(((Doris Day Or Die))): Recent Episodes

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patrick neill gundran: sound mind

| | | photo by Malcolm Smith |

Some solo and collaborative shows from the beginning of 2017 through early Spring. At this almost halfway point in the year, just wanted to put these together in one place for myself to reflect on. It's been challenging for me to plan shows far ahead or at all at times due to life circumstances real or perceived. Yet, playing music has kept me grounded and given me points in space and time to focus on. I am very happy with the shows I've organized and the high quality of the performers and performances. I'm especially grateful to be able to collaborate with a variety of some really amazing players consistently. I keep learning new things, developing and my awareness keeps expanding about all aspects of playing and performing. Many times I really have no idea what any of this means, if anything, but, it feels important to keep doing it and let things be and happen, let it transform me and my life.Also, since Fall or so of 2016 busking has also been a casual ongoing thing, one that has provided a lot of great experiences. It was an unexpected synchronistic happening to be featured in a really cool article by The Stranger's Dave Segal. It felt great to have some amazing outside validation as well as learn about some great guitarists via the article to obsess on. I have no idea what the rest of 2017 will be like and constantly remind myself that the future does not exist, that the past is over and to stay as present as I can and take it easy.

&amp;lt;a href="http://uneasychairs.bandcamp.com/album/live-clifford-dunn-uneasy-chairs"&amp;gt;Live: Clifford Dunn &amp;amp;amp; Uneasy Chairs by Clifford Dunn, Uneasy Chairs&amp;lt;/a&amp;gt;

I did a quick run to Portland and back same night to play a set at The Waypost(great cozy joint with very nice staff) with Kole Galbraith this past Monday night. It was a great little trip. We made enough for gas, food and whatnot, which I've been experiencing more and more often and as an experimental or improvised musician always very surprising and very welcome. It helps when there's a great turn out, thanks to The Dead White and Evil Genius, both who put on great sets. I also got to see some old friends and catch up or try to and one friend (thanks Dave!) gave me the awesome lighted object in the photo on this post. Kole and I opened the night up with he on electric bass and me on guitar as per usual. Noisy, aggressive but mixed up with silences, quietness as well. We apparently didn't look up once at the audience. I caught myself thinking, being in my head a little too much. I wish I could've reviewed the recording because that's always the best way to really hear what went down...but I forgot to push "record" I think. I only captured about 2 seconds of audience/room ambience. But, I think it's funny and somehow fitting so I uploaded it for listening and documentation.Plan to play more with Kole in the future, great guy and always interesting jamming with him. Also, my voice was hoarse from chatting all the way down and back to Portland, great conversations. Maybe next time I'll capture our collaborative sound instead of 2 seconds of environmental ambience!<a href="http://uneasychairs.bandcamp.com/album/at-the-waypost">At: The Waypost by Uneasy Chairs, Kole Galbraith</a>

Episode no.8 of the Doris Day Or Die Podcast, an experimental, free improvisation, noise and new music podcast.

Goodbye?

Music and sounds:

All Phenomena Are Dependently Arisen - Uneasy Chairs, Vanessa Skantze, Chad Allen and Justin Smith (Live At Teatro de la Psychomachia)

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I had a great back to back Friday and Saturday night of improvising, listening and experiencing sound. Friday in Olympia at Le Voyeur with #tits, Failings and Remy Gnol, playing to a crowd of two. Saturday in Seattle at Teatro de la Psychomachia with Failings, Remy Gnol, adc~, Justin Smith. In Seattle my set was joined by Butoh artist Vanessa Skantze once again as well as Chad Allen on drums and Justin Smith on electric viola. It was a sustained 38 plus minute epic blast.

I am very fortunate to know many great artists and ones that also regularly agree to play and perform with me or join up for shows. A friend told me recently that he thinks I'm being "blessed" with many offers via music and I think I understand what that means and agree. This year is drawing to a close soon and I've managed to be a part of some truly great shows and happenings.

I continue to try to evaluate what my art and music is but I know it's all just a mystery, like life, and try to tell my monkey-mind to leave it at that.

&lt;a href="http://uneasychairs.bandcamp.com/album/with-vanessa-skantze-chad-allen-and-justin-smith"&gt;With: Vanessa Skantze, Chad Allen and Justin Smith by Uneasy Chairs&lt;/a&gt;

Had a great time at InArtsNw's IN the Noise 2, put together by Tyler Griffith. Tony James introduced my set and loaded up on San Pellingrino I launched into space. I have been thinking about this county, the world and all the fear, anger and my personal sense of helplessness/power and put it all into it. Every show is the last show. I had wanted to sell my tapes and donate the money to causes but I'm a horrible salesman when I'm in performance mode. I just can't bring myself to barely say anything except "thank you" when I'm done playing. My head-doc says I need a closer, a hype-person, a handler and I don't disagree. Live at IN the Noise 2 by Uneasy Chairs

CEOs Incorporated were on the bill and they're now my favorite noise-band-whatever. There's a James Chance/Contortions vibe, but the spasms and energy are completely unique and hysterical to me. I literally can't stop laughing when they are around and/or playing.

An impromptu free improvised session at the night of the night occurred due to Tony James' encouragement, with CEOs Inc, Sky Symbol Rituals (his set was great, gave me panic feels) and Brian Boyle (also great set, lush, beautiful) and David Nielsen. Psychedelic, expansive and cathartic...I needed that. Live at IN the Noise 2 by Uneasy Chairs

Episode no.7 of the Doris Day Or Die Podcast, an experimental, free improvisation, noise and new music podcast.

This episode sees me ramblin' on and on about whatever and ever. Some deep thoughts? Hints of sadness? Almost political stuff? It's all the same. Check it out.

Music and sounds:

"Cloud Colored Christ"- Yogananda
John Cage talks about Glenn Branca for 18 minutes
"Mirrors" - Taku Sugimoto
"From The Plains to Mexico (Live on Night Music)" - The Residents

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I spent a few days in Salem and Portland playing a couple shows and playing live on Mid-Valley Mutations. I had been wanting to visit host Austin Rich and do the show for a long time and was glad to finally be able to come down and do it and booked a couple of other shows to bookend the radio spot, one in Salem at the excellent The Space (all vegan food and bar, so killer good!) and the other at Turn! Turn! Turn! in Portland. I had a great trip, hanging with friends, eating good home-cooked vegan food and catching great music, devilsclub, Remy Gnol, Justin Smith (who sat in with me and killed) and holy crap...Nathan Pepperoni with CEOs Inc. I should've recorded all the great conversations I had over the days and car rides. I know some really intelligent amazing artists. I got some busking in around downtown Salem as well as at Lancaster Mall, which was surreal and hilarious, jamming with CEOs Inc and Nathan Pepperoni and getting gently booted out for it. It's on the "Oregon Trails" album below. Memories. Here's some video recorded by Austin Rich of my set with Justin at The Space and my appearance on Mid-Valley Mutations...enjoy.....Oregon Trails by Uneasy Chairs

Episode no.6 of the Doris Day Or Die Podcast, an experimental, free improvisation, noise and new music podcast.

This episode sees my jibber-jabbin' solo and playing tracks without The Owlman, who's on vacation currently somewhere in Spokane, WA. We hope he's having a good time there.

Music and sounds:

"Maybe It's Just Broken" - Andrew Tomasello
"Live at Gallery 1412" -WRTCH
"June 29th, 2016" - Greg Kelley, Wilson Shook, Andrew Scott Young
"Live at Yerba Buena Center for the Arts" - Paul Rucker
"Unstable Structure" - VAVABOND

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I've been very happy playing at the Capitol Hill light rail station. Here is a collection of some of my performances there, including one of my favorite things ever being a 23 minute improvisation with Adam Levitt who happened by. Busk 1 by Uneasy Chairs

Episode no.5 of the Doris Day Or Die Podcast, an experimental, free improvisation, noise and new music podcast.

This episode sees the return of The Owlman. We talk about this and that as usual between some very tasty selections of sounds. Enjoy.

Music and sounds:

"Nature of Desire" - Justin Smith
"Disco Cloud" - Forrest Friends
"Live excerpt from Festival Le Bruit de la Musique" - John Russell
"PIIGS' Revenge" - Incapacitants
"Near'r" - Blake DeGraw
"Mass Projection" - Masayuki Takayanagi
"Last Pieces" - Morton Feldman
"Live at Josephine (excerpt)" - #tits

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Had a blast playing at The Royal Room. Here's my full set:

Episode no.4 of the Doris Day Or Die Podcast, an experimental, free improvisation, noise and new music podcast.

This episode I go solo without The Owlman. I called in sick, stayed home with a spiritual illness more or less and decided to put this together for myself, for you, for the benefit of all sentient beings, everywhere. Isn't that gracious of me? Wire To The Dead from Barcelona, Sherman from Hong Kong, Hive from Portland, Hans Von Bartles from Santa Rosa, devilsclub from Salem and John Cage from beyond time and space.

"Glass Eye" - Wire To The Dead
"Track One" - Sherman
"III" - Hive
"Take Your Daughter To Work Day" - Hans Von Bartles
"YellowSnowFlake" - devilsclub
John Cage talking.

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Episode no.3 of the Doris Day Or Die Podcast, an experimental, free improvisation, noise and new music podcast, interspersed with random conversations with The Owlman.

Music on no.3 begins with Berlin's Slow Slow Loris, whom I played on the same bill with at the LoFi earlier this year, a really great noisy/atmospheric duo. Sokai Stilhed from Seattle is next with a really glitchy track with mangled-up pop-ish vocals. A recording I made of Pink Void live at Junction in West Seattle for a couple years ago follows. Junction was a monthly noise/experimental night I curated at Twilight Gallery for a spell. For a time I curated a similar monthly program at The Living Ro-Om Culture and PF/UC was a one-off live collaboration between PRISONFOOD and Uneasy Chairs that I had recorded. A beautiful electric guitar studio recording by Iowa's Bob Bucko Jr follows and lastly a track by Seattle's excellent Rainbow Wolves.

"One Candle, Clear Eyes" - Slow Slow Loris
"Dried Air" - Sokai Stilhed
"Live at Junction" - Pink Void
"Live at Occult Sciences no.5" - PF/UC
"Equal But Opposite Suffering" - Bob Bucko Jr.
"Aurora" - Rainbow Wolves

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Episode no.2 of the Doris Day Or Die Podcast, an experimental, free improvisation, noise and new music podcast, this one being a bit more on the noisy side of things.

A live performance by Seattle's no-wave-noise-rockers Clearinghouse recorded (not by me) at The Black Lodge starts the music line up off, then an intense live set by Bacillus live at Pent Up Fest at the Josephine, into a set recorded also at the Josephine of Interracial Sex. Recorded in West Seattle at Junction, an off-the-hook noise set by Japan's Edo Destruction follows, then a live set from FHTAGN and a studio track from Pulling Out The Light.
More conversations with The Owlman as well.

Music:

"Frank O' Hara" - Clearinghouse
"Live at Pent Up Fest" - Bacillus
"Live at Josephine" - Interracial Sex
"Live at Junction 2" - Edo Destruction
"Live at Occult Sciences" - FHTAGN
"Appendix of After Thoughts:" - Pulling Out The Light

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Link to episode no.1

Doris Day Or Die on Facebook.

Episode no.1 of the Doris Day Or Die Podcast, in which I play various experimental, free improvisation, noise and new musics by people I'm acquainted with and/or live recordings I've made. Over time the music content will shift and expand according to my interests. Interspersed with music and sound are casual conversations with my coworker Robert. Topics include but are not limited to: his pet guinea pig Squeaky, various libraries he visits regularly and so much more. Conversations will evolve eventually just as the music will. Music in order of appearance in this episode:1. "Saa Baa" - Li Jianhong2. "Visiting Microphone" - Greg Kelley3. "Live At Teatro de la Psychomachia" - Ryosuke Kiyasu4. "This Is Not What We Want" - Sin:Ned5. "Untitled #1" - Wilson Shook & Uneasy Chairs6. "Song For Esther" - V. ValeSubscribe, rate and review to Doris Day Or Die on iTunes!Listen on FeedburnerDoris Day Or Die on Facebook.

Blake played saxophone and I played electric guitar with no effects, just guitar straight into amp. I used my '77 Les Paul Custom, first time in a long, long time. Felt good. One my favorite sets of ours to date. Satisfying. Full set below...Live at Vermillion by The Colour Out of Space

Thanks to Jason Lazer for the video of the recent set at Teatro de la Psychomachia of Uneasy Chairs with Vanessa Skantze and Adam Levitt. This was definitely one of my favorite sets I've done having wanted to collaborate with Vanessa and Adam for a long time. I especially had wanted to collaborate with a dancer, specifically Butoh and Vanessa is incredible.

I have sat in twice on guitar with FHTAGN this month, first in the basement of Creative Blueprint and second at The Chapel, both working with the same elements. Each performer had audio of animal sounds playing on headphones and accompanied and interpreted with their respective instruments. Towards the end of the recording, at least on my audio, Marvin Gaye's Let's Get It On played which we were to sing along with if we chose to. Both spaces had great acoustics, Creative Blueprint with echoey concrete surfaces with a low ceiling and the beautiful Chapel with wood surfaces, open windows and a giant open space. Any chance I get to play the Chapel I try to jump on, I especially love that space. With the musicians spread apart, each recording captures well the spacial aspect of FHTAGN performances and the ambience of both spaces. "You Guys Like Swarms Of Things, Right?" is from the Creative Blueprint session and "Simultaneous Translation" is from The Chapel session. Both are streaming/downloadable free from FHTAGN's bandcamp.

Simultaneous Translation by FHTAGN You Guys Like Swarms of Things, Right? by FHTAGN

| | | Blake DeGraw, Uneasy Chairs and Ryosuke Kiyasu...photo by Valerie Ann. |

When Ryosuke Kiyasu was in Seattle, he wanted to do a performance in a public space. At first he had wanted to do something solo but then decided a collaborative performance with Seattle improvisers would be fun. Luckily, I know many excellent local improvisers who are always always down to play, time permitting. After trying to figure out a good place to play, Wilson Shook suggested Freeway Park for a great setting with interesting spaces and it turned out to be a perfect spot. I only had to stress on picking up a new snare head for Ryosuke at Guitar Center (he destroyed the new one at the previous night's show), picking him and Kae up from Teatro where they stayed the night, finding them some food as well as parking before getting to the park...all of which I accomplished.Improvisers that came out were myself, Wilson Shook, Blake DeGraw, Chloe Wicks, Garrison Heck, Adam Levitt, Kalan Sherrard, David Tabakian and Vanessa Skantze performed Butoh as well.There was a nice turn out and it was beautiful weather.Kalan set fire to a toy piano after playing it a bit and it served as an unintentional timer for the performance in a way as we basically played until it was reduced to ashes, about 30 minutes. There was no interference with our performance or the burning toy piano surprisingly. The performers moved around frequently in the area we were occupying, creating a nice spatial effect that can be heard on the recording. Apparently, a man came by and "blessed himself" as Wilson described with the burning toy piano flames and smoke, which I sadly missed. This was definitely one of my favorite performances with a group ever. <a href="http://uneasychairs.bandcamp.com/album/at-freeway-park">At Freeway Park by Ryosuke Kiyasu, Various</a>

| | | Kalan, Uneasy Chairs and Garrison with flaming toy piano. |

| | | Vanessa Skantze and Adam Levitt. |

| | | Kalan cleaning up the ashes. |

I had been meaning to collaborate with both Adam Levitt and Vanessa Skantze for quite some time individually but both times I had something set up something occurred to where it didn't happen. When I was setting up the solo snare show in Seattle for Ryosuke Kiyasu, it seemed like the perfect time for this to happen as a trio as a supporting set, Adam on saxophone and electronics and Vanessa as a Butoh performer. I've long wanted to collaborate with a Butoh performer. Hard, aggressive noise seems like a natural parter to it in my mind and our performance was definitely harsh and unrelenting noise. Afterwards, a woman I spoke to likened it to an exorcism, a Satanic sexual ritual and Rosemary's Baby. I'm okay with that. With: Adam Levitt & Vanessa Skantze by Uneasy Chairs, Adam Levitt, Vanessa Skantze

I had mentioned in a previous post how I came to be exposed to Ryosuke Kiyasu's solo drum performances. I still can't quite quite grasp how I went from watching a YouTube video of his performances a few months ago to catching SETE STAR SEPT live, to playing shows with and driving him and Kae up and down I-5, around Portland, Olympia and Seattle. I almost thought it couldn't be possible awhile back, a surreal dream. I do have fellow improviser Kyle Stant to thank for connecting me with Kiyasu and giving me the opportunity to organize the Seattle show and play in the Portland show. But, again, the experience was very magical for me and a reminder as to how things can come to be through belief, imagination and saying "yes", despite whatever is happening in life. I met Kiyasu and Kae at ANTIBORDERFEST 2 in Georgetown and their short and brutal SETE STAR SEPT set was completely ferocious, a word that I seemed to use repeatedly regarding their performances as well as Kiyasu's solo snare drum sets. They are two of the most mellow and sweetest people ever but once it's time to play, fucking hell, it's TOTAL DESTRUCTION. I have seen all of Kiyasu's solo snare sets I think on YouTube and I believe his Portland and Seattle sets were probably the most aggressive I've seen, Seattle's being especially primal and unhinged. Kiyasu likes to play solo out in the streets and I stopped in Olympia briefly en route to Portland so they could sell records and get coffee and Kiyasu performed a short solo set near the Artesian well downtown, which the locals loved. In Portland with members of Fiasco and Smegma and myself and others, we played near Powell's books as well as a small downtown park, where Jerry Soga of Fiasco got screamed at by a local while we played. In Seattle with Kiyasu, I played at Freeway Park with (forgive me if I missed someone) Adam Levitt, Wilson Shook, Blake DeGraw, Chole Wicks, Garrison Heck, Kalan Sherrard, along with Vanessa Skantze performing Butoh as a toy piano set on fire burned to ashes slowly courtesy of Kalan. On the drives it was great to hear stories of Kiyasu's life as a musician and improviser and what's it's like in the Tokyo experimental and improvised music scenes. He's an extremely dedicated artist and spends half his year touring all over the world, playing with and associating with some of the best. When he is not, he's reading books and drinking coffee. At the end of their stay, I dropped off Kiyasu and Kae at SeaTac airport as they headed to Alaska to continue their tour. I was very sad to see them go having spent 4 amazing days sharing their company, experiencing amazing music and having a great adventure. It was great to hear how much they enjoyed the Portland and Seattle shows, the outdoor sets, the other musicians and especially to hear Kae say how these performances were "life changing" for her. They were both very impressed with the quality of improvisers they were exposed to while here in the Pacific Northwest, which meant a lot to me. Special thanks again to Kyle Stant and also to Emma Bourdeau for being great hosts at their home in Portland. Extra super thanks to Vanessa Skantze for graciously hosting the Seattle show at Teatro de la Psychomachia and having Kyle, Kiyasu and Kae as overnight guests. Thanks to Wilson Shook for suggesting Freeway Park in Seattle as an outdoor performance spot, it was perfect. Also thanks to the Seattle show performers Driftwood Orchestra, Kalan Sherrard, Greg Kelley, Wilson Shook, Andrew Scott Young as well as Adam Levitt and Vanessa Skantze for collaborating on our set that night, which was incredible for me. The feedback from the night was overwhelmingly positive regarding the line up and performances. There was lots of video and audio recorded, so more to come.

For Uneasy Chairs, these shows and performances were all-time high points. I got one of the biggest compliments ever fromDoug Theirault in Portland, dryly saying something like, "I haven't heard guitar that good since...well, I don't know when." Fuck yes. I was very happy with my Portland and Seattle shows and the public space collaborations, each being well attended and received, as well as experiences I'll never forget. Seeing Kiyasu and Kae freak out and give me excited support after my sets, unbelievable, surreal. Extreme thanks to both of them.

This year continues to be personally extremely challenging and I've had a hard time imagining continuing to play shows or do anything at times, but playing and experiencing music with really amazing people really is, I don't know...magic, or something...

| | | How did I fit all this in my car?! |

| | | Getting new sticks in Olympia. |

| | | At Artesian Well in Olympia. |

| | | Tour posters by Kyle and Emma |

| | | Kiyasu and Kae with Kyle Stant and Emma Bourdeau in Portland. |

| | | Blake DeGraw, Uneasy Chairs with Kiyasu at Freeway Park..photo by Valerie Ann. |

| | | Kalan Sherrard, Garrison Heck and Uneasy Chairs at Freeway Park...photo by Max Clotfelter. |

| | | Parting gift from Kiyasu. |

| | | Gift from Kiyasu and Kae, Japanese fan. |

This weekend, I recorded a couple of solo tracks with the Micro Granny 2 again. Distorted, droning and mostly done on auto-pilot as in setting a sound and letting it do it's thing, sometimes slipping out of droning and doing strange glitchy sounds and at random. Minimal editing. Sometimes I'm not even in the room when these sounds are being made. Sometimes I'm doing the dishes or having a conversation. Lately, things are very dark and cold, even in the summertime and these recordings remind me of that.

Very few people are bothering to listen to my recordings, I can tell. Yet, I am compelled to continue at times to make them. They reaffirm my existence perhaps or a way for me to say hello to myself. A document that I was here.

The title of these tracks refer to a dream I had of creating a white painting in my dream using different shades of white with some old and some new paints, various qualities. I mentioned it to Naya Olsoon, a person on a Carl Jung related forum I follow and she responded,"that's a good release and an understanding you have the power to free yourself from any set of circumstances no matter how real they seem (or are :)) by taking radical responsibility for how you perceive them (short of extreme violation of course). I thought that was an awesome response and a sign of hope and empowerment, no matter how small in my limited scope of awareness at the moment.

Another quote by Naya that was a follow up that I think is brilliant and beautiful:

"Your sound is your anchor. It will only amplify more as you expand and grow. Pain/dark/silence/intensity, as you well know, as much as Joy/light/sound/relief help you gain your resonance. Keep sounding to keep sane and so you can tune (or not) into others.
I told these things to someone the other day. I think they apply here too --
Think resonance and sound more than words. Both male and female can sound their beautiful voices just for the sake of it, content and consequence less important. Just the fact you're doing it is beautiful however the tone comes out, whether sad or mad or shrill or chill. It's nice there is a sound at all coming from both at the same time. Enjoy them, embrace them, hold them while they speak. They deserve to resonate as do we all.
Your resonance, sound, voice are more important than your words and having the self-love to stay put, rather than hide and flee or shut up, so that it can be heard, and more importantly felt, by anyone nearby when it rings, chimes, reverberates. This is what makes such beautiful harmonies. This is one of the best ways we can love.
I think though we can feel when we're in that pocket and the sound we're making rings true/harmoniously and when it doesn't. When we jump the gun, although it may cause some dissonance (or awkward ;)) for ourself or others, we see/fell the shadow we haven't integrated yet and can pivot back to our inner work to get more feels we've flubbed up, that the overall resonance is more important than vetting each of the words themselves. We can be compassionate with ourselves for trying to sing at all when before we might have screamed so loudly or whispered so softly that no one could even hear (which hurts people way more than the singing out of tune)."

I'm Dreaming Of A White Painting by Uneasy Chairs

August 14th and 15th I have two exciting back to back shows in Portland and Seattle opening for Ryosuke Kiyasu. Ryosuke plays with SETE STAR SEPT, Kiyasu Orchestra as well as Fushitsuha, featuring of course Keiji Haino. These opportunities came to me via my connection to Kyle Stant from Fiasco Free Improvisation down in Portland and our mutual musical interests.

I had been woefully ignorant of Ryosuke's music and performances until a few months ago when I somehow ran across this video:
I was instantly taken by his performance for obvious reasons, drawing a connection to my improvised guitar performances of the last few years. There is also this amazing performance with Li Jianhong from earlier this year, which is a cool connection as I had put out the split lathe cut awhile back too with him:

I wouldn't have thought for a moment that I'd have the opportunity to catch a live performance much less be on the same bill. It's going to be a highlight of a pretty cool year of live performances for Uneasy Chairs. Because of circumstances, I'm not sure of live shows after these for Uneasy Chairs. Who knows, we'll see. Hard to make plans right now. Definitely will be reporting back on these shows and documenting, which include some other very radical performers indeed!

I was interviewed on Mid-Valley Mutations and it's available here. It was a lot of fun, my buddy from devilsclub was there too. I'm a huge fan of radio and Mid-Valley Mutations is a great program, well produced by Austin Rich and experimental music can always have another venue like this. I felt like an Art Bell caller with my technical flubs a bit, but that only makes me more nostalgic for radio. I like looking forward to a specific day and time to listen to something, tuning in etc. But, it's great to have an ability to access an archive and stream at your own leisure in these modern times too...