On Leaving: NYC to STL

About a month ago, I made the decision to relocate to St. Louis.  People keep asking me what brought about the decision to move, so I thought I’d tell the story here. This way, I can preemptively answer more people.

When I started thinking seriously about leaving NYC a few months ago, it was a sad idea. I have long been in love with New York City—with its energy, diversity, and endless opportunity. Every time I return from an out-of-town trip, there’s a point on the BQE where I look out the cab window (I always treat myself to a cab home from the airport) and see the Manhattan skyline. Every time, I think to myself, “Holy crap, I live in New York City!” Every time, except the last time.

When I came back from the Close/Far tour at the end of October, I expected to be excited to get back to the city. All along the way on our travels, I had found myself wondering what it would be like to live in the cities we visited. Chicago, St. Louis, Tulsa, Shreveport. I felt a little twinge of wanderlust, but I was in a committed, passionate relationship with NYC, and it didn’t occur to me that I might really stray. On my return, though, I felt strangely disoriented, as if I didn’t belong there anymore.  When I saw the skyline from the backseat of the cab on the BQE, I tried to drum up my usual excitement, but I didn’t feel anything.

I got lost on my way home from the airport.

About a month later, on the first weekend of December, I woke up one morning wondering what it would take for me to move somewhere else. Would I need to rent a UHaul? Could I ship my belongings? How would it work? And I realized, as I started researching methods for moving, that I had already made up my mind without consciously thinking about it.

After it was established that I was, indeed, going to blow that Popsicle stand, the next step was deciding where to go. St. Louis was an obvious choice. I have family in Missouri and Illinois, and St. Louis is positioned conveniently between those locations. It’s also much closer to my musical collaborators, and will (hopefully) make some things, like playing shows and recording, much more possible. I have several good friends in St. Louis, and I even had a place where I knew I could stay for the first few months. I’d spent enough time in the city to know that it was a legitimate large city with lots of good stuff going on in the art and music scenes, but it was still unfamiliar enough to make the prospect of exploring exciting for me.

But really, underneath all of the pragmatic and emotional threads that went into the decision, the question was this: “I’ve spent nearly seven years in New York, and it’s been great, but what do I want to do with the next seven years of my life?”

I started daydreaming about buying a house someday and getting a dog (in my dreams he’s a French bulldog puppy named Wilbur), and having space for music gear and, hey, let’s get crazy, having a DISHWASHER in my imaginary kitchen, and basically having the stability and trappings of a more grownup kind of life. Those dreams could never become a reality for me if I stayed in New York.

This is what Wilbur will look like, courtesy of frenchbulldog.org

So I called my family and talked to my roommates, notified some friends and posted something on Facebook. I spent the next few weeks selling and giving away most of my possessions, then I packed and shipped the rest then got on a plane.

After my holiday travels I landed in St. Louis, and now I am starting a new life in this new year, and despite all of the unknowns (where will I work? How will I meet people? How do I get around town?) I feel more centered and confident than I have in a long time. I’m already the Foursquare mayor of my neighborhood library, and later this month I’m going to spend my birthday with my family for the first time since 2003. Oh, and it turns out that I still know how to parallel park.

In short, I moved for adventure, stability, family, art, and a better quality of life. I’ll always love New York…and I look forward to being a visitor there soon.

THOSE: The Quarry House EP

We finished assembling the packaging for THOSE in St. Louis on October 8, the day we began the tour. On the same day, with very minimal fanfare, I released the digital version on Bandcamp as well.

I just realized that I never blogged about the release. Things were slightly hectic back then (a few weeks ago). Today, I’m not sure what to say…I’m so proud of these songs, and happy to finally be able to share them with you. You can, of course, stream the songs for free. Listen on a good pair of speakers or in your best headphones, and tell me what you think.

More to come.

Decompression

Decompressing at my parents’ house in Missouri after a week on the road, playing the rock ‘n’ roll.

I’ll write more soon about the tour and what I learned from it, after I have had a bit of time to organize my thoughts. For now, some fragments:

  • We named the van “Blueberry” (pictured above, in Paris, TX)
  • I wanted to settle down and live in almost every city we played, but Tulsa most of all
  • So many people hugged me after the show in Tulsa
  • I have a spreadsheet listing everyone who helped us plan this tour, and I plan to thank all of you—loudly, publicly, and often
  • Achievement unlocked: The “You’re Not in Kansas Anymore” badge on Foursquare, which I can’t imaging having the opportunity to get otherwise.
  • I had forgotten how much I love playing music for audiences…there’s nothing better than sharing the music with people

 

Video: Tour and EP Preview

Busy busy in Chicago, rehearsing and promoting the Close/Far Family Tour. Here’s a preview of what we’ll be bringing on the road.

Quarry House: Ivy Choir

Another track from the upcoming Quarry House EP.

Tour Announcement

It’s official—I’m hitting the road this fall with my band, Quarry House, and some other members of our collective/label. Here are the details:

The Close/Far Family is an artist collective and record label initially based in Springfield, MO. Since its inception in 2000, the bands, musicians, engineers, and sound artists have moved across the country to Chicago, Brooklyn, and St. Louis. Despite these geographic distances, the label and its constituents still actively collaborate in music production, commercial recording, and playing live.

This October, Close/Far is planning a midwest tour, in which groups from the collective will perform a single morphing set of music / sound art. The various groups will intertwine, shape-shift, and transition between each other. Material will range from composition to semi-improvisation to completely spontaneous. Our goal is to expose the process and lineage behind the forming of these groups, sub-groups, and solo acts. It will be a showcase of the artists’ sensibilities and vocabularies through the display of individual adaptations as groups are formed, juxtaposed, and re-contextualized.

Groups and artists will include:

  • AWN: Electroacoustic improv trio (Springfield, MO / St.Louis, MO / Chicago, IL )
  • QUARRY HOUSE: Haunting avant-pop (Springfield, MO / Brooklyn, NY / Chicago, IL)
  • COPPICE: Bellows and electronics duo (Chicago, IL)
  • N.N.N. COOK: Overtone wave drones laced with acoustic embellishments and tapes (St. Louis, MO)
  • With possible appearances of THE CURRENT GROUP: An intermittently occurring ensemble formed when any number of players spontaneously joins another pre-existing group or solo performer in improvisation (Springfield, MO / St.Louis, MO / Chicago, IL / Brooklyn, NY).

 The tour will begin on October 8th, 2011, in St. Louis. Free downloads and more information can be found at www.close-far.com.

Quarry House: A Formidable Fire

The collaboration I have been calling “Listing” has a new name: Quarry House.

We’re planning to release an EP this fall, with a Midwestern tour to follow. Here’s a sneak peek of one of the songs:

How To Turn a Bad Idea into a Good Idea

I like to think that bad ideas are my special area of expertise, and what I’ve learned is that a bad idea is just a good idea just isn’t done cooking.

As a songwriter, some of the dumbest ideas I’ve ever had have evolved into some of the best songs. Conversely, some of the most complex, elegant, nuanced ideas that I’ve had—which by rights should have propelled me to Leonard Cohen-like heights of lyrical brilliance—eventually felt flat and cold. I suspect that this happens because when I have a good idea, I kind of fall in love with it. I want to hold it and kiss it and marry it, and I never want it to change.

“Stay sweet, don’t change!” is a totally natural response to the ideas that show up all perfect and polished, like the prettiest girl in the high school yearbook. But ideas are alive, and eventually, they graduate and go out into the world. Sometimes, those ideas that seemed like losers in their adolescence grow up and start winning like crazy.

When I was in high school, and my brother Joseph and I started our first band together, we had no idea how to write a good song. I still have some of the first sets of lyrics I wrote, and while I try to be as kind to my sixteen-year-old self as I would be to any other young songwriter, it’s hard to look back on those verses without feeling contempt.

While I wouldn’t hold up many of those songs as examples of bad ideas that evolved into good ideas, in retrospect I think that the good ideas that came out of those early years of music-making had more to do with process than with the songs themselves. We weren’t writing brilliant music and changing the world, but we were teaching ourselves to collaborate, to improvise, to adapt, and to dare to ask other people to listen to our work.

If I had only made one thing that I could be proud of in all my life, that would be enough—but the truth is, I’m proud of all of my work, even the embarrassingly bad ideas. Especially the bad ideas.

Ten ways to nurture a lame idea and help it walk, fly, sing, and burn:

  1. Change the context – If you’re making a product, imagine how someone who is the opposite of your target market might use or understand it. In a story, change the setting or point of view. When a song isn’t working, I like to change all of the pronouns.
  2. Add something – Expand. Write between the lines. Add a bridge, add and instrument, add a voice.
  3. Subtract something – Take away one thing. Take away everything but one thing.
  4. Change the tempo – Change the pace at which you work, or the rhythm of the thing itself.
  5. Kick it out of the nest – Let your bad idea out into the world and see what the world thinks of it. Your inner critic is a great big jerk, ya know.
  6. Let it incubate – Forget about it for a while. Hours, weeks, months. Years, even. Just don’t throw it away.
  7. Shuffle – Cut it up and rearrange.
  8. Impose unnecessary constraints – When I’m blocked, I like to give myself silly rules; for example, I once decided that I had to use the first six numbers of the Fibonacci sequence in a song. I’m not sure whether anyone has ever noticed, although people do seem to like the song.
  9. Mash it up – Combine two bad ideas to make a Mega Bad Idea. Paradoxically, the more ostentatiously terrible something is, the more awesome it becomes.
  10. Steal – Take someone else’s good idea. Apply it to what you’re doing. Do it better.

(Credit is due to the Oblique Strategies, by Brian Eno and Peter Schmidt, for inspiring this post—and the last 15 years of ill-advised songwriting.)

How To Have a Good Idea

I’ve heard it said, both often and loudly, that the execution of an idea is more important than the idea itself. It’s hard to argue with that; after all, the blueprint of a house is important, but if the construction is inadequate, the house is worthless, and no one can live in a blueprint.

All creative work begins with an idea. A song title, a form, an invention: the spark doesn’t have to be unique, but an improvement on an existing idea is still an idea.

Inspiration is not a myth. I’ve had songs pop into my head fully formed, and I’ve had days when the right words came easily, but those times are the exception, not the rule. The only way to consistently generate good ideas is to constantly have new ideas.

I’ve been feeling kind of stuck lately in my creative work, and I think that it’s largely because I had a few of those inspired moments a while back, and I fell into the trap of thinking that the ideas would come when I had time to execute them. Rationally, I know that isn’t how it works, but wishful thinking is a bitch. To get unstuck, I’m going to start coming up with ten new ideas every day. The ideas don’t have to be practical, and I’m not obligated to try to follow through on any of them. They can be stupid. They can suck. But they’ll be there to prompt me and inspire me when I start new projects or make new plans.

To get started, here are ten ideas of things to have ideas about:

  1. Ideas for song titles
  2. Things I want to do for fun this summer
  3. First lines for stories
  4. Places I’ve been that I’ve never written about
  5. Motivation hacks
  6. Things I’d like to learn
  7. Ways to make going to the gym more fun
  8. Foods I haven’t tried, and want to try
  9. Alternate salutations for emails and letters (I’m tired of signing off with “Best”)
  10. Good ideas that could be combined with other good ideas—in surprising ways.