The music act I started, “mystified”, was a main preoccupation during my years of isolated suffering. The project was both a huge time suction, and perhaps, a saving grace. It gave me something to think about. I helped me to set and maintain goals. And even though I never was signed to Geffen or appeared on America’s Top 40, I did pretty well.
The netlabel scene was where mystified really got a response. Thanks to the mentorship of people like Christopher McDill (Webbed Hand Records), and others like him, the audio that I posted for free, usually to archive.org, began accumulating thousands upon thousands of listens and downloads.
To me, this was very exciting.
Reality, some would say, is often poetic. One of my biggest releases, “South City Spring” (2006 Treetrunk Records), was created using phonography. I recorded sounds in my shabby, low rent apartment, and used the sounds to create songs. These gritty sonic collages appealed to the masses.
Sometimes mystified sounded glib, smooth or abstract. But when my project was the most honest sound-wise and thematically, it did its best.
Listening to releases such as “South City Spring” and “Nocturne” (2006 Treetrunk Records) remind me of the ‘oughts– that ten-year period of living alone and working night and day to record and compose my own “schizophrenic sound”– the drip of a faucet, clink of metal from a pot or pan, the creak of a wooden floor, the slamming of a door.