Set it down, set it down, feel the breath in your body
Set it down, set it down, feel the calm in your bones
Set it down, set it down, feel the space in your limbs
*Give* that peace a home

Set it down, set it down, if your voice is nervous
Set it down, set it down, if your voice is closed
Set it down, set it down, give it space to open
*Give it some* where to go

Set it down, set it down, open up your shoulders
Set it down, set it down, feel the breath down your spine
Set it down, set it down, open up to the heavens
*Let* those angels sigh

Set it down, set it down, there is space for grieving
Set it down, set it down, there is space to find home
Set it down, set it down, there is space for heartbreak
*There is* space for what you show

Set it down, set it down, let your heart break open
Set it down, set it down, you don't need to hide
Set it down, set it down, you can go at your own pace
*Let* the light inside

Set it down, set it down, there will be no trouble
Set it down, set it down, with us as your allies
Set it down, set it down, you will be enough
*With* us by your side

Set It Down (sung by the Vibecamp choir)

Collaboration with my friend Miles over 2 days. Cw: suicide

Cinderblocks

I can feel the way your breath
Catches in your chest when you
Think about me

I can feel the way you remember
My fingers would guide you, they'd take you on a
Ride you won't forget

I can feel the sound of your voice
In my ears, on my lips, on my skin

And I wish I could say to you
Don't be a scaredy-cat

I can feel the sound of the silence 
Between us, and I know that you, you 
Feel it too

I won't be the first to break it
I'll take the air, and I'll swallow it
Whole

I wonder if you see I see you
Because you know I'm asking you
Don't be a scaredy-cat

Scaredy-Cat

Take off your skin

Honey fill my mouth
Sky show your face
Today cut away all that is not the sculpture
You intended to make 
Honey fill my mouth

I knew you before I saw you
Three beams of sunlight
In a brown trench coat
Masquerading as a human being
Three beams of sunlight
In a brown trench coat
Masquerading as a human being
Honey fill my mouth

Honey fill my mouth
Blade slice me open
Air fill my lungs with the sense he'll be right here any moment
 
Honey fill my mouth
Breath fill my lungs
Blood stay on the tip of my tongue when I reach out to kiss his face
Oh, it ain't a race
And I'm giving this space, and time
And I'm waiting for my, my, my
my mind to settle down
oh settle down

I knew you before I saw you
Three beams of sunlight
In a brown trench coat
Masquerading as a human being

I knew you before I saw you
Three beams of sunlight
In a brown trench coat 

I knew you when I saw you for the first time
You were three beams of light in a brown trench coat
oh, play-acting as a human
trying to be a human being
well you ain't fooling me

you were pretending to be a human being
well you ain't fooling me

Honey

First rough-cut of "The Bathtub Blues" (formerly "Poopin' in the Bathtub" in 12-bar form), inspired by the final exam for my Music Theory class that I never completed in 2013 but I got an A in the class anyway simply because I made the professor laugh... better late than never?

It took on new meaning during the 120 days that I recently had to wait in between baths (yes I counted, and yes, I was taking showers but they didn't satisfy the blues)

Thankfully, my only complaint now is that whoever designed the laws of this universe placed a theoretical limit on how many hours one can spend in the bathtub. What a jerk.

Additional credits: I created the bassline by sampling Geezer Butler's isolated track from "Sweet Leaf" by Black Sabbath

8-bit drums and bass from "Asterix" for the NES, composed using white noise and triangle wave kicks by Alberto González

Baritone sax samples from freesound.org

Frank Zappa is *not* in this recording whatsoever

Background:
So I was warned about this music theory professor and then I took his class. It was way better than I was made to expect! 
The first day he called us all "lame fucks" because no one answered when he asked what "diatonic" means.
He said that the 6/9 chord was particularly sexy, and he called his easy homework assignments "quickies".
When he referred to the melodic minor scale as "bipolar", I muttered that it would be more like BPD (Borderline Personality Disorder) because it changes tonality based on the musical context.
I think that last one earned me major brownie points, because he gave me an A in the class even though I didn't even do the final exam which was to write a 12-bar blues for a whole band, entirely by hand on staff paper (not on a computer, and not with the help of an instrument).
I had planned on doing a 1-4-5 turnaround with my infamous tune "Poopin' in the Bathtub", and call it a 12-bar poop, but life got too crazy and I never even started it. I can still hear it in my head though, and the baritone sax really grunts out those tritones with a deep flatulent sonority.  
I might try to make it sometime, because it was cool to take a song that normally just vamps between the root chord and the tritone, and unexpectedly raise it up a 4th and do it again like the familiar blues progression, then take it back down before doing the classic dominant 7th turnaround. I can't think of any song that does anything even close to that. 
Without ever writing a single note, I ran this strange crossover through my head just trying to figure out if it would be possible. I'm pretty sure it is, and I imagine it having a hugely satisfying effect when it unexpectedly manifests itself as the blues. Some time when I can actually sit down and arrange music I'll have to do a little demo, and try to squeeze out a nice well-formed movement that I could always feel longing to emerge from the cesspool of creative discharge

The Bathtub Blues

Meat Boy

An excerpt from the first session where @flpvsk and I sat down with two loop stations.

I had a light overdrive, a delay pedal (that Andrey made!), and an E-Bow on my guitar, 150ml of good Ethiopian coffee and a tab of acid in my bloodstream. The only thing we said before starting was “C#m, sparse”.

I can’t say enough good things about Andrey’s bass playing here — the tone, the restraint and sensitivity, so beautiful 🤩 

C#m Sparse Improv

Sleeping Pill by Clang from the 1992 album Pol Pot Pie
Witten and Produced by Paul Reller

Jimmy Rice-Drums, Corey Holt-keys/vocals, Paul Reller- guitar/Vocals, Andy Irvine Bass

C#m Sparse Improv

jackrusher

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