The album reissue series I recently unveiled on Spotify, iTunes,etc (IT'S ALL HAPPENING ON SPOTIFY) covers my first 15 years writing & recording music. That's a lot of ground to cover, so if you're curious but don't know where to begin, here are a few key tracks & explanations of how they came together.
  1. The isolated instrumental tracks from Last Valentines
    This is my favorite track from the out of print album Alleys, and on the new compilation Behind The Curtain (which collects previously unreleased Alleys-era material), you can hear each part of that song's arrangement isolated. My suggestion is to start with the full instrumental version (linked above) and then go from there to pick out the various sounds you just heard via the isolated tracks. The reversed background vocals are especially creepy...
  2. Static
    There are some people I know for whom this 2014 single is the only worthwhile shit I ever did, and I'm ok with that.
  3. Static
    This 2008 single was really just a demo made for fun right around the time of the AutoTune peak (T-Pain, Lil Wayne's Carter 3, Kanye's 808s And Heartbreak). But, as is usually the case with things done purely for the fun of it, it became way more popular in my music circle than most of my "serious recordings." After just a few weeks on Spotify, it's already got the most plays out of all my reissued stuff.
  4. Static
    When my co-producers & I were assembling bonus material for these album reissues, this was the best example we could find of just how an arrangement idea gets brought to life in the studio. In this early demo for the structure of I'd Die, you can hear me beat boxing a bunch of percussion parts, then adding live "instrumentation" via my roommate's stove pot & coffee grinder. The latter utensil actually made it onto the album version, which you can hear as an instrumental version after the demo.
  5. The original demo for I Can't Hate You, Brother
    Much like the last entry, here's a good example of how a song idea first arrives and then where it ends up in the studio. This demo is especially naked and raw - it's mostly just the chords, a chorus, and a melody for a French horn part, which was the first idea that showed up in my head for this particular song. You can also hear me spitballing lots of arrangement ideas that we didn't end up using, as you can hear in the instrumental album version that plays right after the demo.
  6. Static
    A special song to me because it's the only time my dad ever appeared on one of my recordings - he does the whistle solo after the third verse. Also an example of a song where I'm writing from a perspective that isn't at all my own, which is something I find really difficult to do. But there are lines in this - like "I fought for freedom in the war in Iraq," which I didn't do and would never say - where I was trying to get into the head of a demographic in this country that I don't understand.
  7. Static
    The first time my mom and I ever sang together on a recording, and a song that remains very, very dear to me. Most of the family, friends, and music colleagues who have been around for my whole journey so far tend to agree that this is one of the best things - if not the best - I've written so far in my life.
  8. Static
    Just an ominous, Community-referencing instrumental track from my mostly-electronic album Back To The Fuchsia. I like to think a track like this could easily serve as a piece of score from any of the unsettling stories we watched unfold this year - Stranger Things, Westworld, Nocturnal Animals, the 2016 Presidential Election, The List App, etc...
  9. Static
    Androgynous, unabashed Prince homage that I never quite finished... ☔️☔️
  10. Static
    A very different side of me from my past - this is one of my earliest recordings, back when I was being produced by one of my mentors, Robert Scott Richardson. It's kind of cheesy, it's got a spoken interlude inspired by the one in You Don't Know My Name by Alicia Keys, and it features session legends Bernard "Pretty" Purdie on drums and Wilbur Bascomb, Jr. on bass. It's the sound of me just beginning...
  11. Static
    On the surface, this is just a little throwaway demo that never went anywhere. But when I listened back to the lyrics last year, I realized this song was a kind of mission statement for everything I had done up to that point. So many of us have gotten through challenging times via the saying "fake it 'til you make it." In the past, I often took that philosophy as far as it could go, "pretending" my way through this whole initial chapter of a music career that these reissues summarize...
  12. Static
    I'm including this album at the end because I really consider everything up to Coyote Hours to be one long, complete chapter of life & music. This album is the summary of all the things I learned & experienced over my first 15 years as an adult making music, & it's the best work I've had to offer so far. I already feel what I'm cooking up next will honor & move beyond this in a fitting way, but the future's in the future. For now, here's what I'd pick if you could only hear one thing I've made.