Nerves, Las Vegas

by ///supersun///

/
1.
07:08
2.
04:23
3.
09:26
4.
07:25
5.
08:44
6.
08:13
7.
08:32
8.
07:24

about

Put but money in thy pocket
And by singlelight cherry
Take the great smoke
In stained halls and carpet
Enter moonmissing night
Where we’ve taken hero-tracing stars,
Placed them on hot ground;
Go no futher down the road of hatred

Of the 11,226 days I’ve been alive, I have spent four (or five, I can’t remember) of these in Las Vegas. My formation of the city in both literal and creative terms has been guided by the experience and works of others, specifically John D’Agata’s work that features Las Vegas, as well as the Cocteau Twins’ Heaven or Las Vegas. I had imagined an imaginary landscape, one which was neither shattered nor illuminated by actually physically being there. Being in older Vegas buildings didn’t help: the Flamingo, the Stratosphere, all gave me exactly the experience I had imagined, yet still managed to override my sensory functions into a firm and even oscillation of wonder and exhaustion.

Here in form and content is my Las Vegas experience.

I also wanted to find sympathy for something I knew that I would never be able to fully embrace. Call it ironic sympathy or ironic understanding. That is if you adhere to the Reality Bites/Alanis Morisette definitions of “irony.” The “opposite of what is expected” type feeling, but mix that in with a warm sense of wonder that gets tiring very quick, until you’ve been rejuvenated by the all-encompassing lights after exiting one labyrinth of a casino, only to find yourself headed towards another. In Vegas there is no point-A to point-B.

This album is a multi-process procedure which started with the making of a single song, taking what I considered the four key “elements,” or parts from that song, dumping those four parts to their own separate tracks onto a Tascam 4 track with an uneven running play head, worn pinch roller, and less-than-predictable general functionality. Those results were run through a series of guitar pedals and compositional ideas that changed from take to take.

The original Greek lyre had only four strings. It was used in the telling of both the Iliad and the Odyssey. Keeping audiences captive with only four strings must have been a herculean (excuse the pun) task.

The first song is the closest copy to the original; that is it is the closest I was able to replicate the original track (not present on the album). The last song is the exact came but running in the opposite direction. Everything in between is some form permutation of the four main elements.

A cassette release will soon follow. Packaging will feature pictures. Pictures are great.

credits

released February 16, 2016

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///supersun/// Portland, Oregon

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