Choose Your Destiny (or It Will Be Chosen For You)

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Pickle Rick is BADASSSSSS!

Making mistakes are inevitable. You learn what you can from them and try not to make the same ones twice. But, as I’ve been told, I “never know when to quit.” I guess there are upsides and downsides to that. I’m persistent.

I’ve always hated the business side of art & music. There are some aspects that I don’t mind doing myself. But, most of it I’ve always left for someone else to handle (booking shows, collecting the door, etc.). I’m just really bad at it. But, as a club owner once told comedian / performance artist Andy Kaufman, “This is show-business. Show… Business! Show…Business! Without the business, there’s no show.” It took a very long time to beat that into my head. But, I still relied too much on others to get things done.

I’ve always known how important it is to have backup gear; strings, cords, cables, picks, etc. But, I never considered having a backup for other contingencies. A friend would set up a show for me and I’d prepare to get by at that one show. If something went wrong, though, I’d be fucked. I’ve been stood up by bandmates at booked gigs. I’ve had important pieces of equipment fail. If something CAN go wrong, it usually does.

I was, recently, reading a blog explaining the pros and cons of touring alone vs touring with a band. It got me thinking about how I can better prepare myself. I should ALWAYS have a backup plan ready for when shit goes wrong, “Always have a plan A, B, C, and D.” If an offer comes along and I don’t have a backup plan for it, then I probably shouldn’t accept it. I’m not ready. The best way to avoid this from happening is to DIY all of the work, as much as possible. If I’m bad at it, then I’ll learn how to get better. I’ve always been bad with cars, but eventually I had to learn shit or it didn’t get done…period.

If I’m setting up a show by myself, I can control the variables and take precautions. If bandmates flake out or cannot show up, I can still do it alone. If a piece of equipment fails, I can do something else instead. Whatever happens, I got this.

Part of this mindset is influenced by my “prepping hobby” or whatever you want to call it. I liked the TV show “Doomsday Preppers”, while it lasted. Sure, there were lots of nutcases on there with too much money to waste and not enough common sense. But, the general principle is a sound one, “Be prepared…for anything.” It got our grandparents through the Great Depression. The pioneers survived travelling across the wilderness because they prepared for it. Shit’s gonna happen, inevitably. What are you gonna do? Cry about it? No. If something needs to be done, get it done. No one else will do it. Think ahead, then you won’t have to worry as much.

I have repairs & replacements that need to be taken care of. But, I would like to set up a few mini-tours down the Midwest or The East Coast. Whether that is with a group or alone (or both) I’d like to somehow make that happen. If I can secure a decent-priced rental van and insurance with Roadside Assistance it would make a world of difference. Would it be a deal-breaker if I can’t? I’m not sure.

Another thing that has taken me a very long time to learn is, “If you can’t do it the way that you want to do it, find another way to do it. Then, do it anyway.” Being stubbornly perfectionist can really hold you back. I’ve had to learn that the hard way. I’ve had some great ideas which would have been fantastic to see materialize, “only if…” It’s always some details that prevented it from happening, when I could have done it in some other fashion and at least gotten SOMETHING done – instead of nothing.

This kinda goes back to my point of being more self-reliant. I’ve often needed someone around to break me out of my depression,  get me motivated, and to bounce ideas off of. If I had simply recorded & performed everything myself, all along, I could have accomplished so much more! I thought that I NEEDED other people to do things. But, I really only WANTED them. That is a big difference. It is a huge mistake to wait for anyone for anything, if you can avoid it. “Don’t wait around for help, because it isn’t coming.” Otherwise, you’ll be sitting there, forever, Waiting For Godot.

One of my favorite cartoons is “Rick & Morty.” I think that the best episode, so far, has been “Pickle Rick.” In this episode, the title character (transformed into a limbless pickle) is physically helpless, trapped down a sewer drain, but manages to save his own life through sheer ingenuity and persistence. Just like one of my other favorite TV characters, MacGyver. He could have simply despaired there at the bottom of the sewer, hopelessly crying to himself, until the rats and roaches ate his lifeless corpse. But, instead, he used his environment to escape and survive. I’m a little envious that I don’t have more positive moments like that myself. It is something to strive for, though.

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PICKLE RICK!!!

Groundhog Day

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I was gonna record a vlog to go with this (including a new song!). But, I didn’t get around to it. I’ll try to get it out this weekend, maybe. I have been digging through my old practice tapes and recording new demos for a couple of months now. I am not happy with a lot of it. But, you always have to dig through a lot of shit to find anything useful. Since I haven’t put out anything in a long time, I have been contributing to other people’s projects. I was asked by Uncle Ghoulie to provide some artwork and sounds to Truth Porn MilitiaNo Budget Radio Podcast. So, that is cool. I will be getting that out soon. There have also been some zines and other things requesting my input. So, I haven’t been completely unproductive, I guess.

I’m really beginning to wonder if maybe I should just give away my notes & artwork to let someone else make my movies. At least then they would get produced SOMEHOW. Tim Burton had almost nothing to do with making Tim Burton’s The Nightmare Before Christmas, yet his name is still in the title. He just gave his old sketchbook to another director and said, “Here. Knock yourself out.” Good idea? Bad idea? I don’t know. But, it looks like if I’m gonna produce it, it will likely be a few years until it it is done. Even if I cut costs to the absolute bone and it looks like dogshit, I don’t think I can get it done.

I’m crossing my fingers and hoping that I can get Theee Urban SpaceCat finally going this month. I should have enough raw material for a few issues already. I’ve been continually painting, drawing, recording, writing, etc. It really comes down to paying for putting it out there. I’ll deal with other expenses later, if it becomes necessary.

After over a year of keeping my stuff in storage, lacking enough funds, I recently had to let go of my storage unit. I have downsized a lot of it. So, at least I can fit everything in my grandmother’s garage (between the Christmas decorations and patio furniture). She gave me a nice bookshelf that was no longer wanted. So, I finally have somewhere to keep what is left of my vinyl LPs. I was very disappointed to realize how much of my collection that I’ve sold off.

She also gave me a free pizza promotional card that she got in the mail from Domino’s Pizza. I later brought the pizza back to her house. She, my nephew Michael, and I enjoyed a large deluxe. Mmmmmm.

I gotta finish cleaning up here, soon. There is an apartment inspection coming Monday. The landlord is making sure that no bed bugs have returned. Thankfully, the place has been pest-free for a year now. As a matter of fact, it was during the bug extermination last winter that I began renting my storage unit. So, it lasted one whole year.

I just got a small loan to cover my rent problem (last month’s check bounced!). I needed to pay two month’s rent and late/returned check fees IMMEDIATELY or I would get evicted. I’m not sure how much more financial Jiu-Jitsu I can pull off before it finally catches up with me. The van has a lot of mechanical problems needing fixing. I still cannot afford to put insurance on it. I’m risking jail time for driving without it (a misdemeanor in Michigan!). I’m in debt to my eyeballs to doctors & hospitals, credit cards, collection agencies, etc.

I set up a Patreon account. Maybe, I can find a little help from some folks, to fix my money situation. It is a long shot, I guess. But, what have I got to lose? I will post music, videos, and other stuff for patrons that won’t get released anywhere else. I’ll be adding more bonuses for supporters (t-shirts, stickers, magnets, flamethrowers, meat cannons, etc.) when I have them available. Any assistance is appreciated! Thanks.

Become A Patron!

Is There a Mike Nobody Style? Maybe.

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When I am jamming with other people, they motivate me and kinda help focus what I am doing. So, I am always bouncing ideas back-and-forth with them, trying to see where their talents and interests are. If half of the group is into a specific style of music, that gives me a vague reference to work from. I know what will work and what won’t.

My improvisational skills are kinda crappy, though. Ironically, I need people to get out of my way and let me work alone when I am writing original music. Cutting & pasting jam sessions into songs kinda works. If I have no one to work with, I am kind of at a loss. The music can go in all sorts of different directions. So, finding my own “sound” can be difficult sometimes.

I am trying to shape what I do into a cohesive sound of my own, without tying my hands too much. I would like to maintain the freedom to play whatever that I want. Near as I can figure it, I guess that I kinda sound a little like Beck with a weird bass setup and tapes, maybe.

My working process and available resources probably have more to do with any real style that I may have than anything else. I don’t have a drummer. So, for percussion I must rely on drum machines and whatever found objects that I can bang on. I do not have other band members. So, I rely on recordings of myself on guitars, noises, and sampling, to fill out the sound. I dabble quite a bit in plunderphonics.

Compositionally, I like the free jazz “cut & paste” approach of artists like John Zorn, Carl Stalling, Magma, Cardiacs, Omoide Hatoba, Boredoms, Melvins, Ruins, Mr. Bungle, The Mothers of Invention, etc. and “mixtape style” of the Butthole Surfers, Ween, Faith No More, David Bowie, The Beatles, Led Zeppelin, etc.

I like a mixture of Hi-Fi and Lo-Fi in recordings = Mid-Fi! But, I prefer a specific squashed compression sound found on early Primus, Ween, and Butthole Surfers records. I was able to ask guitarist / producer Paul Leary once about how he achieved that sound for the Butthole Surfers. He said it was due to cheap tape recorders, and only having one microphone. So, I think they recorded directly from their preamps a lot. I know that Primus did. That works great for me, since I only have shitty cheap microphones anyway.

Vocally, I have a kinda nasally high-pitched voice that I never liked. It’s kind of a bit like Neil Young, Wayne Coyne (Flaming Lips), Kurt Cobain (Nirvana), Curt & Chris Kirkwood (Meat Puppets), etc. I try to give it a little bit of a Tom Waits-like growl on the lower end. I also compensate for my voice with cheap microphones and whatever vocal effects that are available, trying to bury it.

Visually, of course, everything is very cheap by necessity. I like papier-mâché and cardboard props and sets. Puppets and miniatures can be very useful, too. Green screen, data-bending, and other cheap effects.

My mixed-media paintings and artwork kinda have a cheapniz aesthetic, too, I suppose. I use stuff from thrift stores, garage sales, dollar stores, and found materials a lot.

I tend to visualize the exterior world, the “real” world, in black & white colors. A cold, decaying, dying, world.

The interior world, the world of the mind and imagination, by contrast, is warmer and more colorful. It is vast and endless.

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I will probably post more about my gear setup & playing techniques later.

John Zorn

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“All the various styles are organically connected to one another. I’m an additive person—the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can’t see the connections, but they are there.”~ John Zorn

Continuing in a pastiche-composition style as Frank Zappa (although neither actually invented it) avante-garde jazz composer John Zorn has always interested me, since I first heard about him in the 1980’s.

His early career in the 1970’s included playing modified duck calls into buckets of water, as well as his improvised saxophone performances.

That alone, piqued my curiosity enough as a teenager to investigate further.

“The Big Gundown”, an imaginative reworking of Ennio Morricone covers, was his first big “hit” record in 1985.

Ennio Morricone, himself, praised the album.

His later hardcore jazz groups Naked City and Painkiller really made me into a big fan.

He was also instrumental in the release of Carl Stalling’s Merry Melodies / Looney Toons  cartoon soundtrack recordings.

I am guessing that those projects are why Mr. Bungle chose him to produce their first album for Warner Bros. Records. in 1991.

I think I have to agree with Mr. Zorn’s philosophy of musical composition.

I was always an obsessive record collector.

Everything that I listened to felt interconnected on some level, even if they seemed separated on the surface.

William Shakespeare isn’t James Joyce or Dr. Seuss.

But, they all speak English.

Something like that.

 

 

Spring Has Sprung

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I was watching some YouTube videos lately.

I got very annoyed.

Other bands are doing stuff that I wanna do.

But, they keep beating me to it.

I hate when that shit happens.

Maybe it is just that everything has already been done to death and we keep repeating and reinterpreting what came before us.

I dunno.

I know that, financially, I am gonna be screwed for the foreseeable future.

I am robbing Peter to pay Paul for as long as I have to.

I seriously doubt that I will break even before summer begins.

I keep putting off working on and publishing the zine until I can get ahead a little.

But, that doesn’t look like it is going to happen very soon.

I may do a cheaper version, than what I had in mind, until it begins to pay for itself.

Just a thought.

I will probably raid my boxes of old tapes that I have in storage and dig around for some incomplete material to finish.

I have a lot of it, going back nearly forty years.

Since I have been tinkering with the analogue multi-track machine, maybe I will include some fresher stuff with it, too.

I dunno.

A guitarist whom I have not played with in years contacted me and is eager to jam again.

So, maybe he can give me a morale boost and help me get my shit done.

Maybe.

I am always willing to jam with other people if they are interested.

I need to find somewhere that I can paint and make loud noises too.

Maybe somebody can help me with that.

Bombs Away!

Valentine’s Day

Timmy Vulgar

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Life is funny sometimes. It lands some odd coincidences in my lap a lot, it seems.

I had never listened to The Clone Defects, although they have been around the Detroit scene for a number of years. I did not know that guitarist / vocalist Timmy Vulgar was also in a bunch of other local groups. He has been around the block as much as I have (and then some). I also did not know that he & I had met before, when he was in his first band The Epileptix. I still have their debut 7″ EP that I purchased from him. We talked about the band Chrome and guitarist Helios Creed a little bit. That is all that I remember from our encounter.

Anyway, I got an invitation on Facebook to see his most recent band Timmy’s Organism play at the UFO Factory next month. I did a little research, and dang! This is my kinda guy. Mostly, he plays a kind of psychedelic punk and employs the style of low budget freakishness that I am known for. If he ever needs a bassist, or wants to collaborate, I think I am up for it… if he is.

Timmy Vulgar tim

The Island of Misfit Noise Movie and Comix

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Thus far, I hadn’t given the plot of our film much thought beyond the original premise that I gave TomCat Z. and John Pirog. I had assumed that we could just continue to add material until we had enough for a complete film. It is possible that we may still follow that method to some degree. It may be a financial necessity. But, it also occurred to me that having a few characters that we could build stories around wouldn’t be a bad idea, either. I mentioned the Teenage Mutant Ninja Turtles and all those 1990’s bands who styled themselves as superheroes for examples.

One of my big influences on The Island of Misfit Noise movie is Japanese Tokusatsu (特撮) shows like Ultraman, Giant Robot, and the Godzilla / Mothra franchises.

Oh yes, there will be giant fighting robots and monsters. There will be.

If this is a group of heroes getting into constant trouble, I could sorta model them after characters from Doctor Who, Star Trek, Lost In Space, Josie And The Pussycats, and Scooby Doo, Where Are You?, always arriving somewhere new and finding some shit to get into. If they are musicians, there will be four of them, like The Monkees or The Beatles. Each has their own character archetype, skills and abilities, like the Teenage Mutant Ninja Turtles or The Marx Brothers. When they get into deep shit beyond their capabilities, the giant robot comes to save them. Also, the robot is a fill-in drummer, because he keeps excellent time and doesn’t get tired. They are constantly losing and replacing drummers, like Spinal Tap.

Other big influences of mine is, of course, cheap B-movies and television programs. Sid & Marty Krofft‘s 1970’s Saturday morning children’s shows comes to mind as an excellent example. I even called the IOMN movie “H.R. Pufnstuf on crack”, once or twice.

So, there will be lots of green screen, cheap sets, cheap costumes, cheap, cheap, cheap. It is very likely that almost everything you see is gonna be made of cardboard, tinfoil, and papier-mâché if it isn’t something found or outright stolen.

Before we get started putting together any props or shit, I may publish the IOMN comics in my zine, Thee Urban SpaceCat. At the very least, it will give me an opportunity to work out some things that will eventually wind up in the movie. The Walking Dead TV series began as a comic. Hell, most of the movies out lately are based on comic books. They must be doing something right. It is also fitting, because the zine began as a concept for a comic book and I will probably be publishing through a printer that specializes in comic books. So, there is that too.

Tatsuya Yoshida, John Cage, and Boxes of Tapes

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I do not know where all of my old tapes are. Here are a few. Despite my reputation as a pack rat, I do discard and lose a lot of important things. There is still a lot here to dig through, some dating back to the 1970’s. There are more recent ones laying around from making memos to myself, quick jams, meeting up to jam with various musicians, etc.

I learned to read music in elementary school. I forgot how, though, after years of just jamming with bands who couldn’t read. Also, transcribed music never felt like an accurate representation of “music”, to me. I always visualized music in waves, shapes, and colors, like a rainbow oscilloscope!

John Cage wrote music kind of like that. I preferred how he wrote down music. It just made more sense to me than traditional transcribed music.

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Tatsuya Yoshida seems to have been influenced by Cage a lot. He even wrote a tribute song, composed in John Cage’s style. Of course Tatsuya Yoshida’s biggest influence would seem to be Christian Vander and Magma. His group, Ruins, borrows Magma‘s compositional style almost completely, adapting it to fit a drum & bass duo.

Tatsuya Yoshida
From Wikipedia, the free encyclopedia

Tatsuya Yoshida (吉田達也 Yoshida Tatsuya?) (born in Kitakami, Iwate is a Japanese musician; drummer and composer who is the only consistent member of the renowned progressive rock duo Ruins, as well as Koenji Hyakkei. He is also a member of the progressive rock trios Korekyojinn and Daimonji. Outside of his own groups, Yoshida is renowned for his tenure as drummer in the indie progressive group YBO2, a band also featuring guitarist KK Null, whom he also joins in the current line up of Zeni Geva and he has played drums in a late edition of Samla Mammas Manna. He has been cited as “[the] indisputable master drummer of the Japanese underground”.
Along with his participation in bands, he has also released several solo recordings.

I like the “cut & paste” style of composing. It offers a lot of freedom. I mean, it is nice when a complete song just hits you all at once. But, that seldom happens when playing in a group. I would be lucky if I found a really good drummer that I found a good groove with. Maybe composing alone will help me write more easily. I have plenty of raw material that I can draw from.

Mike Damn Nobody Returns!

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I think that, until I get some songs completed, I will accept new offers for gigs… performing improvised noise as Mike Damn Nobody again.

If I can get a new ShitKit started on, I will use it for percussion while I add other noises.

Max Grean (Uncle Ghoulie) said that he would help me to acquire an old gas tank from someone in Clarkston.

If I can get that, it will help me a lot.

I may do something akin to Black Pus (drums + vocals + noise), but perhaps more chaotic.

No Budget

Russ Meyer

I like cheepnis.

Maybe it is growing up on a steady diet of bad movies and shitty TV shows.

We would go to the drive-in back when they had double features, triple features, all nighters, etc.

When home video tapes and cable TV became a thing, my mom got us to watch some the worst movies ever made.

So bad, they’re good… and went back around to being bad again.

Some of the films used on Mystery Science Theater 3000 are Shakespeare, by comparison.

I used to stay up late and try to watch midnight movies on TV, before cable came along.

Then, there was The Ghoul and Sir Graves Ghastly for cool weekend shows.

Ed Wood, Roger Corman, Herschell Gordon Lewis, John Waters, Lloyd Kaufman, Richard Kern, Nick Zedd, Russ Meyer, it’s all good.

I Fixed My Mood Ring

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Don’t look at my ugly face.

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I Fixed My Mood Ring!

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20150930_003524 I found an extra set of strings and replaced the old ones, FINALLY! They were deader than dead. They were Beetlejuice Night of The Living Dead. I cleaned-up the crud around the pickups while I was at it, too.

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Not everything was sold by my grandmother. I still had this one PA and the cabinets from the other one. I didn’t have anywhere to store the cabs. So, I donated them to my grandmother’s church.

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Three projector screens were also left behind. That is okay. I may still use them if I can get some projectors. The big industrial monochrome projector and stand got sold. But, it was only in green color. I would prefer to get full-color replacements. Also, the industrial projector was very big and heavy, requiring a steel stand to be put into position. I need something lighter and more portable.

Comparative Anatomy

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Comparative Anatomy are another group that I have liked for many years. Their 2010 CD Mammalian is really good. I have been waiting ever since for a follow-up album, which never seems to come.

They are an experimental drum & bass band from Charlottesville, Virginia. Known for their elaborate costumes, absurd humor, simple but diverse textures and unique sound, the band has become known in the experimental and noise rock scenes for their outlandish performances. Their early work has been referred to by reviewers as a “patchwork, cut-up style” similar to bands like Mr. Bungle, but recently they have created their own unique sound with robotic sounding bass lines, frenzied loops of animal samples, and beat-focused drums. To date, they are the only band to consistently use animals for vocals, recording their sounds in a variety of settings and programming them to the music, often altering the sounds and layering them in their more recent work.

Comparative Anatomy started as an experiment in 2009 between the two main members, Sir Puffers Rabbinald the Third and Ron Chickenbaby. At this time, the band name was not yet chosen. The original line-up went through several guitars and one real drummer, all of who were eventually eliminated. After deciding to work alone, the group took a different route, eliminated guitars altogether and moved away from the quirky, death metal sound where they started as well as completely scrapping vocals. Their musical direction began to take an experimental, drum & dual-bass approach utilizing special tunings, a drum machine, and various samples from a variety of sources. They’re known for its odd humor, which relies heavily on absurdist and quasi-dadaist dialogs with the crowd and symbolism focusing totally on animals.

During live performances, Comparative Anatomy is known for wearing costumes, which were at first simple designs made with dismembered, stuffed animals, but eventually became elaborate and full-body pieces hand-made by the two main members featuring everything from top hats to black metal guantlets. In addition, their live act involves a set of films and animations created by the band that follow the music and are projected behind them on a giant screen.

Another cool thing about them that I like very much is that they tour in a refurbished ambulance, playing their music over the PA system as they approach their performances.

If you ever wonder what a Mike Nobody solo performance looks like, without a real band onstage, this probably isn’t far from it… minus the costumes.

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Jobless Zine Tapes

FUN

I applied for another job again, Value World (aka Value Village).

Not sure if it will do any good.

They were the only place that required applicants to apply in person, instead of online like everywhere else.

I later walked to the store for pop & bread and actually did some housecleaning today, too.

Wow!

I’m on a roll.

♛ ★★★★★★★★★☆★☆★☆★☆☆★☆★☆★☆★☆★☆★★★★★★★★★ ♛

I am feeling kinda brave and pulled the Roland workstation out… seeing if I could operate it at all.

I may dig through some boxes of old tapes and see if there is anything that I wanna work on again.

I may lift some material directly from them for the zine.

Maybe.

I am thinking that I will just keep accumulating material as I go along.

Then, when I have enough cash to publish I will put a new issue out, hopefully every three to four months.

It would be easier if I had some extra income for this.

But, I am working with what I have for now.

Thee Urban SpaceCat CassetteZine may be printed by a company that did Death Cat comics, Ka-Blam is their name I think.

It seems like they work in all sorts of volumes with good quality.

The tapes may be recorded, mixed, mastered, and dubbed totally DIY, though.

I am undecided if I want to get them made at a duplicating plant or just dub them myself.

I guess it depends what the demand is for them.

If I get too many orders I will have to go with the duplicating plant.

I am making a distinction between the CassetteZine and the RecycleTapes, though.

The CassetteZine will use fresh normal bias cassettes, probably Sony.

They seem to be the most readily available.

RecycleTapes are hard copy recordings of Mike Damn Nobody’s noise albums, dubbed on reused tapes and re-labelled by me.

I may have to create new artwork for the older titles.

I cannot find the originals.

I was thinking of when I want to take my recordings into a legitimate studio.

Money is a factor, of course.

But, when I am ready, I am thinking that I may only release vinyl singles and EPs like that for awhile.

If they do well, I can compile them onto CDs later.

The Weirdos are an LA punk band from way-y-y back.

They released only vinyl singles for twenty years before they put out their first full-length album.

“Weird Al” Yankovic says that he will no longer release full length albums.

He is only doing singles now.

It seems like that is the direction that the music industry will be going, eventually.

I haven’t been in a record store for years.

So, it is a little tough for me to gauge.

♛ ★★★★★★★★★☆★☆★☆★☆☆★☆★☆★☆★☆★☆★★★★★★★★★ ♛

I am probably gonna upgrade my my video capture software and get a chromakey program added to it.

I need to get a green screen or some fluorescent green paint.

I have a few leftover projector screens that I could paint if I had something for fabric, that wouldn’t crack and peel off.

Stripping It Down

"Our life is frittered away by detail... simplify, simplify." - Henry David Thoreau
“Our life is frittered away by detail… simplify, simplify.” – Henry David Thoreau

I am stripping my rig down a bit.

Still a work in progress.

I am trying to fit everything onto the pedalboard.

There may still be a few things sticking out.

Ideally, I should be able to set up my gear in about ten minutes, give or take a few.

Fewer parts, fewer complications.

Gotta think like a NASCAR pit mechanic, in & out.

“The more they overthink the plumbing, the easier it is to stop up the drain.”

– Scotty (Star Trek III: The Search For Spock)

My equipment has evolved a lot over time.

At one point, I had a built-up a huge Frankenrig from two old PAs, some preamps, and pieces of my current Mini-rig.

I got inspiration for my setup from a bunch of different bass & guitar players; Bootsy Collins, Chris Squire, Cliff Burton, Greg Ginn.

Some players have elaborate switching systems, with tons of pedals and rackmount effects.

Some players have truckloads of gear, insane shit.

Sonic Youth had a different guitar for EACH SONG.

I am trying to pare it down to whatever my live sound will be.

What do I REALLY need?

Other effects and sounds that I use I will probably just record samples of.

This changes the dynamics of composing quite a lot.

It is gonna sound way different than if I had everything plugged into the bass.

You can sort of hear how this is shaping my sound, so far.

But, this is for demonstration purposes ONLY (sorry that I got fat):

This is an unfinished song that The Riverviews were working on a couple of months ago.

I might re-purpose it into an Island of Misfit Noise song, if Mike Hayes doesn’t mind.

Stripping down the mini-rig.
Trying to find a compromise between my “live sound” and “studio sound”.
The strings are long overdue to be changed.
But, I haven’t got enough money for replacements.

I’m A Loser, Baby (So, Why Donch’ya Kill Me?)

My Name

Besides artists from the outsider music genre (Wesley Willis, Daniel Johnston), I have also been compared to a few other people. It didn’t always annoy me. Some comparisons were flattering, I thought. But, this is kind of how I came to be known as Mike Nobody.

Corey Feldman:

Frog brother truth justice american way

Honestly, I do not know where anyone got this from. Is there a physical resemblance? I dunno. Maybe a little. I guess there are worse things than being a Goonie, a Teenage Mutant Ninja Turtle, or one of the Frog brothers from “Lost Boys.”

Thurston Moore:

Sonic Youth - Thurston

I didn’t mind this one very much. Kenny Mugwump ( bassist / vocalist for groups like Princess Dragon-Mom, Mog Stunt Team, Loudhouse) made this observation a few times. I don’t know why. Maybe, like Thurston Moore, I know a lot about music history and collect a lot of it.

Beck Hansen:

A few pen-pals made a comparison between me and Beck, a couple of times. This is quite funny to me. I began using Mike Nobody as an ironic commentary on the whole Grunge / Loser thing. When asked what my musical style is, I used to jokingly tell people that it was just “Beck, with a bass.”

Kurdt Kobain:

At the peak of Nirvanamania, I do not think hardly a day went by when someone didn’t tell me, “Oh, my GAWD, you are just like Kurt Cobain!” AAAAAAAAAAAAAUUUUUUUUUUGGGGGGGGHHHHH! This annoyed me to no fucking end! I was followed and constantly harassed by a Cobain-obsessed stalker for months and months. I ended up fucking her, just to make her go away! I eventually had to move TWICE to lose her. I know that I should feel bad for saying this. But, it was kind of a relief when he died. That is about when those comparisons stopped happening.

On the upside of this, it landed me a role in a biopic about him, a few years after his death. The movie began as an independent film, then got bought by HBO (who increased our budget by a LOT). But, it seemed like the script was being rewritten every week. The story that they were going with became more fictionalized and ridiculous each time (Kurt Cobain becomes a zombie?).  I got fed up with it and quit. Production fell apart shortly thereafter. However, the project started up again when they brought in Gus Van Sant to direct. The finished movie became “Last Days”. It stunk. My only regret is that, if I had stayed in the movie, I could have met Kim Gordon (bassist / vocalist from Sonic Youth). She had a role in it too.

No one ever called me by my given name, not even as a child. I later discovered that my surname is a lie (I never liked it anyway). So, I only felt like my middle name, Michael, was my real name. What eventually made me settle on using the pseudonym Mike Nobody was the recommendation from Rob Wright (bassist / vocalist from NoMeansNo) to keep it, after I sent him a letter with that as my name. Hey, it was good advice. So, it has been my pen & stage name ever since.

Hello!

“All the various styles are organically connected to one another. I’m an additive person—the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can’t see the connections, but they are there.” ~ John Zorn

“Cute, cool, and creepy”, is how I have been described by some folks.

Usually, I am classified by my contemporaries as an outsider artist-musician.

Davin Brainard (time Stereo) and Warren DeFever (His Name Is Alive) shared their observation about me that I don’t intentionally TRY to be perceived as weird, I just naturally AM, making comparisons to Wesley Willis and Daniel Johnston. I guess that I will just go along with those descriptions.

Outsider Artist / Musician;

  • Music, Art, and Zines
  • Videos, Movies, and Multi-Media
  • Voice, Tapes, and Noise
  • Bass, Baritone, and other Guitars
  • Keyboards, Computers, and Custom Instruments
  • Plunderphonics, Electronics and Junk Percussion

I enjoy creating what I refer to as “Prog-Punk Noise-Rock”, a strange pastiche of styles tied together. I have collaborated with plenty of other artists over the years with wide degrees of proficiency in many genres.

I have been obsessively into art and music my whole life; drawing, painting, playing with tape recorders and making noise. I built my first guitar from a badly beaten-up body & neck that I found in someone’s trash. A friend’s dad gave me the electrical guts from an unknown 1950’s guitar. Additional parts were improvised from pieces of found junk and purchased from a music store.

When I was a twelve year old kid, back in the 1980’s, I was just a runt of the Detroit hardcore punk / heavy metal scene . Lacking enough money to buy any good equipment, I purchased a cheap microphone at a pawn shop, built a homemade mic stand, and passed myself off as a vocalist. I sang in whatever groups that I could find, gaining experience and learning whatever that I could. Mostly, it was shitty cover bands, playing in basements, getting yelled at by uninvited drunks that we suck. Eventually, I improved my bass & guitar skills, playing in many short-lived groups that went nowhere.

I was a writer / photographer for The Jam Rag, a widely-read local music paper, while still a teenager and made friends with other artists along the way. During the 1990’s I was a cameraman, roadie, and occasional collaborator with Princess Dragon-Mom, Mog Stunt Team, His Name Is Alive, etc.. I also performed in a few experimental noise groups; Edible Audio (with drummer Mick Stone of 500 ft of Pipe) and Bionics (with John Nevermind of Fresh Farm Raised Catfish), etc.

The Island of Misfit Noise began in the summer of 1998 with only Mystic MarshaKat and myself. She played keyboards & guitar. I played bass & guitar. Both of us were former members of N2-Submission, backing band for The Impaler “Detroit’s Vampire Poet.” Our duo’s name changed a couple of times, before settling on the IOMN.  Other musicians came and went during a period of 15 years, with she & I being the only constant members of the group. She also left in early 2013. MarshaKat and I remain friends. She may continue to assist in some capacity, just not as a full-time band member.

I resurrected the IOMN as a recording project in late 2014, with collaborators from Michigan to Australia. We exchanged material back-and-forth until some music was completed. The style that we made is very freeform. A few collaborators from the IOMN have joined me in other projects.

MickeyBugsBand_1

♛ ★ ★ ★ ★ ★ ★ ☆ Prog ☆ Punk 🐱 Noise ☆ Rock ☆ ★ ★ ★ ★ ★ ★ ♛

Some of my current projects;

  • Island of Misfit Noise is an ongoing multimedia project, begun in 1998 as a musical group, with a constantly rotating membership. It has since expanded into music videos, film-making, performance art, and comic books. I will continue to add material to this as I go along, with additional collaborators.
  • Theee Urban SpaceCat (Cassette-Zine) is a publication of my artwork, ramblings, stories, correspondences, miscellaneous found objects, music, commentary, and anything else packaged with a cassette tape of my recordings (compact disc optional)… whatever they may be. It is an outlet for all of my artistic endeavors, combined into one package, modeled after decades of correspondence with my friends.
  • Mike Damn Nobody is my experimental noise project; incorporating tape loops, circuit-bending, custom instruments, and anything else available. Recordings are available on RecycleTapes (cassettes handmade from re-purposed materials) and digital download formats.
  • Painting, Drawing, Visual Art, etc.

This post was a little long, containing influences, gear, personal info, etc.. It has been relocated to About / FAQ / Press – Details.

Subscribe to this blog and I will show & tell you more about the past, present, and future. If you want to check out upcoming events or new stuff available, and get some freebies, add yourself onto the mailing list in the sidebar. There is also a Ko-Fi fundraising link there for anybody who wants to support my creative efforts.

Thanks!

Mike Nobody =^.^=