The Humorless Productions restorations of a few tracks from Metallica's …And Justice for All

(edit March 2015)

With the recent headlines concerning Metallica's 1988 masterpiece …And Justice for All and the assertion by mix engineer Steve Thompson that it was Lars who ordered him to 'bring down the bass so you can barely hear it in the mix', I thought it a good opportunity to share with you these reconstructions I did of a few tracks from that album.

I could have sworn that I posted these tracks to my blog when I did the reconstructions two years ago, but apparently I was mistaken about that. Better late than never I guess.

TL:DR version- some video game has Jason's parts isolated for five Justice songs: the title track, Blackened, The Shortest Straw, One, and Dyer's Eve. I re-inserted the bass tracks into those songs and mixed/mastered it properly. Other people had attempted to do the same thing, but invariably went totally overboard with the bass parts, pushing them way too loud in the mix. My mixes sound exactly how the album should have sounded, before Lars' interference.

Two of the five songs were rejected by Soundcloud immediately over copyright concerns, but for some reason three of them didn't trigger any flags, so those three are below.

Full technical details and exhaustive wordage follows the tracks.
 

(original text from Spring 2013)

Proper progressive thrash, mixed properly. I'll tell you the story-

As we all know, …And Justice for All has no bass guitar in the mix. There's no disputing it. Of course, rumors have swirled over the years as to why this is, the most prominent theory having something to do with the rift between Jason and the rest of the band at the time when they were recording the album, and that the other guys in the band dropped Jason's part out of the mix and as big FU to him.

Now, I don't know any better or worse than anybody else, but I don't buy this at all. I think it was a purely technical decision.

The problem originates in the kick drum, which in the album version, sits way down at 60 to 100 hertz. I don't know if that's intentional, but every music producer, every mixing engineer and every mastering and remastering engineer should know that that's gonna spell trouble, because that's the range normally reserved for bass. You can sometimes get away with it in electronic music, but for rock music, the kick drum should be centered a little higher, say at 150 hz, which will give the bass guitar a little bit more breathing room down at the bottom end.

I think what happened, was that when they mixed the album, the drum faders go up first (as is standard procedure for just about any audio engineer on the planet), and everything else fills in their own spot in the mix. When it was time for Jason's faders to go up, all that low end accumulated right at 60-80 Hz, and no doubt it sounded like crap. The only way around it was to drop one of the faders, and we all know who hit the chopping block.

The thing is, there's not only one way around it. Because it's really the simplest of procedures to throw an eq on the kick drum and drop the 60-80 Hz and (if needed) boost the upper low end which gives plenty of room for the bass to live beneath it. Why they didn't just do this I have no idea. The fact that they didn't sorta gives credence to the whole 'FU Jason' theory. But at the same time, bands know that their names will forever be stamped on their releases, and because of that, won't want to release anything with such monumental imperfections. But perhaps I'm being naive.

But whatever the reason(s), I've made an attempt to fix it. I started with Shortest Straw. And it's funny, because I started working on it on a whim by applying my own synth bass part, which sounds like a weird idea, but actually it sounded pretty damn good. But then (for one reason or another, I really don't remember) I came across a YouTube of Jason's isolated bass part for the song, as uploaded by user metfan4l here. I thought 'how does this person have access to this?' In doing some research I discovered that some songs from the Justice album were included in some music video game where the individual parts could be isolated and exported, is this correct? Well, I'm not a gamer at all, so this was news to me. I don't know if that's where these bass parts originated, but it's what I ended up using. We all know that YouTube's sound quality ranges from questionable (even on the high definition uploads) to utter garbage (on just about everything else), but this sounded good enough that, with a little processing, it would sound good enough for my purposes.

So here it is, the fully restored remix/remaster with Jason's bass part slotted back in place. The result? Instant awesome! Seriously, once you get accustomed to these versions, you'll never go back to the originals ever again. Coincidentally, the album came out 25 years ago, so I guess you could call this my attempt to commemorate the original's 25th anniversary, and hopefully to improve upon it.

And now I'm thinking, how have I not run across other people's attempt to restore these songs? Quite frankly, I've not really been interested in Metallica since this album came out 25 years ago, so it's not like I'm just gonna hear any remixes unless I go looking for them. But when searched around the internet, I only found a couple, and it seems like those who attempted to do it got all hyped up on finally hearing Jason's part and got all carried away and ended up totally overloading the mix with low end. Am I the first one to make an actual proper mix of these songs? The mix that should have ended up on the album itself? How is it possible that the internet isn't flooded with And Justice for All remixes? I dunno, but I couldn't find any.

Couple notes-

1. The way I did it is I had the cd mix on one stereo track and Jason's part on another. When mixing, I was really tempted to try and warm up the cd mix even a little bit, to try and move away from its very clinical, sterile sound. I tried a couple things, but nothing worked to my satisfaction, so in the end I left the cd mix untouched, outside of dropping some of the low end to make room for Jason's bass as I described above.

2. I'm well aware of all the 'loudness wars' controversy that exploded all over the internet surrounding Metallica's later releases. Even though this version that I've uploaded looks totally brick walled, it's just Soundcloud's visual representation that makes it look like this. Everything I've ever put on Soundcloud ends up looking a lot more blocky than it actually is, and this one is no different. For the band part of my mix, I used an aiff that I pulled straight off my original release cd. I did all he arranging/mixing in Presonus Studio One 2, and the final master in Soundtrack Pro, all on a MacBook Pro.

Comments, critiques, suggestions? Throw 'em at me.

(audio) Author & Punisher live in LA, 25 Aug 2013

Author & Punisher live in Los Angeles, 25 August 2013 by Humorless Productions on Mixcloud

silly little thing I cooked up

Upon hearing it, a friend of mine said, 'This is the stuff of nightmares.' Best compliment ever.

I wish the church organ at the end could have been louder, but it was crowding the mix too much.

Don't think it's gonna be a keeper. But I do really like some of the synth sounds, so I'll probably use those for something else someday.

Is Instagram as lame as it seems?

So I started an Instagram. Dunno what I'm gonna do with it. Started it just to figure out how it works, what the hype is, if it has any advantages or usefulness…

And after being on it for one day, I'm finding so many shortcomings that I wonder if I'll even bother posting more than the one test foto that's already there.

1. I find it laughable and embarrassing that Instagram doesn't support 16:9 widescreen fotos. What do they gain by forcing everything into square images? Every foto and video that I take is in big ol' widescreen (or bigger = panorama). It seems that the primary recommendation as a work-around is to use a free app called Squareready, where you can make sure your fotos aren't cropped and post them to Instagram in their original widescreen (or any other) aspect ratio. That's what I did, and it worked fine.

Also, is there a way to view pictures posted to Instagram in their original dimensions? I have just a regular 15" laptop, but if I click on a foto which is originally 4000x2248 (as pretty much all my fotos are, unless it's a frame grab from one of my videos, in which case it's still 1920x1080), I expect it to fill pretty much my entire screen. Can't seem to find a way to do that, which is a significant mark against it. If nothing else, is there a way to download fotos in their original size (as you can in FB)?

2. Why do they make it such a pain in the ass to post fotos taken by some camera other than my phone? Why can't I upload fotos directly from my computer? I have an iphone 4, and if you don't know, the camera on that phone is garbage. (Never mind that I'm wi-fi only, so the vast majority of the time, the phone isn't even connected to the internet anyway.) So I'll never post any fotos that I take with that camera. Anything that I post will have been shot on my Canon handheld and transferred to my computer and processed in DxO Optics. So after that I'll need to transfer the foto to my phone first in order to post it to Instagram? Do they not have a desktop version?

3. Is there anything I can accomplish with Instagram that I can't with FB or Ello? Does Instagram do anything better than FB or Ello? Does Intsagram have foto albums or groupings the way FB and Flickr do?

4. As you can see from some of my blog posts, I don't hesitate to write exhaustive, sometimes overly-long posts (like this one!). Which is kinda weird, because personally, I'm very much an introvert and really barely talk at all. But this is one of the reasons I dumped my Twitter, with their famous 140 character limit. And now I see that Instagram has a slightly more generous 300 character limit. At least FB got a clue some years ago and upped their limit from 256 to the current 63,206 characters per post limit. I grew tired of posting something to Twitter and only being able to write 'go to my blog to get the complete details for this' with the direct link. And I'm not gonna bother posting anything to Instagram if I'm forced to do the same thing. Sometimes my blog posts are very short and to the point. But there are other times when I like to explain stuff and those explanations will undoubtedly exceed 300 characters by a significant number.

Then again, Instagram posts differ from regular Wordpress Tumblr Blogspot posts, yes? Instagram isn't a blog, per se. It's just a repository for fotos. That's fine, but why would I bother with Instagram if FB and Ello (and Wordpress and Tumblr and Blogspot) do the same thing, but better?

So follow me on Instagram or not. Still don't know whether I'll be bothered to post to it or not.

In the meantime, here's a picture of a wasp-

I rescored a couple 80s horror movies. Help me get them screened.

After posting my first batch of originals in early August, I've been working on a couple other projects, and now those projects are done, so I want to tell you about them.

I added original music, sound design and sound effects to Demons, Lamberto Bava's classic, gore-ific zombie flick from 1985, as well as a lesser known flick Elves from 1989, which is a low-budget and completely bizarre movie about some little, vicious troll-gremlin type monster and something having to do with Nazis and it all revolves around a hot, young blond woman and stars Dan Haggerty (well after his Grizzly Adams days) who plays a down-and-out Santa at a dreary department store at Christmastime. I also remastered the original audio of both films for my versions.

Here's how this all came to be.

I'd done a couple fan edits of Demons in the past, just for personal use. This amounted to cutting out all the scenes of that quartet of punk rockers aimlessly driving around Berlin. Those scenes are totally inconsequential to the film, so I axed them. I trimmed some other very small bits, but nothing as substantial as the punkers. Well, I had it on the flatscreen the other day, and something I hadn't noticed before hit me- a couple of pivotal scenes are largely devoid of music. I don't know how it was possible that I didn't notice this until now, 30 years after the movie had originally been released and after having viewed it dozens of times. In fact, it's the most famous scene from the movie - the transformation scene with the teeth and fingernails - and the climactic finale scene with the rooftop battle which are both are bafflingly light on music. So, I set out to fix that by composing my own and inserting it into the movie alongside those great Claudio Simonetti compositions and the 80s heavy metal songs.

The two songs I made for those scenes came together quickly. But upon watching the film again with a keen eye (ear) on the soundtrack, I started noticing all sorts of scenes that could be touched up with some added sounds or atmospheres. So, in the end, what I did was analyze the movie from beginning to end with an emphasis on the soundtrack, and filled in the gaps that I felt needed filling.

To give you a much better idea of what I'm talking about, I threw together a couple A/B before-and-after comparisons of those two famous scenes (using low res files; my master copy is 720p)-

Big difference, yes? The music in those scenes may come across as a bit too heavy or relentless or poundingly aggressive, but those are but a few minutes of a movie that is 90 minutes in length (well, actually 80 minutes now that I've excised the scenes of the hoodlums). I added all sorts of sounds to the rest of the film- sounds that are much more subdued and atmospheric, but appropriately spooky and creepy and ominous. So don't expect the entire movie to be wall-to-wall industrial strength pounding drums and distorted synth bass lines.

I am very happy with the results with this first attempt of mine to rescore an old movie. So, I thought I'd do another. I selected Elves not because it had any scenes in it that were egregiously in need of music, but rather I thought that I could make great improvements in this movie by adding just some atmospheres and other minimal synth parts. So I started doing that, and, like Demons, I got a little bit carried away and ended up adding a decent amount of sounds throughout the movie. All told, though, I'd say that I ended up contributing less music to Elves than Demons. But still, the impact of those sounds is significant. I'm not gonna say that I've transformed the movie into a whole new thing. In fact, unlike Demons, I didn't edit out any scenes from Elves at all. But with both of these movies, I like to think that I've improved upon the material that was already there.

And now I say to myself, 'ya know, I'd bet there's a bunch of people out there who might really like to see one or both of these. I wonder if I could find anybody who would be willing to screen them for a public audience.' Having seen Demons a couple times over the years at Grindhouse at The New Beverly in Los Angeles, I know that movie has a sizable fan base. Elves, probably not as much, but it's definitely one that fans of that era of horror flicks would like.

So that's what I'm working on now- finding a venue that's willing to screen these. And this is where I can use your help. I've contacted some people at theatres in my current city, San Diego, but none have expressed too much interest. I have some contacts through some of my LA friends, but I'm still coming up empty. So I'd be super stoked if any of you, my readers, might have any suggestions or know of any people who I could contact in the hopes of getting either of these versions screened.

My original idea was to do a Kickstarter to raise the funds to rent a theatre for a couple hours, and I still might do that, but I thought I'd first try to leverage the power of the internet and ask my network of social media friends. I'm hoping to find some place in San Diego, OC, LA or the Inland Empire, but I'd be happy to trek to anywhere in the region if need be. I don't know if I'd be open to sending off the movie to some remote location where I wouldn't be able to attend the screening. I'll want to be there in person, and would even be hip to doing a Q&A about the work I put into my version.

I might also add that neither of these reworks are commissioned or authorized by the original filmmakers, composers, producers or movie studios or anybody involved. They're simply a couple personal projects of mine in an attempt to challenge myself to find out if I could do it. And now that both final versions have surpassed my expectations, I thought some of you horror fans out there might like to see and hear them as well.

Hit me with any suggestions in the comments of this post, or drop me a note at brianhumorless@gmail.com, or find me on FB.

Super. Thanks for everything.

Brian, Dancu and Humorless Productions

[audio] Tool live in Kalamazoo, 15 July 1998

Tool live in Kalamazoo, 15 July 1998 by Humorless Productions on Mixcloud

OK, so this one is a bit of a departure for me stylistically, but it's another board tape I felt like fixing up. Post-metal alt-metal prog-metal style with a Tool performance from Kalamazoo, Michigan in 1998. Not my original recording, but I did all the post-production.

Am I the only one doing this? Fixing up board tapes, I mean? Does nobody else hear the potential in them? Does nobody else have the know-how or the tools? I guess nobody cares as much about them as I do.

The original recording sounds better than decent, but with a couple obvious areas which required my attention. The best news is that it's in stereo, and that it's not distorted. The bad news is that the kick drum is way too loud and has way too much low end in it, way down in the 10-60Hz subwoofer range. Beyond that, the vocals and drums can be heard clearly, but the bass and guitar aren't nearly loud enough in the mix. I'm sure it sounded fine in the arena, but the board tape needed some help.

I threw on some plug-ins- eq (the new Fab Filter Pro-EQ 2 is hardcore), multiband compressor and maybe some other stuff, I forget. Killing all that massive low end in the kick drum rectified many of the problems, and from that point on, it was just a matter of fine-tuning.

Then there was the issue of the crowd sounds. I've been recording shows for so long that I have quite a library of my own crowd/audience cheering sounds. But most or all of those sounds I recorded are from smaller clubs or theatres or warehouses; not anything as big as anywhere Tool would play. So what did I do? I downloaded a pretty good sounding bootleg of Tool from San Francisco in 2007, then isolated those crowd sounds and used them for this show. Turned out nicely.

It's a real shame about the intro, with the first half of Flood being cut off. Oh well. I also rearranged the last couple songs. They played Ænema second to last, and then the final song, Jerk-off, as the encore. But in the intro to Ænema, Maynard delivers the good ol' 'OK, this will be the last song for tonight' spiel. But then they go on to play two songs. It would have been obvious that Jerk-off is an encore song if all the dead space between the ending of Ænema and the beginning of the encore had been left intact. But with an audio recording, that's totally unnecessary to leave in, so whomever edited the board tape wisely cut that part out. So I switched it around so that the song he said would be the final song actually is the final song. Actually, Jerk-off is a much better choice for a set closer with that ferocious, frenzied ending, but I prefer the continuity of my order.

[audio] Autechre live in Toronto, 9 May 2001

Autechre live in Toronto, 9 May 2001 by Humorless Productions on Mixcloud

Autechre live at Steam Whistle Brewing Company, Toronto, 9 May 2001.

This is another Autechre board tape that I post-produced into a concert recording- gave it a lot of crowd sounds, some room ambience, and remastered the actual music as well.

There are a handful of Ae board tapes from the 2001 tour out there, and this Toronto performance is one of my favorites, so I wanted to give it some special treatment and really fix it up.

Most importantly, there was a nasty bit of digital clipping immediately after the 6 minute mark which I fixed up manually, which required about a half a day of tedious pencilling out flattened waveforms in Soundtrack Pro, but it's worth it.

I've seen the venue listed for this show as being the Steam Whistle Brewing Company and also The Opera House. I don't know which is correct, or if both are correct, or if one is more accurate than the other.

Presonus Studio One for arranging, DSPing and mixing. All mastering done in Soundtrack Pro.

Joy Through Noise live in LA, 15 Aug 2014

Xanopticon live in LA, 15 August 2014

M. Geddes Gengras live in Los Angeles, 15 Aug 2014

Rodent516 live in San Diego, 6 August 2014

Rodent516 live at Fully Patched at Kava Lounge, San Diego, 6 August 2014.

The music in the first half of this video reminds me very much of EP7, so I guess I'll recommend this video if you like that era of Autechre.

Dancu on Myspace

Don't ask me why, but I created a Myspace page for Dancu yesterday. Must have been really bored. But at the same time, I don't think there's any harm in it.

Nothing exclusive there- the same couple songs that I have up on my Soundcloud/official.fm, and the same video that I have up on YouTube. Lots more fotos than I have anywhere else, not that they have anything to do with my Dancu music at all. Of course, all six songs of my debut release are posted nowhere other than my Bandcamp.

By the way, Myspace still has a bunch of kinks to work out. Setting up my page and uploading my content was fairly painless, but the process has some weird little quirks that you won't know about until you upload your media, and once you do that you'll realize how stuff needs to be labelled for it to display the way you want it to on Myspace, and it's not all that logical.

Also, I don't remember what the original Myspace was like, but the new one is set up in a blog format where you can post pictures or songs or videos or simple text updates, and it all becomes part of your 'stream' or whatever they call it. Fine. I doubt I'll post too much there, but it's just another blog to update (along with my Blogspot, my Tumblr, my Wordpress, my LinkedIn, my personal FB, my artist FB, my company FB…).

My first batch of original tunes is finally up on Bandcamp

Seriously, I've been working on and off on these songs for a couple years, and I could go on remixing and remixing and remixing and remixing them until the end of time, but I finally just said to myself 'ok, enough' and threw them up on Bandcamp. Six tracks of gloomy, pounding, orchestral, soundtracky, martial industrial with a healthy dose of glitchy synths. Pay what you want.

Hear/buy them here.

Video for one of the tracks-

[video] Nommo Ogo live in San Diego, 19 July 2014

Couple from Nommo Ogo live at Che Café, San Diego, 19 July 2014.

[video] Wolves in the Throne Room live in San Diego, 19 July 2014

Couple videos of Wolves in the Throne Room from last weekend. The audio is a bit rough- the board feed was almost completely unusable. Too much level, too much clipping. I doctored it up as much as I could, but my room mics ended up being probably 90% of this final mix. Still a decent sound, and perfectly acceptable for these YouTubers.

Now if I could only get some decent light on the band. Jeez, what I would give for a well lit stage. Someday? Please?

[video] Kid 606 live in Los Angeles, 27 June 2014

Track from Kid 606 live in Los Angeles where I recorded and edited all audio and video.

[videos] Corrections House live in San Diego, 6 January 2014

Here are a couple videos from Corrections House (members of Neurosis, Eyehategod, Nachtmystium, Yakuza) that I neglected to post at the time I recorded them in early 2014.

Master list of every artist that I've recorded

Not that anybody asked for it, but here's the complete list of every artist that I've recorded over the years. Actually, I most likely have recorded more than those listed here, but in the super early days when I first started recording concerts in the 90s (proper recordings; the cassette bootlegs I did before that don't count), there were probably a few where I didn't keep a copy of the master audio files or the finished mixdown or anything. Artists that I've recorded multiple times are listed only once.

No doubt I still missed some, so if I forgot your band, drop me a note.

Just wanted to compile a list. I'll keep adding to it as new names come along.

(303) 909-1604

∆AIMON

Abelcain

Ad.ver.sary

Ars Dada

The Audacity

Author & Punisher

BAAL

Christoph de Babalon

Babyland

Bad Timing

Todd Barton

Baseck

Bestial Mouths

Black Jeans

Bloodysnowman

Bombardier

Bong-Ra

William Braintree

Branes

Broken Note

Tom Brosseau

Tom Burbank

Buzz Campbell and Hot Rod Lincoln

Cardopusher

Cervello Elettronico

Clock DVA

CNN 666

Cohosh

Company Fuck

Continues

Corrections House

Corvx de Timor

Crowhurst

Cyrus Rex

D²

Daedelus

Death Is Not a Color

Defrag

Dev/Null

Richard Devine

Devo

Dimentia

Diskore

Divtech

DJ Hidden

DJMREX

Djoto

Mike Dobler

Oliver Dodd

Drumatic

Duran Duran Duran

Brian E

Eezir

Electric Company

Encapsulate

Enduser

Eras

Exillon

Eyeless Sight

Fanny

Felt Drawings

FFF

The Flashbulb

Flourescent Grey

Former Ghosts

Fractional

Further Reductions

Christoph Fringeli

Graz

Gross Prophet

Grypt

haujobb

Hecate

Hieroglyphic Being

Steev Hise

Mark Hosler

i*wish*i

I:Gor

Iceburn

Imminent

The Incredible Hexadecibels

Indian Jewelry

Iszoloscope

Izapa

Joy Through Noise

cEvin Key

Kid 606

KK Null

Koonda Holaa

Kush Arora

LA Vamps

Ladyscraper

Loera

Loopgoat

M. Geddas Gengras

Marching Dynamics

The Mattson 2

Medicine

Merzbow

Derek Michael

Ming & Ping

Minion

Moab

Mochipet

Monster X

Ted Nava

Nemeton

Next Life

Nilbog

No Age

Lee Noble / Grant Capes / Derek Rogers

NoiseX

Noize Creator

Nommo Ogo

Not Breathing

O/H

Oake

David Oliphant

P•A•L

Genesis P-Orridge

Gregory Page

Parenthetical Girls

Phthalocyanine

Piles

The Pizarro Brothers

The Punk Group

Quartet Nouveau

Raxyor

The Red Elvises

Reflector

John C. Reilly

Curtis Roads

Rodent516

Roses

S.E.M;I

Otto von Schirach

The Screamin' Primas

Scuzi

Skincage

Sleep Clinic

Somatic Responses

Split Horizon

Spyten

Ssleeperhold

Stab City

Strangeloop

The Striggles

Sunwheel

Damo Suzuki's Network

Tearist

Techdiff

Terminal 11

Thee Source ov Fawnation

This Song Is a Mess But So Am I

The Tleilaxu Music Machine

Tomoroh Hidari

Twin Braids

UteroZZZAAA

Venetian Snares

wAgAwAgA

Wet Mango

Wisp

WMX

Wolves in the Throne Room

Xanopticon

Yellow Then Blue

Youth Code

Zeller

Zola Jesus

Zombieflesheater

Zoogma

Venues

3raum at Arena, Vienna

5 Star Bar, Los Angeles

A38, Budapest

American Comedy Club, San Diego

Area 51, Salt Lake City

ArgeKultur, Salzburg

Basswerks, Los Angeles

Beauty Is Pain, Los Angeles

Berghain, Berlin

Berlin, Los Angeles

The Black Box, Denver

Blue Moon Nights, Los Angeles

Bronson Bar, Los Angeles

Café du Nord, San Francisco

The Canyon, Agoura Hills (Los Angeles)

The Casbah, San Diego

Che Café, San Diego

Christ Lutheran Church, San Diego

Circus Disco, Los Angeles

Crush Bar, Portland

El Corazon, Seattle

Das Bunker, Los Angeles

Distillery, Leipzig

Dizzy's, San Diego

DNA Lounge, San Francisco

Echoplex, Los Angeles

EKH, Vienna

Feuerwerk, Munich

The Fillmore, San Francisco

FLUK, Vienna

Gilman Street, Berkeley

The Good Hurt, Venice (Los Angeles)

The Griffin, San Diego

Hangar11, Kloten (Zurich)

Helter Skelter, Los Angeles

Hollywood Park, Los Angeles

Humphreys, San Diego

Jewel's Catch One, Los Angeles

Kadan, San Diego

Kapu, Linz

Kava Lounge, San Diego

KXLU, Los Angeles

Lafayette Hotel, San Diego

Lawton Plaza, Los Angeles

Malcolm X Library, San Diego

Medusa Lounge, Los Angeles

Mime School, Los Angeles

MOCA, Los Angeles

Mountain Winery, Saratoga

Nimbus Brewing, Tucson

Normal Heights Methodist Church, San Diego

The Observatory, Santa Ana

Parukarka Bunkr, Prague

Perihelion Arts, Phoenix

Plush, Tucson

Prescott Promenade, San Diego

Raum18, Berlin

El Rey, Los Angeles

Ruby Room, San Diego

Scoundrel's, Las Vegas

The Smell, Los Angeles

Soda Bar, San Diego

Solar Culture, Tucson

Spreckels Organ Pavilion, San Diego

Substance, Torrance

Syntax Physic Opera, Denver

Teatro Fondamenta Nuove, Venice

Til-Two, San Diego

Tin Can Ale House, San Diego

Urban Lounge, Salt Lake City

Uhrturnkasematte, Graz

The Uptown Theatre, Napa

The Vanguard, Los Angeles

Vaudeville, Tucson

Vertigo's, Los Angeles

The Void, San Diego

Die Werft, Korneuburg (Vienna)

Zool, Oakland

plus many nondescript unnamed warehouses throughout Southern California

[audio] Defrag live in Los Angeles, 27 June 2014

I recorded Hymen Records artist Defrag at CELEBRATE EVERYTHING at Complex in Los Angeles, 27 June 2014.

Defrag live in Los Angeles, 27 June 2014 by Humorless Productions on Mixcloud

The Mattson 2 live in San Diego, 28 June 2014

My recording of jazzy surf rock duo The Mattson 2 at the Summer Fun on the 101 festival in Leucadia, California, 28 June 2014-