The next release on Histamine Tapes comes out next friday and is from my very own Subversive Intentions project. Here’s a long blurb about it:

This has been the most involved work I’ve ever done as a musician, and the album I am perhaps the most proud of and excited to present to you all. I’ve been working at reduced rate over at Histamine Tapes, but this was one release I had to put out this year. It is far too important and has been waiting to long to be out in world. It has taken about three years to reach this point.

It began back around the time that I started Histamine Tapes. I was conjuring ideas of the kind of sound I wanted the label to have and at the time I went deep into the SI back catalog to remember what excited me the most about experimental music. I then realized that my sound has gotten so much more polished over the years, which isn’t really a bad thing, but it was a thing, and I wasn’t sure I wanted it to be that way. So I set out to regain that lo fi sensibility of the early years, when I just had the cheapest of 1/8″ jack computer mics to record with.

I figured the mic on my cellphone would approximate. Over the course of two years and two different cellphones, I began to compile as many recordings as I possibly could. It was until the spring of 2019 that I sat down to listen to what I had compiled. What I discovered was my cellphone (actually two different Samsung Galaxy smart phones) had a pretty decent mic on it and this was not going to be the lo fi revival I thought it would be. It was however an opportunity to revisit the cut up methodology that had dominated my early albums.

This editing work, what I think of as the actual composition process for any SI album, took place under the back drop of the Trump led U.S. exit of the Paris climate accord, the U.N.’s report on global climate change, and climate activists like Greta Thunberg and Autumn Peltier becoming a part of our popular discourse. This coupled with my own anxieties about the technology I use to produce music (cellphones/computers/consumer electronics) and its impact on the environment, it only made sense that this would be my “Climate Change” album.

This album does not posit any solutions. Other than “listen to scientists.” Like most of my albums its more of a meditation on a subject/ way to deal with my anxiety around an issue. I tried to pair as much as possible mechanical/technological sounds, with natural environmental sounds, as a statement about our presence in the world and our impact on it. We are of this world, and we are in it, and at the same time destroying it. We are burning our own house down. This is the legacy of centuries of White Supremacy. This is the end result of the experiment of colonialism. Destroy the World, then find a new one. Hence the title: Not the Original Motion Picture Soundtrack to the Anthropocene. Intended to be read : Not “the” as in it is only “a” soundtrack. We all need to tell this story.

This album arrives one week from today on reclaimed cassettes with jcards cut from a vintage children’s book on firefighters. Get it at

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