking to the rug. It will come with a couple of his hairs attached. Don’t mind that. The snake disco ball logo is designed by my friend Bill Conner and I think it would look good in anyone’s bedroom :) Maybe put it in your studio and be inspired like I was when making the last album.

I found this TV by a dumpster in Elysian Park many years ago and it has been used in a handful of music videos. Not only mine, but other artists as well. You can see it in my ‘can’t hold my love’ music video and the way it made it on there was my neighbor in Silverlake spotting it in my garage, becoming a fan of my music and directing the video.

Since I was a kid I always mixed up magic potions made of marbles and glitter, and designed pipe-cleaner time machines to save the world. When I came upon the Dream Machine, it was one of those discoveries that made my inner child squeal. A big part of my life as an adult artist is finding ways of connection to my magic, to my spirit guides, and to the aliens flying through space somewhere. I do believe that this connection always starts within. But sometimes it can be fun to point your antenna to the sky and see if you catch the signal of a little blue man. The dream machine is exactly the invention that YOU want it to be. A cute pink box that accentuates the color in your home, a working tune-in radio if you want to dance to your local station, or a frequency catcher that may just be your connection to the stars… if you tune it juuuust right. :) The Dream Machine was featured in my music video, “I Talk to Aliens.” It was hand painted and designed by my twin sister who also filmed the music video herself. A labor of love and magic through and through. I hope the dream machine will live next to your pillow and challenge you to tune in exactly where you’d like to be.

Have you ever seen a UFO? That’s how this project began. Inner Being is a colorful star friend to hang on your wall, wear to a party, or gift your favorite alien hunter. It’s purpose is to bring you joy and spark an interesting conversation. Or remind you to ponder your perspectives when you see it… for fun! The mask was originally worn in my music video “I Talk to Aliens,” representing the fine line between humans and what we perceive our alien friends to be like. I believe we are far more alike than we acknowledge, even if we have a different face. I wrote the song after my very first UFO encounter, which flipped my world upside down. It made me question life as I knew it, and what it is to be “a tiny human living on a spinning planet.” I get more answers every day as I follow the excitement of exploring these topics. I have learned a lot about ETs from my dear mom who has been hand in hand on this journey with me, and she helped paint the beautiful design additions made to the mask. A lot of love from our star family to yours. :)

Mirror Moth tells a story of my personal rebirth. I dreamt of a giant moth landing on my third eye, then later she arrived again during a meditation. She brought me stories of self love, beauty, change, and many things unfamiliar. A few weeks later I had a gut instinct to drive across Nashville to one of my favorite trees. She had arrived into my 3D “real life” and had just stepped out of her cocoon. Just like my visions, she began to crawl up my third eye which brought me excitement, fear, and a deep knowing she was here for me. She inspired me to write my song Cocoon, which explores expansion and the eagerness for something NEW and BOLD-for both myself and the world around me. The vibrant music video was created by my twin sister and I. The video opens with a scene of me weaving my very own lifesize, handmade cocoon. I used beautiful recycled fabrics to honor the color and magic she brought to me. “Mirror Moth” is an ode to my friend in flight. And an ode to going inward in order to bloom. Her wings are made from the fabrics of the lifesize cocoon featured in my music video, and her antennae are flower stems from the forest we created on set. She is displayed in an all black shadow box and perched up to appear like she’s floating. The shadow box is ready to hang with a simple nail. All seasons are beautiful and we are meant to change. I hope she inspires you to celebrate the movement within yourself. Afterall, becoming is the most beautiful journey of all. :)

Mirror Moth tells a story of my personal rebirth. I dreamt of a giant moth landing on my third eye, then later she arrived again during a meditation. She brought me stories of self love, beauty, change, and many things unfamiliar. A few weeks later I had a gut instinct to drive across Nashville to one of my favorite trees. She had arrived into my 3D “real life” and had just stepped out of her cocoon. Just like my visions, she began to crawl up my third eye which brought me excitement, fear, and a deep knowing she was here for me. She inspired me to write my song Cocoon, which explores expansion and the eagerness for something NEW and BOLD-for both myself and the world around me. The vibrant music video was created by my twin sister and I. The video opens with a scene of me weaving my very own lifesize, handmade cocoon. I used beautiful recycled fabrics to honor the color and magic she brought to me. “Mirror Moth” is an ode to my friend in flight. And an ode to going inward in order to bloom. Her wings are made from the fabrics of the lifesize cocoon featured in my music video, and her antennae are flower stems from the forest we created on set. She is displayed in an all black shadow box and perched up to appear like she’s floating. The shadow box is ready to hang with a simple nail. All seasons are beautiful and we are meant to change. I hope she inspires you to celebrate the movement within yourself. Afterall, becoming is the most beautiful journey of all. :)

Mirror Moth tells a story of my personal rebirth. I dreamt of a giant moth landing on my third eye, then later she arrived again during a meditation. She brought me stories of self love, beauty, change, and many things unfamiliar. A few weeks later I had a gut instinct to drive across Nashville to one of my favorite trees. She had arrived into my 3D “real life” and had just stepped out of her cocoon. Just like my visions, she began to crawl up my third eye which brought me excitement, fear, and a deep knowing she was here for me. She inspired me to write my song Cocoon, which explores expansion and the eagerness for something NEW and BOLD-for both myself and the world around me. The vibrant music video was created by my twin sister and I. The video opens with a scene of me weaving my very own lifesize, handmade cocoon. I used beautiful recycled fabrics to honor the color and magic she brought to me. “Mirror Moth” is an ode to my friend in flight. And an ode to going inward in order to bloom. Her wings are made from the fabrics of the lifesize cocoon featured in my music video, and her antennae are flower stems from the forest we created on set. She is displayed in an all black shadow box and perched up to appear like she’s floating. The shadow box is ready to hang with a simple nail. All seasons are beautiful and we are meant to change. I hope she inspires you to celebrate the movement within yourself. Afterall, becoming is the most beautiful journey of all. :)

This piece special regionalizes the guilt of parenting, the feeling of never doing enough. The shame is just a game and being present is what really matters. Sorry was my favorite bored game growing up as well. This tufted fiber art is one of the few pieces left from my solo show MOMMY at Lynn Hanson Gallery in Seattle, WA, November 2022 The show was about the struggles and joys of being a mother and being an artist. Statement about the show “An expression of being called Mommy as a full time artist and a full time mother. A show made in-between making taking the kids to school and making dinner. Looking into the studio from the kitchen doorway, my expression is as important as any others.  Thoughts interrupted, guilty work, always a mother.   Mommy Mommy Mommy.

Art made by a mother, for mothers, for anyone who has had a mother.  As you look at these pieces I hope you can see I am Artist, I am Mommy, I am Human.” Hand tufted wool rug, for wall hanging 12" x 18"

In 2019, a promoter friend of mine came up with the amazing idea of making a limited edition USB Michael Leonhart Orchestra 64GB USB card that would be partitioned into two sections: 1- Containing my orchestra's 2018 "Painted Lady Suite" album and the 2019 "Suite Extracts Vol. 1" album 2- Free space on which to store and transport files. That's why the card says “SPACE 4 U"! The artwork on the card was done by Nashville artist Patryk Larney for the 2019 New Year's Eve show my orchestra did for NPR/WBGO radio

In 2019, a promoter friend of mine came up with the amazing idea of making a limited edition USB Michael Leonhart Orchestra 64GB USB card that would be partitioned into two sections: 1- Containing my orchestra's 2018 "Painted Lady Suite" album and the 2019 "Suite Extracts Vol. 1" album 2- Free space on which to store and transport files. That's why the card says "My music + yours"! The artwork on the card was done by Nashville artist Patryk Larney for the 2019 New Year's Eve show my orchestra did for NPR/WBGO radio

My great friend and incredible illustrator Michael Arthur oftens comes to Michael Leonhart Orchestra shows and will draw during the set, sometimes even projected onto a large screen onstage. Over the last ten years, Michael has created more than 30 illustrations of me and members of my orchestra. We decided to turn this very special drawing from a Brooklyn 2016 show into a tote bag. I added my special “trumpet logo”. The bag is PERFECT for holding vinyl!

In 2018 I asked my good friend Patryk Larney to create an MLO (Michael Leonhart Orchestra) logo. He added the shape of the trumpet and lettering that looked like the fist from the iconic Muhammad Ali photo. I immediately said “we’re gonna need limited edition tote bags” and that’s EXACTLY what we did. Good for shopping, whether you’re looking for vegetables or vinyl. Enjoy.

My great friend and incredible illustrator Michael Arthur oftens comes to Michael Leonhart Orchestra shows and will draw during the set, sometimes even projected onto a large screen onstage. Over the last ten years, Michael has created more than 30 illustrations of me and members of my orchestra. We decided to turn this very special drawing from a Brooklyn 2016 show into a tote bag. I'm a big believer in using tote bags rather than plastic bags which wind up in the oceans.

There was a really gorgeous outdoor show that we played in Los Angeles on a really pretty piece of property on a hillside. I got a six-woman choir together to sing with me. Ahead of the show a rumor went around that some folks were going to indulge and really soak in the music and sunshine. We a good friend of mine got a box of these glasses that make everything prismatic and resplendent. We wanted everyone, whether enhanced or not, to have a truly unique experience.

I have been a soloist with symphony orchestras across the US over the last 20 years or so, and one of my favorite series of performances was with my friend, Star Trek and LGBTQ icon George Takei (I was honored to sing at George and Brad’s wedding in LA). The performances were “Sci-Fi Spectacular” concerts and I would sing a ridiculously high version of “Can You Read My Mind” from Superman and George would narrate the alien speech from “The Day The Earth Stood Still”. George gave me this gem after our first performance together. He signed it “To Mike - What a stellar experience working with you! George Takei.” Oh my..what a guy! It was a career highlight working with George and making so many sci-fi geeks happy with these concerts.

I was recently sent a huge box of Sea At Last archive stuff from my bandmate Cohen with so many handbills from the past shows, i decided to make something out of them. Each coaster is painted with a protective top coat finish and have felt bottoms to not scratch any surfaces. These coasters feature flyers from: RED - Sea At Last / featuring Howlin' Whale Deer Lodge - Ojai, CA / Dec 9th, 2016 * The Deer Lodge in Ojai, CA was our local haunt for many years. So many incredible open mics with world class players coming through town. We have many beautiful and special memories playing that place, especially with our dear friend and common special guest Howlin' Whale on Harmonica and Vocals. ORANGE - Sea At Last / McNally Waters / Lacey Kay Cowden / Bright Moments Venice Townhouse Del Monte Speakeasy / Venice, CA / Dec 13th, 2016 * This venue was one of our favorites. Such a great night with some incredible folks! I remember this flyer being the impetus for McNally Waters hiring me to make their band logo merch, and I believe I even re-purposed the mermaid lady into their design. YELLOW - Sea At Last / featuring Howlin' Whale The Grange Hall - Big Sur, CA / Oct. 4th, 2015 * The Grange Hall in Big Sur is more like a local community center with a cool stage! We really just wanted an excuse to get back up to Big Sur and camp amongst the gigantic redwoods and visit our local friends there. There was a wonderful potluck before the show, and it was an intimate evening which transitioned to an acoustic set around the campfire to close out the night. To this day, one of my favorite memories. GREEN - Sea At Last Deer Lodge - Ojai, CA / Aug. 19th, 2017 *One of the many Deer Lodge shows! BLUE - Sea At Last The Saloon - Ventura, CA / Jan. 13th, 2017 * The Saloon in Ventura, CA was the place we went to rock the fuck out. PURPLE- Sea At Last - Spring Tour 2018 * A little tour of some of our favorite smaller venues in Southern California.

I was recently sent a huge box of Sea At Last archive stuff from my bandmate Cohen with so many handbills from the past shows, i decided to make something out of them. Each coaster is painted with a protective top coat finish and have felt bottoms to not scratch any surfaces. These coasters feature flyers from: RED - Sea At Last / featuring Howlin' Whale Deer Lodge - Ojai, CA / Dec 9th, 2016 * The Deer Lodge in Ojai, CA was our local haunt for many years. So many incredible open mics with world class players coming through town. We have many beautiful and special memories playing that place, especially with our dear friend and common special guest Howlin' Whale on Harmonica and Vocals. ORANGE - Sea At Last / McNally Waters / Lacey Kay Cowden / Bright Moments Venice Townhouse Del Monte Speakeasy / Venice, CA / Dec 13th, 2016 * This venue was one of our favorites. Such a great night with some incredible folks! I remember this flyer being the impetus for McNally Waters hiring me to make their band logo merch, and I believe I even re-purposed the mermaid lady into their design. YELLOW - Sea At Last / featuring Howlin' Whale The Grange Hall - Big Sur, CA / Oct. 4th, 2015 * The Grange Hall in Big Sur is more like a local community center with a cool stage! We really just wanted an excuse to get back up to Big Sur and camp amongst the gigantic redwoods and visit our local friends there. There was a wonderful potluck before the show, and it was an intimate evening which transitioned to an acoustic set around the campfire to close out the night. To this day, one of my favorite memories. GREEN - Sea At Last Deer Lodge - Ojai, CA / Aug. 19th, 2017 *One of the many Deer Lodge shows! BLUE - Sea At Last The Saloon - Ventura, CA / Jan. 13th, 2017 * The Saloon in Ventura, CA was the place we went to rock the fuck out. PURPLE- Sea At Last - Spring Tour 2018 * A little tour of some of our favorite smaller venues in Southern California.

When it came time to choreograph the video for Rudimentary Science, I decided to head down to one of my local coffee shops and actually draft out a timeline and a list of action to assign. Since it’s been a minute since i’ve rolled around carrying a notebook (the digital age), i had to ask the barista for a sheet for scribing on. This branded pastry sheet was all they had, but the work had to get done, so it was my canvas. In order for us to land and hit our marks, i shared this list with the other production members for the shoot and we were ready. I do enjoy making timelines for video treatments. This list was very instrumental in getting us all in the flow to land this slowed down single-shot video concept.

When I first set out to write the treatment for the “Rudimentary Science” video, I knew I wanted to include elements of old Hollywood cinema. Some of those elements and items (slate and bullhorn) I ended up renting from a prop house. Other pieces I had to shop and source myself. I decided I wanted a moment of action where a crew member would powder my face like you would see as done on an actor before filming a scene. We call that moment “last looks.” Because the video was going to be black & white, I chose a brush that had white bristles and a large head to be most visible. In an attempt to “age” and “greek” (hide branding and logo) the brush, I subtly added some black gaff tape to make it look more personalized for the role of the makeup artist in the video. Like I did with the slate, I marked the gaff in some chalk with a personal notation- in this case, my initials, CR. I really love how the video came out. I’d say the brush bit worked out great, too. ~crash

This wooden tray was so fun to make. I've been experimenting more with functional art, and the Atlas themed spiral wave lended itself to this piece really well. It's super meditative for me to painting things like this, and I loved the opportunity to expand upon the visual elements of the Atlas album artwork. I snuck one of my favorite lyric quotes from the song "Atlas" on the back. I worked on this tray while I was dogsitting up at a beautiful secluded cabin in Montana, watching the late winter snow fall and taking breaks for walks up on the windswept mountain tops. It's could be used as a great centerpiece for a dining room table, with a candle, or alter tray to hold all sorts of collected treasures. The paint has been sealed with a durable and protective top coat finish.

This wooden tray was so fun to make. I've been experimenting more with functional art, and the Atlas themed spiral wave lended itself to this piece really well. It's super meditative for me to painting things like this, and I loved the opportunity to expand upon the visual elements of the Atlas album artwork. I snuck one of my favorite lyric quotes from the song "Atlas" on the back. I worked on this tray while I was dogsitting up at a beautiful secluded cabin in Montana, watching the late winter snow fall and taking breaks for walks up on the windswept mountain tops. It's could be used as a great centerpiece for a dining room table, with a candle, or alter tray to hold all sorts of collected treasures. The paint has been sealed with a durable and protective top coat finish.

The merch slate is a heavy-duty, hand-painted piece by Maddie Freeman, also known as Liner. Maddie has been a long-time collaborator, creating flyers and posters for years. This slate has been used at the merch table since 2016. Maddie studied sign painting in Los Angeles under the renowned flash painter, Doc. This item is a perfect start to the Ghost Note experience.

This hand-painted, one-of-a-kind guitar pick box features a line from an unreleased song lyric on the inside. Creating these boxes is a meditative and enjoyable activity for me. Each box is signed and dated on the bottom, adding a personal touch to every piece. These first three (No. 1, 2, 3) have the same song lyric. The next ones will feature a different song lyric inside!

This hand-painted, one-of-a-kind guitar pick box features a line from an unreleased song lyric on the inside. Creating these boxes is a meditative and enjoyable activity for me. Each box is signed and dated on the bottom, adding a personal touch to every piece. These first three (No. 1, 2, 3) have the same song lyric. The next ones will feature a different song lyric inside!

This hand-painted, one-of-a-kind guitar pick box features a line from an unreleased song lyric on the inside. Creating these boxes is a meditative and enjoyable activity for me. Each box is signed and dated on the bottom, adding a personal touch to every piece. These first three (No. 1, 2, 3) have the same song lyric. The next ones will feature a different song lyric inside!

This hand-painted, one-of-a-kind guitar pick box features a line from an unreleased song lyric on the inside. Creating these boxes is a meditative and enjoyable activity for me. Each box is signed and dated on the bottom, adding a personal touch to every piece. These first three (No. 1, 2, 3) have the same song lyric. The next ones will feature a different song lyric inside!

This acrylic black & gold flakes ashtray with our Kalu & The Electric Joint logo is a one-off that you can't find anywhere else and an item we have always wanted to bring to existence.

This is another one of those unique ashtrays. It features a striking blue color with gold streaks and I absolutely love the color combination.

Part of the collection, this features light blue with gold flakes and the iconic band logo. The white background is absolutely gorgeous, and the transparency adds to its charm. Imperfections, like the slight embossing, make it even more beautiful.

This is a one-off piece and part of a collection of KEJ ashtrays, in which each is totally unique and not replicated. The gold, though unexpected, seeps through beautifully towards the iconic logo and appears in gold and gray.

These are part of a collection of KEJ ashtrays, but each one is totally unique. This piece stands out due to its square shape dimensions, which offers a distinct variation and the unique Kalu & the electric joint font on the side, which serves as a beautiful differentiator.

This Limited Edition Sea-Foam Green Vinyl signed by me features handwritten lyrics from 'Mirror' and is unique because for the first time we included unreleased acoustic songs on side B and the full band sound on side A with ‘Slippin’ as another unreleased track.

This is the mirror mask from my music video station, made by my friend Danielle Sheperd, Dashe. This is the first of many projects that we worked on together. She designed and created the entire wardrobe for the Shoot, and this is one of the most intricate, challenging pieces. I will forever be impressed by her talent and ingenuity.

This is Sandy, our lucky charm mascot at 10k Island Studio in Miami. She was present for every recording session of any Nicky Blitz song that impacted your life. It's time for her to find a new home to watch over you and your children.

This is quite a beautiful megaphone that Tory Elena, and I used while touring and playing music festivals. We played at many festivals, walking around and shouting at people. We could plug USBs into it and play music. I remember one time at Lightning in a Bottle, we were rocking Led Zeppelin, doing a whole Kashmir night. It's been in the family for a while and its time to let it go to someone great. It's spray painted by Tory, has some wear and tear, and featues the first Sea At Last sticker design the band ever produced. It's definitely one of a kind, works, is loud and has an instant "we arrived" wow factor to it. Relic of the highlight of our band touring life. Simply fun.

This is the 2 chrome that came off of my elbow swanger when I was riding down MLK and I just left Timmy Chan's. I was making a u-turn on MLK and Belfort and hit the curb.

The story behind these glasses is quite fascinating. I was involved in a photo shoot for the founder and designer of LA Eye Works, a remarkable individual. During the shoot, I modeled glasses similar to these, possibly in a different color. The shoot was conducted by Ben Gorman, a legendary photographer known for his iconic black and white portrait of Andy Warhol wearing LA Eye Works sunglasses. The company has been around since 1978 or 1979, and the owner, whose first name is Gaye, reached out to me after I became a fan of their glasses. I ended up ordering numerous pairs. The photo shoot was a memorable experience, not only because of the glasses but also due to the people involved. The makeup artist had worked with Prince during his 'Dirty Mind' to 'Parade' era, and her stories about him were incredibly moving. We shot the photos in Ben Gorman's house, which is like a museum. The location was the same spot where he captured his famous portraits, including the one of Andy Warhol. Sitting in the same chair as Warhol was surreal. These glasses, with their tortoiseshell design and perforated details, are a testament to LA Eye Works' unique style. The logo, reminiscent of Enron's, is discreetly placed on the arm. I have about 30 pairs of glasses, and these are part of my everyday wear collection. It's been a pleasure sharing this story.

Tom Pritchard and I formed Western Scene in 2011 in Echo Park, CA. Tom had finished up making a record with his previous band Dynamite Walls that ended up getting shelved by Universal Records. We decided to come together and start talking about a new project and direction. With that said, Tom mentioned he always wanted to use the name Western Scene as a song title or band name and we both immediately were on the same page with a sound that we wanted to create. We set up shop in Tom's studio for a couple of days to write some demos of what would eventually become our first and only EP. After about 2 weeks, we gathered some friends in our studio and flushed out the kinks of each song and took the final products into the studio to cut 6-7 songs and press a super limited vinyl run. We used the now defunct Rainbow Records pressing plant to produce only 50 records in total to be sold at our first show. We sold out of the records right away and I kept one for myself. This is the last available Western Scene 45 vinyl record that I know of. With Jonathan Hischke on bass and Dan Elkan on guitars, both of whom played with Broken Bells, along with drummer Joey Waronker (R.E.M, Beck, Roger Waters), Tom and I captured exactly what we wanted in regards to a Western Scene. This record lives in the clouds of spotify where you can stream all day but this is the last remaining copy in the physical form where you can put your hands on this vinyl record and hear the good old analog sound. This is truly a unique item as it's the last of its kind. Produced by Hugo Nicolson (Primal Scream/Radiohead) Recorded at: Joey Waronker's Studio Art Credits: Front Cover: Alex Prager Back Cover: Emily Ulmer Design: Andy Nuehouse Medium: 45 rpm Vinyl Record

The two songs on this lathe cut 7" were recorded live while we were on tour! My Only Swerving was recorded live in Seattle on 12/11/22 and Phenomenal Problems was recorded live on 1/22/19 in Gainesville, FL. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! My Only Swerving was recorded live in Seattle on 12/11/22 and Phenomenal Problems was recorded live on 1/22/19 in Gainesville, FL. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! Jumping Frenchmen of Maine was recorded live on 1/22/19 in Gainesville, FL. We Don't Have A Sail But We Have A Rudder was recorded at the same show. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! Jumping Frenchmen of Maine was recorded live on 1/22/19 in Gainesville, FL. We Don't Have A Sail But We Have A Rudder was recorded at the same show. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! I Like Van Halen Because My Sister Says They Are Cool was recorded live in Seattle on 12/11/22 and Disorder (Joy Division cover) was recorded live on 11/10/16 in Portland, ME. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! I Like Van Halen Because My Sister Says They Are Cool was recorded live in Seattle on 12/11/22 and Disorder (Joy Division cover) was recorded live on 11/10/16 in Portland, ME. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! I Like Van Halen Because My Sister Says They Are Cool was recorded live in Seattle on 12/11/22 and Disorder (Joy Division cover) was recorded live on 11/10/16 in Portland, ME. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! I Like Van Halen Because My Sister Says They Are Cool was recorded live in Portland, ME on 11/10/16 and Bye Mom was recorded live on 1/22/19 in Gainesville, FL. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! I Like Van Halen Because My Sister Says They Are Cool was recorded live in Portland, ME on 11/10/16 and Bye Mom was recorded live on 1/22/19 in Gainesville, FL. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.Less

The two songs on this lathe cut 7" were recorded live while we were on tour! Adam and Nathan Totally Kick Ass was recorded live in Seattle on 12/11/22 and Sorry About Your Irony was recorded live on 1/22/19 in Gainesville, FL. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.

The two songs on this lathe cut 7" were recorded live while we were on tour! Adam and Nathan Totally Kick Ass was recorded live in Seattle on 12/11/22 and Sorry About Your Irony was recorded live on 1/22/19 in Gainesville, FL. This is a 1 of 1 record, meaning it is the only one in existence! There is no other official recording of these songs from these shows. It is signed by the band and the label is hand written by Kristian. It comes with a custom ETE thumb drive on which are the two songs as wav files for your digital enjoyment. Here is some info on lathe cut 7" singles: Lathe Cut Records are made using one of the oldest methods of recording sound. A good way to understand it is as the opposite of a record player. The record needle rides inside the record groove picking up minute sound vibrations which then are amplified out to a speaker. A recording lathe does the opposite by amplifying sound into a record cutter head that carves those sound vibrations into a groove on a rotating platter. This is how all records are mastered and how most sound was recorded up until the 1950s. These sound more akin to an old soul 45, not the new Daft Punk 180 gram vinyl. Here are some things to keep in mind: - The grooves aren't as deep "pressed vinyl" so occasionally it takes dropping the needle more than once to get it into the groove properly. - If it is not sounding right, it also helps to adjust the tonearm weight (make it heavier towards the needle cartridge) and reduce or adjust anti-skating. - If your turntable does not have these, a good trick is to put a penny (nothing too heavy!) on top of the needle cartridge to add a little more weight and keep it in the groove. This is most common with Crosley or newer plastic light turntables. - Lathe Cut Records are a little quieter than pressed vinyl. Turn it up a notch.

This is a test pressing for the Joyful Noise reissue of the debut El Ten Eleven album! It is signed by the band.

This is a test pressing for the Joyful Noise reissue of the debut El Ten Eleven album! It is signed by the band.

1 of 1 original copy of a beat demo tape circa 2002/2003. Way before you could bounce to disk, save to mp3, or export audio, we had to record our instrumentals live to tape on a TASCAM 4-track recorder. The individual tracks was also recorded live on a COMPUSERVE desktop using a demo version Fruity Loops 3, which didn’t allow us to save ideas, so we had to leave the computer on for hours, sometimes days, until we could borrow my friend’s dad 4-track mixer to record the instrumental. What a time to be alive and recording music using digital equipment and bouncing to tape and not just to be cool or simply to create an aesthetic reminiscent of the warmth and crackle of the analog era but because it was the only way to make music.

My first movie score which is wild and so fabulous! I’m an 80s enthusiast so this remit for a score was right up my alley! The documentary is about International Male magazine which was in its prime in the 80s and 90s - my two most cherished decades - and the director was living with a fan of mine who messaged me asking if I might be interested in being connected to chat about music for the film. Of course I said yes - it’s been my dream to do a film score my whole life! I pitched a piece which ended up being the main theme almost exactly from the demo, and then built the rest around watching the footage and learning about the people behind the magazine, giving them their own themes and synth sounds. It was an absolute honour and an absolute blast! I’m a physical media fanatic, so of course released the score on vinyl, cd and cassette!

Here is the test pressing for the first full-length Leroy From the North album called “Toughen Up”. Produced by Eric Corne in 2023, the record includes the singles “Push,” “Youngblood,” and “Top 10” which were featured on the Desert 5 playlist and heard on 95.5 KLOS, 88.5 The SoCal sound and WMOT. Rare and cool vibes with this one. Signed too!

Here is the test pressing for the first full-length Leroy From the North album called “Toughen Up”. Produced by Eric Corne in 2023, the record includes the singles “Push,” “Youngblood,” and “Top 10” which were featured on the Desert 5 playlist and heard on 95.5 KLOS, 88.5 The SoCal sound and WMOT. Rare and cool vibes with this one. Signed too!

The ONE! Synaptic Montage is a relatively unpretentious art band from the ‘90s. The band members were only ever in ONE group, Synaptic Montage. Synaptic Montage only ever made ONE song, Pull It Over. Pull It Over was only ever published on ONE cd, sf.local.bands, and Pull It Over was only ever played on ONE radio station, Live 105 in San Francisco. It would have been a true ONE-hit wonder if it was a hit (which it wasn’t).

Released in 2020, "Guilty Pleasures" is our debut EP. Each of the 4 songs was written, recorded, and produced at "The Chateau" our old house in Highland Park, CA. We must have written 300 tunes before finally locking in something we were all stoked about and now call the Wake the Wild sound. We printed 50 vinyls for this first run and this was the only special misprint, signed by lead singer Zach Sorgen, where the face on the front cover is slightly discolored to aqua in the face when it was supposed to be black. This is a true one of one. On the record, Forrest Mitchell plays drums, Zach Sorgen sings, and Chase Jackson plays guitar, bass, and handles most of the production elements on the computer. Track 1 and lead single "Guilty Pleasures" is about giving into your deepest desires. The excitement of embracing temptation is reflected in the interlocking rhythms and smooth R&B chords. Track 2 "Alone Together" is a funky House bop to lift people up in a time of isolation and social distancing. But also about cutting out distractions and outside noise to focus on your partner. Track 3 "Dark Side" features Naiim is about getting past the surface level or highlight reel and actually getting to know someone on a deeper level. Track 4 "Girlfriend" is a tongue in cheek funky house track about keeping it light and riding on good vibes.

My grandma found a box of blank cassette tapes that only said C47, she asked if I wanted them, of course yes, and I made my first demos ever with those cassettes. I used a 90's boom box with a line in to make this recording. I used my first real guitar, a cheap sampler, and a Casio keyboard as a drum machine. Most of the recordings on this cassette are song ideas, some completed songs, and I made a remix of my high school friends band Yakoo, that later became Eve 6. I used this setup around 9th and 10th grade. I think it was 1996 or 97' I upgraded my "gear" when I could, but there is still something special about getting to hear myself back for the first time and this cassette is the result of that specific experience. Maybe it will inspire you too?

The Speculator Mining Disaster of 1917 was a watershed moment for labor rights and work safety in America. The song “Tap ‘er Light” was commissioned to be presented at the centennial memorial ceremony, overlooking Butte, Montana on June 8th, 2017. Descendants of those who lost their lives in the fire were in attendance. This song was a gift to the people of Butte, and a limited 12” 45rpm vinyl run was made by Quality Records, for purchase exclusively at Butte’s World Museum of Mining and Headframe Spirits in Butte. This is the original Side A Master from Chicago Mastering. The song was later used as part of Google’s AR/VR summit in San Francisco illustrating sonic excellence. I had developed a fascination with Butte after seeing a documentary of the town. I had enough songs for a full-length album… but ultimately decided that my first vinyl recording should be for a greater cause than a vanity project of my own pseudo-pop songs. I always loved the 12” 45 as a method for a single. It was extravagant, luxurious. I spent many days in my youth browsing my way through Tower Records finding rare one-offs from Siouxsie, the Sisters of Mercy, and others. This project remains the physical work I’m most proud of. Recorded at SnowGhost. Mastered by Chicago Mastering

Every vinyl has what’s called a test pressing for the client to approve the sound, time between songs, any custom groove text etc.. so this is my latest records test pressing that I put out on my own label, Eastern Glow Recordings. I signed this, used a custom Leaf stamp that I received from a dear fan of mine in Japan. Hope you enjoy.

After 10 or so years of writing and releasing my own music, I finally recorded an album that I thought was worthy to press on vinyl. I am still proud of this work and hope you enjoy listening to it as much as I did making it.

Streaming is nowhere. I was sick of whoring out every song to Spotify playlist tzars and YouTube algorithms. This is my album. The only copy. It’s not online. It’s nowhere, except inside this government issue digital talking book player. Nine songs that no one has heard… and that no one WILL hear… except the owner of THIS ONE BOX. Intermittent “low battery” announcement during playback. Honestly, it’s kind of haunted and will power on at random when plugged in. It WANTS you to listen. And for the record: while technically “government property,” this unit was purchased fair and square at a thrift shop before I opened it up and impregnated it with nine golden secret songs.

This is a one of a kind art piece depicting some graffiti I encountered on a post-tour exploration through Portugal in 2013. The translation was inspirational to me, meaning “No one can dream for you”. I recorded a song with that in mind, and had it pressed to lathe. My recreation of the wall art with wood and fire accompanies the recording. “I Belong To The Old” was recorded in 2014 at Type Foundry Studio in Portland, Oregon. It is a meditation on times of transition, and contemplation of old worlds vs new.

This is a one of a kind art piece depicting some graffiti I encountered on a post-tour exploration through Portugal in 2013. The translation was inspirational to me, meaning “No one can dream for you”. I recorded a song with that in mind, and had it pressed to lathe. My recreation of the wall art with wood and fire accompanies the recording. “I Belong To The Old” was recorded in 2014 at Type Foundry Studio in Portland, Oregon. It is a meditation on times of transition, and contemplation of old worlds vs new.

This is a test pressing for a 7” that was never actually manufactured. Utterly rare. As far as I know, there are only four in existence— though it is possible (but doubtful) that there are one or two more out there in the hands of an ex-manager. There was in fact a Waterlines single 7” manufactured in the spring of 2012 (500 copies made) but with a different B-side. My original selections for the B-side—which are reflected in this test pressing—were Probable Cause and Twenty Seven. Instead, I ended up putting both of those songs on the Sod in the Seed EP and chose The Water You Walk as the B-Side to the Waterlines 7”. I have four of them and am selling two. This one is # 1 of 4.

This is a test pressing for a 7” that was never actually manufactured. Utterly rare. As far as I know, there are only four in existence— though it is possible (but doubtful) that there are one or two more out there in the hands of an ex-manager. There was in fact a Waterlines single 7” manufactured in the spring of 2012 (500 copies made) but with a different B-side. My original selections for the B-side—which are reflected in this test pressing—were Probable Cause and Twenty Seven. Instead, I ended up putting both of those songs on the Sod in the Seed EP and chose The Water You Walk as the B-Side to the Waterlines 7”. I have four of them and am selling two. This one is # 2 of 4.

This is a test pressing for a 7” that was never actually manufactured. Utterly rare. As far as I know, there are only four in existence— though it is possible (but doubtful) that there are one or two more out there in the hands of an ex-manager. There was in fact a Waterlines single 7” manufactured in the spring of 2012 (500 copies made) but with a different B-side. My original selections for the B-side—which are reflected in this test pressing—were Probable Cause and Twenty Seven. Instead, I ended up putting both of those songs on the Sod in the Seed EP and chose The Water You Walk as the B-Side to the Waterlines 7”. I have four of them and am selling two. This one is # 2 of 4.

ORIGINAL '82' VINYL (1 available), 82 is my debut project that I released in 2021, and this right here is the first and original pressed sample copy of the vinyl. 1/1. This album and physical copy hold major sentimental value to me. For that reason alone, I'm choosing to part with it. I want to give it a lifetime home where it will be cherished and enjoyed.

This is the first volume in a three part series. Vol. 1 was my first attempt at making a "scratch record" back in the day. I had a modest sampler, an Akai S2000, but a huge record collection. It was challenging to choose the right records to sample for this. I took into consideration the myriad of breaks that were sampled over and over. I wanted this record to be different from the other scratch records out there so I dug deep and intentionally used less obvious samples. I was also playing a lot of instruments around this time so some of them are my own sounds. I had a few big djs back in the day get a hold of these and compliment the choice. I remember one of them saying "it's listenable as a stand alone record" because most of the break and scratch records were not in that time. I recorded it in my apartment in Cincinnati, Ohio deep into my record collecting days. Cincinnati is a Mecca for jazz and funk records due to it being a hot sport back in the 70s for recording funk and jazz. The average collection to a Cincinnati resident in the 70s was what the most insane collectors would die over today. I don't think I ever spent over $10 on a record around that time but so many of those today would be worth hundreds. "Doo-doo" was used as a compliment around that time for some odd reason. "Yo, that beat is doo doo" simultaneously meant good and bad. It was all how it was delivered. The album art is by the graffiti artist, Devious aka Chris Gliebe.

This is the first volume in a three part series. Vol. 1 was my first attempt at making a "scratch record" back in the day. I had a modest sampler, an Akai S2000, but a huge record collection. It was challenging to choose the right records to sample for this. I took into consideration the myriad of breaks that were sampled over and over. I wanted this record to be different from the other scratch records out there so I dug deep and intentionally used less obvious samples. I was also playing a lot of instruments around this time so some of them are my own sounds. I had a few big djs back in the day get a hold of these and compliment the choice. I remember one of them saying "it's listenable as a stand alone record" because most of the break and scratch records were not in that time. I recorded it in my apartment in Cincinnati, Ohio deep into my record collecting days. Cincinnati is a Mecca for jazz and funk records due to it being a hot sport back in the 70s for recording funk and jazz. The average collection to a Cincinnati resident in the 70s was what the most insane collectors would die over today. I don't think I ever spent over $10 on a record around that time but so many of those today would be worth hundreds. "Doo-doo" was used as a compliment around that time for some odd reason. "Yo, that beat is doo doo" simultaneously meant good and bad. It was all how it was delivered. The album art is by the graffiti artist, Devious aka Chris Gliebe.

This VHS is possibly the only surviving copy of the music video “Ice Cream Man.” An original song written and recorded by one of my junior high school bands in 1994. Members included Ghostnote co-founder Brett Allen on vocals/guitar, myself on Bass/vocals, Robert Booth on guitar and Doug Hughmanick on Drums. The video was shot in Cupertino California and submitted to an MTV nationwide contest. The winning band would have their video played on MTV and an opportunity to sign a major label record deal. The band, undergoing several name changes (Chief Paradox, Breech and Ecto-1) was short lived and only played live once or twice on campus. Despite our certainty and confidence at the time we never heard back from MTV. However, I have held on to this relic from an age of corporate music exploitation as a ‘catch and release’ during a great dragnet of mass commercial talent fishing in a dying alternative music genre. The audio was recorded and mixed at Brett’s parents house on a multi track tape recorder and is terrible. Clearly it was no glimpse into the future of his epic career as a recording engineer. Despite the low quality audio and video recoding, overall lack of concept and blatant parroting of the mid-nineties popular grunge rock sound, the tune is mildly catchy and could have just as easily been spit-shined into a handsome boy band one hit wonder if only given the chance to win that MTV contest. Sorry, we were the ones that got away and I have proof!

This VHS is possibly the only surviving copy of the music video “Ice Cream Man.” An original song written and recorded by one of my junior high school bands in 1994. Members included Ghostnote co-founder Brett Allen on vocals/guitar, myself on Bass/vocals, Robert Booth on guitar and Doug Hughmanick on Drums. The video was shot in Cupertino California and submitted to an MTV nationwide contest. The winning band would have their video played on MTV and an opportunity to sign a major label record deal. The band, undergoing several name changes (Chief Paradox, Breech and Ecto-1) was short lived and only played live once or twice on campus. Despite our certainty and confidence at the time we never heard back from MTV. However, I have held on to this relic from an age of corporate music exploitation as a ‘catch and release’ during a great dragnet of mass commercial talent fishing in a dying alternative music genre. The audio was recorded and mixed at Brett’s parents house on a multi track tape recorder and is terrible. Clearly it was no glimpse into the future of his epic career as a recording engineer. Despite the low quality audio and video recoding, overall lack of concept and blatant parroting of the mid-nineties popular grunge rock sound, the tune is mildly catchy and could have just as easily been spit-shined into a handsome boy band one hit wonder if only given the chance to win that MTV contest. Sorry, we were the ones that got away and I have proof!

This album was released in 2009 and has been long out of print.  As I was putting this post together I realized I don’t even have a manufactured copy of the album and had to hit up Discogs to get myself a copy.  The album reflects a time in my life when I was writing lyrics and melodies in a lot of LA sessions for pop stars.  Dark Touches has the song “Tall Boy” which I wrote with Greg Kurstin for Britney Spears.  It looked like we were about to get the song placed with her as a potential single until her infamous head shaving incident.  The world was pretty cruel to her in those days, and I’m glad she’s finally getting the respect for her humanity that we all deserve.  I decided to take a few songs that ended up on the cutting room floor of her along with songs I wrote for Cheetah Girls and a few others to make my own album. 

This is where it all began. The first test pressing of the first Har Mar Superstar album which was self-titled. I began making records as Har Mar in 1999 as reaction to the lack of showmanship in indie music at the time. I was also a huge fan of classic and modern R&B, and the project provided me the outlet to use my vocal chops to their fullest. I was releasing so many albums as Sean Na Na and HMS simultaneously that I decided to pretend to be my own twin brother in the beginning. Slowly but surely Har Mar became my main project as popularity grew, and I gave up the twin brother act as it got too confusing. This was such an exciting time in my life, and this album led to tours with The Strokes, Gossip, The Pattern, and so many more. There were only 8 copies of this test pressing made. 4 of them were autographed by me, and this is number 2. It was released by Kill Rock Stars, and the vinyl was a limited edition (out of print) picture disc with 2 bonus tracks released in collaboration with Blood of the Young.

For fans of early electro/R&B/indie pop history. This is the test pressing first Har Mar Superstar album which was self-titled. I began making records as Har Mar in 1999 as reaction to the lack of showmanship in indie music at the time. I was also a huge fan of classic and modern R&B, and the project provided me the outlet to use my vocal chops to their fullest. I was releasing so many albums as Sean Na Na and HMS simultaneously that I decided to pretend to be my own twin brother in the beginning. Slowly but surely Har Mar became my main project as popularity grew, and I gave up the twin brother act as it got too confusing. This was such an exciting time in my life, and this album led to tours with The Strokes, Gossip, The Pattern, and so many more. There were only 8 copies of this test pressing made. 4 of them were autographed by me, and this is number 3. It was released by Kill Rock Stars, and the vinyl was a limited edition (out of print) picture disc with 2 bonus tracks released in collaboration with Blood of the Young.

This is a true artifact of early ‘00s indie history. A test pressing of the first Har Mar Superstar album which was self-titled. I began making records as Har Mar in 1999 as reaction to the lack of showmanship in indie music at the time. I was also a huge fan of classic and modern R&B, and the project provided me the outlet to use my vocal chops to their fullest. I was releasing so many albums as Sean Na Na and HMS simultaneously that I decided to pretend to be my own twin brother in the beginning. Slowly but surely Har Mar became my main project as popularity grew, and I gave up the twin brother act as it got too confusing. This was such an exciting time in my life, and this album led to tours with The Strokes, Gossip, The Pattern, and so many more. There were only 8 copies of this test pressing made. 4 of them were autographed by me, and this is number 4. It was released by Kill Rock Stars, and the vinyl was a limited edition (long out of print) picture disc with 2 bonus tracks released in collaboration with Blood of the Young.

This is an extremely rare artifact for fans of 90s noise rock, especially for AmRep collectors. I’ve been holding onto this, my only personal copy of this test pressing, since 1998. Calvin Krime was my first band that released real albums and toured the US extensively. We formed when 2 of the 3 of us were still in high school. This is our second album, and I feel like we really hit our stride on it. Side A was recorded by Dave Gardner at AmRep Studios in Minneapolis, and Side B was recorded by Super ESP (Damon Locks and Casey Rice) at Truckstop in Chicago. We were so excited to release our albums on our favorite label, Amphetamine Reptile. I still remember speeding home from the label offices to listen to and approve this pressing for mass production. This record still gives me butterflies in my stomach and makes me feel young.

The Ghostnote. The in-betweens. The absolutely essential, yet uncelebrated means to the end. I have always felt more comfortable working in a behind the scenes role. I feel that I am a bit of a ghostnote myself. I have been working on what is now Ghostnote for the last 20 years - I didn't know it at the time, but it's clear to me now. I’ve always felt drawn to helping improve the creative experience for my friends. In 2020 when everything shut down, my musician friends suffered the most. Digital platforms thrived, and some of my friends saw success. But we all missed that real-world connection. I dabbled in interesting new technologies, like immersive audio and digital collectibles, but never felt really strongly about those mediums. That dabbling made it clear to me what was missing - something tangible you could hold in your hands while experiencing a moment. This is exactly what has made the vinyl medium a classic, and still relevant today. I've loved being there. Those recording sessions when the music comes together - that sticky mojo. I’ve never been able to fully describe or manufacture that mojo, it just happens when people get together, and make things matter. Lyric sheets, broken drumsticks and music video props - I've discarded so many things we've taken for granted - something tangible, unique and personal, tied to that mojo moment. The Ghostnote hat is me drinking my own kool-aid. It's me looking back at all of the hard work my friends and I have put into this creative life. The messy means we experienced are surely something else, when you hold them in your hands, realizing what they collectively became.

The Ghostnote. The in-betweens. The absolutely essential, yet uncelebrated means to the end. I have always felt more comfortable working in a behind the scenes role. I feel that I am a bit of a ghostnote myself. I have been working on what is now Ghostnote for the last 20 years - I didn't know it at the time, but it's clear to me now. I’ve always felt drawn to helping improve the creative experience for my friends. In 2020 when everything shut down, my musician friends suffered the most. Digital platforms thrived, and some of my friends saw success. But we all missed that real-world connection. I dabbled in interesting new technologies, like immersive audio and digital collectibles, but never felt really strongly about those mediums. That dabbling made it clear to me what was missing - something tangible you could hold in your hands while experiencing a moment. This is exactly what has made the vinyl medium a classic, and still relevant today. I've loved being there. Those recording sessions when the music comes together - that sticky mojo. I’ve never been able to fully describe or manufacture that mojo, it just happens when people get together, and make things matter. Lyric sheets, broken drumsticks and music video props - I've discarded so many things we've taken for granted - something tangible, unique and personal, tied to that mojo moment. The Ghostnote hat is me drinking my own kool-aid. It's me looking back at all of the hard work my friends and I have put into this creative life. The messy means we experienced are surely something else, when you hold them in your hands, realizing what they collectively became.

Chavez Ravine is the land under Dodger Stadium in Los Angeles, CA Google that shit. I use to live at the base of the ravine in Chinatown which is the gateway to Elysian Park. My bassist Mando Lopez, Drummer Phil Guerrero and myself created the band 8 years ago. I wore this hat many times on stage during our shows and it’s been on my mixing console for every session I’ve ever recorded. I love it and I love the dodgers so that’s why I made it blue and white. The record I made this hat for was called Uno and you should take a listen on Spotify.

This jacket was custom made for the Neon Neon (Gruff Rhys and Boom Bip) Praxis Makes Perfect tour. Only two were made for each of the two band members. The jacket was worn on stage for the final leg of the tour that took place inside the legendary Berghain Nightclub in Berlin, Germany. It was put away in protected storage after that night. The jacket was custom made by the label head, Tom Brown of Lex Records, in London. The embroidered image is of Giangiacomo Feltrinelli, who was the subject of the Praxis Makes Perfect concept album. Size is M

This jacket was custom made for the Neon Neon (Gruff Rhys and Boom Bip) Praxis Makes Perfect tour. Only two were made for each of the two band members. The jacket was worn on stage for the final leg of the tour that took place inside the legendary Berghain Nightclub in Berlin, Germany. It was put away in protected storage after that night. The jacket was custom made by the label head, Tom Brown of Lex Records, in London. The embroidered image is of Giangiacomo Feltrinelli, who was the subject of the Praxis Makes Perfect concept album. Size is M

“Make yourself a fucking vision board why don’t you?” Is the opening verse line to my song Capitalism and My Haircut. I wrote the song about being in your late twenties, stressing about money/careerism, material vs spiritual pursuits, and what seems like an ever looming environmental crisis that we live in. Perhaps it’s neurotic but it felt true. One thing about making these tanks is that it takes me out of my head. The Cyanotype process is very delicate. It’s a 48 hr job between combining two chemicals, painting the tank with the chemical in a nearly pitch black room, allowing that to dry over night, exposing the painted area to the sun for 15 min with the transparency negative of the design fastened between the cotton and a sheet of glass (which allows sunlight to hit the painted on chemicals thus causing a reaction that burns that beautiful blue hue into the cotton) and then washing out the unburned chemicals from the shirt to reveal the design. Each result is completely unique because of the erratic nature of UV and these chemicals- and yes it’s eco friendly, the chemicals are iron derivatives. I only made about twenty of them, most were given to fans as a thank you for pre-saving the song. This is the only medium left. There’s a photo of me wearing a different capitalism tank that is less blue and more faded. Like I said each one is a 1 of 1. Size unisex medium. Wash delicate on cold.

“Make yourself a fucking vision board why don’t you?” Is the opening verse line to my song Capitalism and My Haircut. I wrote the song about being in your late twenties, stressing about money/careerism, material vs spiritual pursuits, and what seems like an ever looming environmental crisis that we live in. Perhaps it’s neurotic but it felt true. One thing about making these tanks is that it takes me out of my head. The Cyanotype process is very delicate. It’s a 48 hr job between combining two chemicals, painting the tank with the chemical in a nearly pitch black room, allowing that to dry over night, exposing the painted area to the sun for 15 min with the transparency negative of the design fastened between the cotton and a sheet of glass (which allows sunlight to hit the painted on chemicals thus causing a reaction that burns that beautiful blue hue into the cotton) and then washing out the unburned chemicals from the shirt to reveal the design. Each result is completely unique because of the erratic nature of UV and these chemicals- and yes it’s eco friendly, the chemicals are iron derivatives. I only made about twenty of them, most were given to fans as a thank you for pre-saving the song. This is the only medium left. There’s a photo of me wearing a different capitalism tank that is less blue and more faded. Like I said each one is a 1 of 1. Size unisex medium. Wash delicate on cold.

What’s the story with this shirt? I wore it because it’s the last one ever made. I found it underneath the tour bus couch. People till this day ask for this shirt so I figured I’d put the last one up for sale on Ghostnote. We won’t be making anymore of these ever. I signed the cobra man logo on the backside of the shirt. I think it’s a men’s medium but there isn’t a sizing on it. This shirt was from the first us tour with our friends in the band worble in 2022

What’s the story with this shirt? I wore it because it’s the last one ever made. I found it underneath the tour bus couch. People till this day ask for this shirt so I figured I’d put the last one up for sale on Ghostnote. We won’t be making anymore of these ever. I signed the cobra man logo on the backside of the shirt. I think it’s a men’s medium but there isn’t a sizing on it. This shirt was from the first us tour with our friends in the band worble in 2022

I went to my first music festival in 2012 and had been dreaming of the day I would perform at one. Fast forward to 2022 - I did. At Insomniac's Lost in Dreams in Las Vegas, NV. I wore this sparkly glitter bodysuit because it felt most suited for my first EDM performance. I sang my heart out on my song "Your Gravity" with my collaborator; N3WPORT for a crowd of over 10,000 people. It was a surreal moment looking out a sea of people screaming back my lyrics and melodies; something I've envisioned for over a decade. Easily one of the best weekends of my life. A reminder to chase your dreams <3

Original Kenan Bell merchandise ‘Elephant’ print logo T-shirt. Designed by Kenan Bell and Jason Burkhart blending characters from notable fonts in popular culture including scrabble, sesame street and school House rock as well as notorious brand logos like ENRON. Using now-defunct American American poly cotton blend handscreen printed and worn on tour including 30 dates as direct support for De La Soul and also international dates opening for Diplo in London’s Notting Hill and BBC Radio. These shirts were a cult classic and were reissued a few years back, but this is an original pressing of the first-run made before dates with RJD2 and PUTS. Vintage, shows wear and tear at shoulders from suspenders and discoloring from living the fabulous life of a rap rock star 💫

Used in the music video for “Wake Me,” and accidentally burned by a propane heater when left on the floor of the barn. It was 19°F in that barn. This hat got burned on the brim a bit. Almost as badly as Susan’s butt when she sat on a copper chair that was “warming up” over that same propane heater.

When we shared the Bon Iver booking individual tickets sold out immediately. We hadn’t released the full lineup yet, but it was mentioned “even if the rest of the nights were just a cat playing a kazoo” the season tickets would still be worth. Lo and behold season tickets sold out as well and cat/kazoo t-shirt was born (and then also sold out). 😂🤷‍♂️

Giant Drag t-shirt from our 2006 UK tour. Cat and butterfly drawings by Annie Hardy inspired by Lisa Frank stickers. Design by Micah Calabrese.

This is the jacket I wore for most of the days I recorded my E.P. No Regrets. Every morning putting it on was a reminder to trust my creativity and it served as a comfort item during the long days. Hopefully it can do the same for another creative in the future. I hand-painted this size large jacket in my garage, a few weeks before we recorded the record , right after I finalized the cover design of the three-shape logo. The E.P. features four songs, Algebra, No Regrets, Dodgeball, and Party On A Yacht. Three of the songs are represented by shapes, with the Blue triangle being the yacht, the red circle being the dodgeball, and the green square being the calculator. Then I painted the E.P. title, No Regrets in white. Lastly, I wrote each of the song's names on the bottom of the jacket, including my song Split which I originally thought would be the fifth song, but later decided to release separately. Split was represented by the lines going through all the shapes. This piece is very important to me it is a tangible representation of the project I am most proud of. Every time I see, or wear it I am brought back to the recording sessions of the project.

The last t-shirt ever to be printed for western scene -

On March 28, 2019 I had the honor of singing the national anthem for the MN Twins home opener vs Cleveland. The team made me this official MLB jersey with Har Mar on the back along with the number 99 which was the year I started making records as Har Mar Superstar. It was a nerve wracking, nationally televised challenge. Off camera in front of me was a nice man on a walkie talkie giving me hand signals to speed up and slow down so I could time the ending of the song to two F-16 fighter jets flying overhead. The echo in a baseball stadium is insane, and I could hear the words coming out of my mouth at the same time as the ones bouncing back at me on 2 second delay. Not to mention that the lyrics to “The Star Spangled Banner” are difficult to remember non-speak I’d been singing wrong my whole life, and the melody historically takes a huge vocal range to do justice. Somehow I nailed it, and the Twins went on to win 2-0. It was an amazing day. I wore this jersey all day as my good luck charm. You couldn’t see it on TV, but I was wearing it under the very USA shawl I chose for the performance. My mom was down on the field with me, so the day was even more special. 5 years earlier I took her to see Paul McCartney perform at the same venue, probably on the very same grass. America!

I wore this leather jacket by Niki in the Har Mar Superstar music video for “It Was Only Dancing (Sex)”, the lead off clip that introduced my album “Best Summer Ever” to the world in 2016. I chose the jacket because of its genius color scheme and hilariously generic representation of American football. The video starred Mette Narrative (Hustlers, Cats, and the “Lemon” video for N.E.R.D & Rihanna) and I, who end up dance fighting a group of thugs at a Minneapolis dive bar. It was directed by Isaac Gale & David Jensen and choreographed by John Mark. The jacket is prominently featured in the closing shots that are a double homage to Purple Rain and The Breakfast Club ending freeze frame overlooking an industrial part of town across the Mississippi River. I personally autographed this leather sports garment.

This sweater was hand drawn during a long rainy camping trip out on the Oregon coast. Inspired by children books, vintage princess and carton animals. Piece by piece inspired by color shape, no overall plan. The different drawings came together to tell a story, Cinderella the evil step city, a creepy cat. Who know what this has to do with a parrot. Let it tell you a story as you wear around this one of a kind piece. I have never created a clothing piece like this and not sure I will. The time and energy put into the work is more than most works at this price point. Gilden unisex size medium heavy blend 50/50 pull over sweater. Pre washed and dried. I’d say fits like a men’s small, woman’s medium. one of a kind, over 10 hours of drawing. Made with fabric markers. Hand wash cold and hang dry. Colors will last longer the more you can go with out washing. 26” height 21” put to pit 22" arm length

This limited edition Fruit of the Loom Super Premium T-shirts were made and sold during the Little Black Book album campaign. I first started selling these when I opened for Travis and Laura Mvula in 2017, and continued into 2018 during my support shows for Tanita Tikarim in Germany. These shirts feature the Little Black Book typography from the album campaign and album cover art. These shirts and shirt design are no longer in production! Size medium.