James Talbot made some art about a magic town in transition. Sometimes reliable structures change. Perhaps they were looking for some dream of enduring value.
I've lived in this same town once before, three years ago. Before I moved to Eugene. It's the place I've lived the longest outside of the nineteen years I spent in Washington. And now that I've moved back, this place also feels different to me. I'm trying to find the enduring value.
I made these dusty nostalgic pieces to punctuate some very long and fuzzy droning roads to play alongside and accompany his work in Gallery 303, in the HFAC at BYU, for his final show. Which he is calling Magic Town.
Many of these pieces were slowed down considerably for the show. There's also a bird that briefly appears in one piece. Hope you enjoy.
released February 16, 2019
I played pump organ, wind chimes, violin, bass clarinet, clarinet, flute, trombone, bowed and plucked a banjo, and processed lots of audio.
Thanks to James Talbot for letting me make this and providing the album art photo. Thanks to Christian Asplund for inspiration and encouragement.
Thanks to Brìghde Chaimbeul's The Reeling, Ellen Arkbro's Music for Organ and Brass, Erika Bell's 2+/1–, Luscho's Dustbathing Substrate, Meredith Monk's Songs of Ascension, and Mount Eerie's Sauna for giving me ideas.
And thanks forever to my grandma Carolyn Swisher. I'm only going to keep making music because you were a fan.