Projects

Seconds In Sound

2014—2016

Live vinyl mix gatherings from Montreal. Like a green room backstage spin before a gig or going over to a friend’s house to have a drink and put on some tunes. It was all about the hangout and spin with fellow selectors. We hit record, forgot about editing, and uploaded the mix. Includes volume drops, gains, hiss, pops, noise, crackle, and some righteous tunes.

365 Days

2003 & 2007

Over 200 people sharing from their stash of aural treasures over the course of two calendar years. Some words to describe the material featured would be... Celebrity, Children, Demonstration, Indigenous, Industrial, Outsider, Song-Poem, Spoken, Ventriloquism, and on and on.

Comfort Stand Recordings

2003—2006

A community-driven netlabel where all releases (80 albums, 16 singles, 8 comps) were free for download (mp3s/artwork) with artists from Argentina, Australia, Austria, Brazil, Canada, Finland, France, Germany, Hungary, Israel, Italy, Japan, Mexico, Netherlands, Poland, Spain, Sweden, Russia, United Kingdom and the United States.

The Interstellar Cafe

2000—2002

The Interstellar Cafe shared music, information and ideas weekly. The site hosted the Shooby Taylor "Human Horn" recordings. The Marcy Zone celebrating everyone's favorite (Christian Puppet) Little Marcy. Brute Force and his Confections of Love graced the site. The Xanadu Preservation Society lived on. Weekly audio archives were made available featuring obscure and out-of-print selections from Basic Hip (who served up biweekly original television and movie scores from the 50s/60s) and Oz (Justin Bartlett) had an "Exotica Down Under" download area that was the answer for anyone who ever wondered about oddball vinyl collecting in Australia. Contributors included: Ana Dem, The Apartment, Basic Hip, Brute Force, Don-O Fields, Oz (Justin B), Patches, Jennifer Sharpe (Sharpeworld), and B.C. Sterrett.

The Mofo Outreach Ministry (M.O.M.)

1995—1999

MOM was a cassette-only distribution service. Through options such as free cassette duplication (folks sent in blanks and postage), trading, or donations... thousands of tapes (individually dubbed) were sent off in 4 years time. MOM did not distribute readily available works (unless permission by the artist was granted or the recording was extremely rare). The catalog closed with MANY home taper DIY releases. Numerous reviews and print ads surfaced in many magazines and zines over the course of the MOM years and folks designed T-Shirts, fonts and artwork for the operation. A printed catalog was produced for the entire 4 years (mailed and online). The catalog is no longer available and 90% of the catalog (over 2500 cassettes) were disseminated through friends and networks in the early 2000s.

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