Light’s Out

As promised, a new irr. album has been posted to the irr. Bandcamp site. All proceeds that I receive from ‘Foraging For Daylight’ will be donated to Black Lives Matter. Today only, Bandcamp is donating its part of the revenue share to the NAACP Legal Defense Fund.

 

The download includes the 40-minute title track, plus an 18-minute bonus piece condensing together some of the more atmospheric elements from the title track.

 

I’m still hoping to get the reissue of ‘Radiant Black Future’ ready in time for the next BC no-fee day on July 3rd. More news as it happens.

 

much love to everyone,

–msw

‘Daylight’ Drops Tomorrow

Hello all:

On June 19th, Bandcamp will be donating all of it’s sales share to the NAACP Legal Defense Fund. To coincide with this, I’ll be releasing a newly-recorded irr. album ‘Foraging For Daylight’ and will donate all of the proceeds to Black Lives Matter. I’ll periodically post the date & amount of the donations on the album page. The listing should be active around 1 or 2 am tonight, and I’ll post a link when it’s up.

best wishes,

–msw

 

A Quick Follow-Up…

After some bizarre technical problems from many different directions, the reissue/reconstruction of ‘Foreign Matter, Nor Frequency Carrier’ is now available here. Another 20-year exile back in the homeland. I ended up staying up all night and straight through the morning trying to sort this out, so now I’ll try to get some sleep at 1:00 in the afternoon…

The May installment of ‘Vesicular Distributor’ is also ready for action! Today is another Bandcamp fee holiday, so please grab one of these if you’re able…

 

Best wishes to you all! Stay safe!

 

zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz

–msw

Foreign & Domestic Matters

Hi all:

It seems frivolous to be announcing this kind of thing in the midst of the terrible issues so many people are facing right now, but I’ll ask you to excuse me for moving forward with the plans I already had in place for the upcoming week. The prosaic struggle to keep up with my bills from one month to the next continues alongside the much larger life-and-death struggles that are taking place in the world. I hope that all of you are keeping safe, doing well & avoiding the brutal actions of the police as best you can.

 

On the first Friday of both June and July, Bandcamp has scheduled more of the full-day events where they pass along to the artist the full revenue share of any downloads that are purchased. To coincide with these, I’ve continued my restoration & release of some of the very early, barely-if-at-all-released irr. albums that have been lingering in my archives for the past 20-odd years. The one prepared for June 5th is ‘Foreign Matter, Nor Frequency Carrier’: the second planned irr. album which was assembled in it’s initial form in 1998, partly revised for a release that never took place in 1999, revised again in the early 00s, and then allowed to slumber undisturbed until four years ago. In 2016 I began a clean-up & re-assembly attempt from the raw sources, but lost momentum halfway through. I’ve finally completed the job. Two bonus tracks have been added: one being a track from the same period that has never been released, and the other being an isolated extract of one of the underlying elements from one of the album tracks.

The original version of ‘Foreign Matter’ was extremely flawed, so I’ve allowed myself a bit more leeway to elaborate on the tracks and fulfill the intent behind them rather than just reconstruct the existing material — but in doing this I’ve restricted myself to using only the sources that were created at the time. I’ve also revised the artwork a little for the same reason. As with the recent ‘Inception’ reissue, some exhaustive liner notes will be included, in addition to the text created for the 1999 version.

Speaking of ‘Inception’, it was released as scheduled on May 7th and can be got here.

The album in preparation for the next Bandcamp fee holiday on Friday July 3rd is ‘Radiant Black Future’. After that, regardless of Bandcamp doing any more of these events, I’m hoping to continue my momentum and get the other two ‘lost’ albums — 2000’s ‘Not Hidden But Concealed’ and 2011’s ‘Vulgar Probabilities’ — restored and released on the same monthly schedule.

The release date of the next two monthly singles will be adjusted to take full advantage of these same no-fee events, so instead of being posted on the last day of the month they will appear on the 5th and then the 3rd of the subsequent month, respectively.

Apologies again to all of you who don’t like the purely digital format! With luck, I’ll find a way to arrange a physical-format version of these before long. It’s working out much better for me to issue material like this first, because it allows me simply to finish the content and put it out immediately without the inevitable problems & long delays that come with any kind of manufacturing, and keeps a bit of money coming in on a more regular schedule. With the audio & graphics already done, arranging for some kind of packaging later on will be a much easier process.

Huge thanks to you all for continuing to give your support during these turbulent times! It means a great deal, and I honestly don’t know how I would manage without your help.

 

all the best

–msw

 

A Quickie

Hi All! More news will follow soon, but I’ve posted a couple items today for Bandcamp’s revenue share moratorium.

 

Firstly, the April installment of ‘Vesicular Distributor’:

Secondly, a pre-order for a digital download of ‘Inception & Silence Undivided‘: my 1998 full-length remake of Nurse With Wound’s ‘Insect & Individual Silenced’, which has been beached on a desert island for 21 years. The full audio will be released before May 7th.

My computer bought the farm last week, so I’m still scrambling to get the replacement one I’m using up to speed. Re-installing everything is a monumental pain the caboose, but at least I’m mostly functional again…

 

–msw

Quarantine Greetings

Hi all:

I very much hope that all of you are doing well and staying safe during this uneasy time! As usual, a string of unforeseen twists & turns has delayed this update, as well as many of the projects I’d planned to have ready when I posted it… then the pandemic hit, and everything was completely turned on its head (I’m sure for everyone reading this as well). There are a few things to mention, however, and more will follow soon.

First, I’d like to thank all of you who have been supporting the irr. Bandcamp releases! This has been especially helpful during these past several weeks, since making trips to the post office is something I’m supposed to (and very keen to) avoid doing right now. The money that comes in from digital downloads is just about the only thing that is keeping me going during this shutdown.

On the topic of downloads: if you aren’t already aware, I’ve started another monthly digital single series this year. Like the 2018 series, every month’s installment includes two new tracks and two new graphics; also carried over from the previous series, there will be a bonus 13th single available for free to anyone who gets the full series of 12. The new twist added to the 2020 series is that each graphic is a panel in a continuous, illustrated narrative that will conclude in #13. When you download the tracks, you’ll also get image files of the story panels with a text caption underneath. New installments are added on the last day of every month, so the first 3 are already available. Here’s a peek at the first panel with text, plus panels 4 & 5 without:

 

As an aside, you still get the bonus #13 when you’ve purchased all 12 of the 2018 singles. If you get the 12 and are due #13, it might be a good idea to send me an email (irrappext@gmail.com) with a reminder to make sure there isn’t a long delay, or that I accidentally overlook it entirely. I’m not keeping as close an eye on the 2018 MDS sales these days and I might not notice that someone has hit the 12 mark (unless they do something eye-catching like getting all 12 at once).

I’ve got several other projects going to keep me busy (and, hopefully, financially stable) during the upcoming month of quarantine, but I’ll post more about that later. A series of self-isolation-derived recordings that I might be calling ‘Postcards From An Involuntary Holiday’ is already underway, making use of whatever sound & visual sources I can derive from my house & it’s immediate, socially-distant vicinity; I hope to have the first of those ready by next weekend. Meanwhile, here’s a couple of ‘Quarantine Sketches’ I’ve been doing to unwind during my virus-induced house arrest:

 


Much love and best wishes to everyone! I certainly hope to find all of you still thriving out there when we reach the other side of this ordeal.

–msw

Disconnected

Hi all:

 

After Monday, my telephone & internet will be disconnected and I’ll be unable to respond to messages or process orders during that time. I’m not sure how long it will take for me to get those services set up again: it could take a while. Also, my physical address will be changing, so the old SE Rosespring address will no longer be valid. My phone number will also probably change after I get a new connection. I’ll post an update whenever it again becomes possible for me to post an update.

 

 

–msw

Original Art For Sale

Hi all:

I’ve added some original art pieces to the shop and have re-configured how that section is set up. There are too many variables in regards to postage, so I’ve removed the ‘add to cart’ buttons since the primitive buttons I have to use on this site don’t allow for any kind of postage selection or calculation. And, obviously, there is only one of each item available, so it seems better to have people contact me first if they are interested in buying a piece: that way I can confirm availability and calculate exact postage based on their location and preferred shipping method. Full details are here. Any questions can be directed towards irrappext@gmail.com.

Some of the new pieces added are:

 

‘Permutable Schema I’ & ‘II’ [charcoal on illustration board]. Both created for the irr + Umpio collaborative CD of the same name. Available separately, or as a set for a discounted amount. Both are double-matted, signed on the matting and backed with acid-free foam board.

 


‘Cephalaphoria’ [charcoal on illustration board]. Will be used for the cover of a forthcoming irr. project. Single matted, signed on the matting and backed with acid-free foam board.

 


SOLD
‘Paramensurate Gallimaufry I’ [coloured pencil on illustration board]. Will be used for the cover of a forthcoming irr. project. Triple matted, signed on the matting and backed with acid-free foam board.

 


‘Downstream Transcription’ [coloured pencil on illustration board]. Will be used for the cover of the forthcoming ‘Stateless Emissaries’ album. Double-matted, signed on the matting and backed with acid-free foam board.

 


‘Night Wearing Feathers’, ‘Intermediaries I’ & ‘Sunshine Bus Rider’ [ink on illustration board]. All created for the irr. + At Jennie Richie ‘Night Wearing Feathers’ collaborative LP. Available separately or as a set for a discounted amount. Single matted, signed on the matting and backed with acid-free foam board.

 


‘Keys To The Cupboard’ [charcoal on illustration board]. One of my all-time favourites amongst the drawings I’ve done, this was created for issue #2 of the ‘Chambre Pâle’ zine, and is a portrait of a sadly departed and much-missed member of the Cooloorta menagerie, the hermaphrodite goat Cupboardie. In this image Cupboardie is depicted out on the Burren, witnessing the annual Burren tadpole explosion in a way that is entirely accurate and true-to-life. Double-matted, signed on the matting and backed with acid-free foam board.

 

Several other pieces are also listed. Photos of the matted versions — as well as sizes, prices, estimated postage costs, etc — can all be found on the ‘Original Art’ page.

This is yet another of my periodic attempts to try to scrape up some funds during a time of scarcity (a situation, unfortunately, that never seems to stay away for long). On this particular occasion, I’m trying to find a way to pack up, sort through and eliminate as many surplus possessions as possible, and move to a new (and much smaller) space while still working, producing material and keeping up with my existing deadlines so that enough income is still rolling in to pay the bills. It’s exhausting and depressing — but it’s also incredible that I’ve been able to keep at it for as long as I have, and for that I have all of you to thank. So, as always: thank you!

 

–msw

 

A few more Orphans hiding in the corners…

Hi all:

While pulling things off the shelves to pack up for my impending move, I discovered that I had all the raw materials to create a few more copies of the ‘4 Orphans’ handmade package. So I have a tiny number of them available for sale again if any of you missed out the first time. These copies are the same version I had for sale at the NWW show in London last year, so without the numbered hand-drawn foam insert or the original sketch in the booklet from the first edition. The last page in the booklet will instead just be signed by me and personalised to the buyer.

 

As before, the copies are $40 each. In the States, postage is either $3 for Media Mail, $5 for First Class or $9 for Priority. Overseas, the postage is $14.50. As always, apologies for the lousy overseas rates! My understanding is that it is soon going to get much worse.

 

I have very limited quantities available, so please email me first at irrappext@gmail.com to confirm availability before you send money.

 

I’m hoping the funds from this will cover the last of the costs for a really spectacular collection I’ve been trying to assemble for the past year… it’s just a hair’s breadth from the finish line now, so I should have more news on that very soon. It will be the last physical release generated here at the Rock Creek Tributary… and then (hopefully) on to new and more productive pastures… or a steady descent into madness…

 

–msw

Flatulence From The Archives Of Oblivion

Hello All:

I’ve once again found myself needing to stir up a little bit of incoming fiscal flow, so I’ve selected four never-before-released recordings from the irr. live archives, given them a thorough, deep-down-to-the-molecules sprucification and posted them to Bandcamp for the vexation & delight of the befluxified world.

Each of these four shows represents a unique moment in my very scattered history of public performance, and I think I’ve managed to make them all worthwhile & listenable despite the technical problems that seem to be an inevitable part of irr. live performances & any attempts to record them. To this end, I’ve scoured through all of the available rehearsal recordings and used these to help ‘patch up’ the few areas that couldn’t be repaired by other means.  For each of the four shows, I’ve also included rehearsal selections that sounded particularly good to me and captured a (sometimes entirely) distinct version of a performance. Given the loose parameters and improvised nature of much of the material, each attempt tends to give significantly different results; and since I rarely do live shows, most of these variations only take place during rehearsal.

The first selection (PP#21) is the recent(-ish) Imbolc Sleep Concert performance from February 2019 at Azøth in Portland. The event was organised by Soriah’s Enrique Ugalde, and featured continuous evening-to-morning somnifacient exudation by the likes of myself, the aforementioned Soriah, Esperik Glare, Solace, Xambuca (in pre-recorded form) and many others. This was the first live show I’d done since 2012 and also the first since my embolism at the end of 2017, so it was good to have the opportunity to get out in the world and poke bat’s teeth into the bouncy castle of light entertainment once again. As prescribed by the context, it’s the most deliberately minimal and atmospheric set I’ve done to date. What didn’t change at all were the multiple technical snafus, which required a lot of spontaneous re-figuring as I went along. The full recording of my final rehearsal on the afternoon before the show has also been included since the end result turned out to be so different.

The source photos used for the graphics were extracted from a video made by Shelby Kray, who operates as BlueHeronVideo and recorded a large portion of each of the performer’s sets throughout the entire sleep concert. Her video of the last 30 minutes of the irr. set can be found on YouTube here — but I am compelled to mention that the audio is (understandably) very poor: it was just captured from her camera’s microphone, and, since she was standing right up against the stage and not in front of the PA, only a murky, inconsistent blur of what was happening can be heard. Even more embarrassing for me, certain things that are only supposed to be heard after being put through effects (like the haphazard recorder tootling) are clearly audible to the camera. So maybe watch the video with the sound muted and the play the proper audio recording in a different browser window.

The second posting (PP#19) is the only irr. performance to date to take place outside of North America. The show became possible when Nurse With Wound signed on to perform at Leipzig’s Wave-Gotik-Treffen festival in 2010: it’s always been unlikely that any organisers interested in staging a European irr. show would be able to cover my travel expenses, and I can hardly afford to do it myself, so this was a rare occasion where I could get around both of those impediments. Potter, Liles and I each took advantage of the opportunity to arrange solo sets for ourselves at this festival. Listening back to the recording now, I think my set actually turned out pretty good — but at the time I thought it was a complete shambles. A decent albeit cacophonic rendering of Nurse With Wound & Diana Rogerson’s ‘Wisecrack‘ (or ‘Reach For Your Gun’ for the Chrystal Belle Scrodd version) is in there, as is the nearest-to-fully-realised live version of my chart-breaking disco anthem ‘Caniad At Yr Annisgwyl Sbasm’. Fortunately, there were a few very supportive & enthusiastic people in the crowd, but I think overall it was not something that Goth festival-goers wanted to endure. One cheerful person in a sparkly, red-sequined top hat came up later in the day to tell me how much he enjoyed it, and that bolstered my spirits quite a bit. The acerbic response of a different audience member (wearing pseudo-military fatigues, of course) was more typical: “So you vere der von vith the funny puppets, ja?” The real heroes of this show were Nadja Belabidi and Eric Van Wonterghem, who gave Steve & I a comfortable place to stay during the festival, allowed me to take over Eric’s studio space to rehearse a few more times, and were helpful, lovely & supportive throughout.

Some video snippets of this performance are still lingering on YouTube here and here (and is the source from which I extracted most of the photo images). As always with these live clips, the sound is absolutely dreadful and you can hear too much of the incidental noises I’m making on stage, but it’s nice that someone captured some of it. Probably.

The third show (PP#13) is a peculiar one… it took place in 2007 at the storied Starry Plough pub in Berkeley, and was the last time I had three people in the line-up (and was one show away from the last time I had any other people involved). The Scharpen Brothers and usually Richard Faulhaber had been very helpful live co-horts for the first 8 shows between 2003-2005, but scheduling conflicts and other difficulties impelled some changes in 2006, and for three shows during 2006-2007 the cast was Richard and myself with rustmonger & Helen Scarsdale Agency honcho Jim Haynes (although Greg Scharpen did make a very useful contribution to one of those shows). I can’t remember exactly how this one was set up, but I have a suspicion that either Greg or the endlessly-helpful Jim Kaiser (RIP) was behind it. Larval versions of what would become ‘Annisgwyl Sbasm’ and elements of various other live tracks were debuted with this line-up (something I had entirely forgotten), and the whole thing is capped off with a severely brain-damaged, funk-stained version of The Resident’s pop classic ‘Smelly Tongues’.

This performance definitely was a shambles, but, again, hearing it 12 years later I find a lot to like in the recording. A big part of it is Richard’s always-inspired contribution: his William Burroughs routines (he also did the Burroughs take on the ‘Freaks’ intro for PP#5) and his modified Scottish Toasts never failed to get a laugh (particularly from me), while his mastery of extracting unusual sounds out of prosaic electronic devices — his inventive approach to pretty much anything, really — was a great boon that for many years elevated my clumsy & absurd method of doing live performance. (Richard was also the MC (and a performer) for the NWW shows in San Francisco, for those of you who attended those.) I’ve included an entire set’s worth of extracts from the rehearsals for this show that Richard & I did together at his house mainly because they demonstrate how spontaneous & adaptable Richard’s input could be.

I’ve just noticed that my show numbering had a flaw in it… I initially posted this as #14, but it’s actually #13. I’ve fixed it now, but apologies to those four people who already downloaded the misnumbered version (that means you, Mr. Rash). If any of you four want a free re-download with the right number attached, get in touch.

The final recording added (PP#11) is from the second irr. performance at the Temescal Art Center in Oakland — the first Temescal show also being the very first irr. live performance anywhere back in 2003. This one took place in 2007 as part of a record-release event organised by Greg Scharpen for his debut offering as Thomas Carnacki. Being that Greg and John Scharpen both had their own sets on the evening, this was my initial attempt at doing an irr. show entirely by myself. The execution was rather ungainly (especially being crouched down on the floor as I was), but some useful germ ideas were developed, and a few things were attempted that are entirely unique to this show. This is also the only live use of my 8-string bass guitar, with the exception of a peculiar Nurse With Wound performance (another record-release event) that took place a week later at Ameoba Records in Los Angeles.

 


 

One thing I keep forgetting to mention here: I’ve been doing a monthly radio art series on Mixcloud called ‘Stactirrm Radioo’ with my friend William Davison. A new episode is being posted every month during 2019, so we’re already more than halfway through the series. William started his own series called ‘Stactorm Radioo‘ in 2017, which was an half-hour’s worth of one-minute audio excerpts from the extensive & legendary William Davison archives. In late 2018 he asked me to collaborate with him on the project, so the half-hour now alternates between one-minute excerpts from the extensive & legendary William Davison archives and one-minute excerpts from the sordid & uncouth but still pretty darn extensive M S Waldron archives. As basic math will demonstrate, that means 19 excerpts from each of us every month. The results have been quite nice; but still, somehow, the errant ways of humanity continue unchanged despite our best efforts being made in one-minute increments.

Suss out the radioo goodness here: January February March April May June July

 

Best wishes to you all,

–msw