Here are 50 albums. 492 songs. 1.2 days of original music including 4 soundtracks to plays, 2 Symphonies for Orchestra and one for large rock band, 4 audio collages, 2 dance scores, 4 film soundtracks, 5 albums of electronic noise, 4 rock band albums, 5 noise band albums, 3 string quartet albums, 1 down home hillbilly jambouree, a concerto grosso, 2 musicals, a concerto for harp and orchestra, art songs, an alternate take on Shakespeare’s Twelfth Night, music from an imaginary land, an audio catalogue of an imaginary home products corporation, and Chamber music of all sizes. Rock music, Pop music, Classical music, Noise music, Electronica, Americana, Siciliana, Goth, New Wave, String Quartet, Symphonies, Ambient, Professional Musicals, High-School Musicals, Singer Songwriter, Comedy, Musique Concrete, Tributes to Shostakovich and Prokofiev, Improv Duets, Stunt Rock, Modern Dance Scores, Silent Film Scores, and imaginary music. One million thank yous to the all the amazing musicians who helped me make this music. I love you.
Check out the lovely article about the 50 album release Kirk Lynn wrote for the Austin Chronicle here
PS. The mp3 player is a little clunky.
If the play button doesn’t work try clicking on the title of the song you want to hear.
50. Chamber Music II (1999-2015)
| Music by Peter Stopschinski
A bunch of music with notes in it. I love noise and abstraction but I also love and dream in notation. This album has notes and written scores and musicians executing the hell of stuff. A diverse mix of sounds: an aggressive composition for large art-rock band featuring piano, a twisted big band number with some smokin’ trumpet playing, a cautionary tale about plant-based poisons for string quartet, keyboards, trombone, and narrator, a long neglected slow movement from a symphony featuring the devastating voice of the lovely Ms. Tina Marsh, a fun trio for viola, bass, and piano which actually is the compositional basis for Ripped Classical, a simple haunting theme for strings and vibes. This is a really nice summary of my alt-classical compositional style for the past 15+ years. American Stalag was written for a film by John Aldrich while we were still in college and Ripped Classical was recorded just last year. Listen while driving, drawing, or wandering your mind. As always I am supremely indebted to the musicians that share their skill with me, thank you all sincerely.
Ripped Classical Chuck Fischer - Drums Peter Stopschinski - Bass/Piano/Noise Alexis Buffum - Violin Wayne Myers - Trombone Big Band Frenzy Brian Shaw - Trumpets Wayne Myers - Trombones Phillip White - Drums Josh Robins - Guitar PMS - Keyboards/Bass Guitar Patrick and the Poison Ivy Buzz Moran, W. Ryan Willingham, PMS - Voices Bruce Colson - Violins Jon Dexter - Cellos Eric Grostic - Upright Bass Michael Hoffer - Trombone PMS - Piano, , Organ, Bass GuitarPeter Stopschinski - Piano Symphony 2 Movement 2 Tina Marsh - Vocals Bruce Colson - Violins Erik Grostic - Bass Jon Dexter -Cello Seetha Shivaswamy -Flute Brian Shaw - Trumpet Wayne Myers - Trombone Cataloguing Ames Asbell - Viola Erik Grostic - Bass PMS - Piano American Stalag Ames Asbell - Viola Sara Nelson - Cello Eric Grostic - Bass Laura Phelan - Vibraphone Buzz Moran - Recordist
49. Look At My Harmony (2016)
| Music by Stinky Bunny
Stinky Bunny was Austin’s PREMIER avant-noise live pseudo-sound dance act throughout the 90’s. Stinky Bunny performed inside a large white box so the audience was not distracted by the physical chemistry of the musicians. We played art studios, theaters and the sixth street scene as well as maintained a grueling recording studio schedule. The decade ended in a horrible break-up with injuries (both the kind that eventually heal and the kind you have to just fucking live with) and one of the original members of the group absconded with the 4-track and all the magnetic tape. We played hypnotic sound collages with tape players and record players and fx pedals,etc. I remember once we were playing at the Flamingo Cantina inside our huge white box, when a drummer started playing these obnoxious rock tom fills. I poked my head outside the box and said “what the fuck? we are in the middle of our set” and of course all he heard was chaotic noise collage and all he saw was a big white box. The soundman didn’t even know we were playing. They totally just started soundchecking the next band during our set. Bastards! Just this year producer and entrepreneur Gary Stardle acting through Planetary Magnetics Corporation scooped up some people who were at one time, possibly, in Stinky Bunny and dropped them in a $10 an hour recording studio with three large pizzas and 3 two liter bottles of red fanta for 45 minutes and let them go at it. The recordings were then edited by legendary producer Teo Macero (including overdubs by Bill Laswell and Herbie Hancock) into this concise and groundbreaking noise rock album then lovingly mastered by Jimi Burdine. This is great while painting the house or riding bike to the bank. Use caution when listening to Stinky Bunny while driving.
48. The Genius of Dr. Gillespie (2016)
| Editing by Peter Stopschinski
Liz Cass turned me on to archive.org and I somehow found my way to the radio serial Dr. Kildare. The co-star in Dr. Kildare is the older Dr. Gillespie played by Lionel Barrymore who’s is so freaking’ colorful and full of crazy sounds and inflections in his voice acting that I became obsessed and had the idea to edit all of the actual words out of one of the episodes so that all you hear are his crazy exclamations. I was too un-diciplined to stick to the plan and ended up making these enjoyable collages instead. The advertising is infinitely interesting. I feel like I made the most daring and effective Wheaties commercial ever heard. Listen while making linoleum block prints or scrubbing filthy dirty things until they stand up and shine.
47. Grageriart (2016)
| Voices by Lana Lesley and Music by Peter Stopschinski
This unique offering is essentially a music and voiceover shopping fantasy. Imagine a future in which you call a corporation just to be put on hold so you could hear an original electronic audio composition. When you call the soothing electronic voice informs you “for english press 1. for spanish press 2. To be put directly on hold and hear the GRAGERIART Audio Catalogue press *star* The more you listen the more comforting it becomes until you find yourself calling to listen every day, then several times a day, then each morning you will wake up and see how long you can go without calling to listen; Noon, 10:30am, 8am? I guess it depends on who is around. Are you alone? if so you might get up early just to get in a listen before your day actually starts. Affirming dings, glitchy underscore, a wide variety of human and other voices, audio logos. A celebration of shopping. Lana basically read this straight through in one sitting, improvising and creating the basic structure and then I went back and added the sounds the next few days. We both listened and took notes and did one more pass fixing little things and voila: The Wells Fargo catalogue of the future represented in glorious audio! Listen always, anytime.
46. House Sessions (1994)
| Music by Brown Whörnet
Wasted in love. Just trying to freak each other out with recorded sounds on the 4-track. This is what I think of when I think of Brown Whörnet. I have killer memories of incredibly intense rock shows but this is the Brown Whörnet that I originally fell in love with. Just listen to the collage of freedom and how it totally degenerates into complete freakazoid wackface. Listen while we read poetry to each other and play back hand held cassette recordings from tour and while someone take the longest recorded bong hit in history. Never mind. You totally can’t handle it. Forget it. Don’t listen. It’s too much for you. I don’t mean that as a dis i’m just trying to be honest. When I dug this out of the computer I was shocked that I knew every minute intimately. This is when I knew Brown Whörnet was undeniable. This is formative for me. A paradigm. But for you, it will just make you uncomfortable. And then you will blame me. And judge me. For me its like sex on too many drugs with strangers and no guilt. For you it will be like sex on too many strangers with regret drugs. I didn’t even edit this down to 20 listenable minutes I just couldn’t. Too many memories. Its perfect the way it it. Just straight up south Austin 90’s noise tape. Listen while hanging out with your favorite people and while taking the longest recorded bong hit in the world.
45. Shay Shroin (2003)
| Music by Pumfelsham
Deep in the pre-mystical poison forests of Mu the sapiens made instruments from Kerguelen bark and Gwealod leather. The strings were woven from the tail skins of the Lyonesse and coated with sticky feces. Music was played in groups of threes, one mostly male, one mostly female, and one with qualities of both. Singing was not unusual although the vocal sounds were closer ancient chanting. The vocalists would recite from a list of magical words kept by the shaman. All the sapiens of Mu has the list of nearly 4,000 magic words memorized by their fist birthday. Mu was submerged for three months out of every year. The sapiens were magnificent swimmers and many could hold their breath for months at a time. The sapiens of Mu invented the first acoustic echo device using bamboo and slaves. Music before time. Everything before time. Listen when feeling out of time. Listen while touching yourself or others.
44. You Should Write That For Rock Band – Scoat Live String Quartets (1999-2014)
| Music by Peter Stopschinski
Roughly treated live recordings of string quartets written specifically for the Tosca String Quartet. Wanton mastering techniques. Totally just drank a six pack and kept turing up the gain and pushing that cassette upper limit. Sounded better and better the more I just crushed it. And a bunch of it is at the wrong speed. But once again, through the muck, these hardcore and sublime performances poke their twisted and lovely faces. Tosca showed consistent excellence over a decade of playing brand new challenging works, scratch that, entire concerts of brand new works that they rarely had more than a couple of weeks to prepare. Always soulful and technically proficient. They play like a good rock band. The delicious version (which is the original version) of Rough Night with Happy Ending was performed at a steakery and people were eating steaks and it smelled of roasted flesh. One was performed at the old Parish and David Byrne was there. Tosca toured for years off and on with David Byrne. Others were performed at the tiny Hyde Park Theater in the summer and the A/C was on the fritz and the audience was fanning themselves with their programs creating a multifaceted strobe effect. Prokofiev is an arrangement of a Prokofiev Visions Fugitive. Listen to them all. I’ve been lucky to have worked with the Tosca String Quartet since the beginning. 1999 to be exact. Journey through the decades with this collection of purposefully degraded live performance which show Tosca’s unwavering attention to detail and excellence. Everything here recorded live at various Golden Hornet Project shows in Austin, TX by the lovely and talented Jason Ward and Buzz Moran and then (sorry guys!) I totally bounced them all super-in-the-red hot to my now barely functioning Tascam 424 cassette 4-track which cant decide what speed to play things. Listen while drinking pilsner. Listen while smoking tiny cigarettes in the backs of houses. Listen while speeding through central Texas late at night loud with the windows down. Sounds good on old ass stereos and in Eric’s car.
43. Twelfth Night (Alternate Universe) (2016)
| Music by Peter Stopschinski and Narration by Kirk Lynn
So, this is weird, and probably the longest of the 50 albums on the page. The whole point of this recording is to give you an alternate version of Twelfth Night to listen to on your headphones when you go and see a boring traditional version of Twelfth Night in the theater. You can follow scene by scene, fast forwarding the next scene at the pace of the live performance while enjoying Kirk’s completely crazy and lovely take on this ancient convoluted plot. As you privately listen to this madness you will be laughing inappropriately and having the wrong reactions to what is actually going on on the stage. It will be great!
From the undisputed heavyweight champion of fucking up Shakespeare, Kirk Lynn, comes this crazed and vastly more entertaining iteration of one of Bill’s favorite and most performed plays.
42. rock demos and off-broadway dreams – the mixtape (2006-2016)
| Music by Peter Stopschinski
First you get two tracks of angry, shouty Lana killing the high teen rockers. Then the stage is consumed by Petlanta, the ultimate arena freak-rock band with Aram Khachaturian on piano and synth. Aram like to take long-ass solos. We’re all like, “Aram, dude, what the fuck?” and he’s like “…
…” Its cool though, soon Cami comes flying by with a bottle of whiskey and hypnotizing you like a millennial pop witch. She flies us all in her creamy colored Bently to Off-Broadway to see a little known musical called the Plan to Replace Men by Kirk Lynn and Peter Stopschinski. We wait afterward to tell the cast how much we loved the show and Paul, Liz, and Amy invite us to the arfterparty where Robert Planet and his twisted golden ring modulations is opening for New Zealand’s favorite fledgling Zeuhl band is working some shit out. I don’t think that dude can really play the guitar…We are dosed with a healthy portion of Ketamine, Or did we take ingest is willingly? We should get a freaking rid-share at this point butt… We cant find our phones. Luckily Cami and PMS are singing Shankman while Eric wails away…
I make a shitton of demos. Tryin to get jobs. Tryin to get my ideas across. Tryin to communicate, you know, with other humans who don’t share the same vocabulary. For films, musicals, whatever. Constantly pulling Lana in the backroom and forcing her to sing crazy new songs. Getting Amy and Cami and Paul over. Luckily they’re all game. Should rock or musicals ever be anything more than demos? Sure its great when all the drums sound all phat and shit but really, does that make or break the vibe? Garage band taken to a lower level than that of DYI. The Peenbeets and Sexy Finger Champs lo-fi-stylie. Noise rock. Zeuhl music. Broadway magic. Cheap drum machine punk. Lyrics by Gabrielle Reisman and Katie Bender, Jim Shankman, Kirk Lynn, and PMS. Mastered to cassette so it has that real mixtape vibe. Only 2 of these demos has been performed live as of Sept2016. Nothing is Wasted Work.
41. The Hunchback of Notre Dame – Silent Film Score
| Music by Peter Stopschinski
Recorded live at the brand spanking’ new Alamo Drafthouse Lakecreek. There were approximately 12 people attending this fantastic performance. Again, a collaboration with Graham Reynolds who wrote the beginning and end of this score while I composed the music represented here, the emotionally complex middle. I remember we had to work very quickly, about a week or two to compose and rehearse, but we had the benefit of playing with a group of seriously badass musicians. We borrowed the organ from Adam Kahan and I remember we accidentally broke off part of one of the legs. So irresponsible! Adam was nice enough not to hate us after that. The music is full of religious seriousness and sentimentality appropriate to Lon Chaney’s legendary performance as Quasimodo. I rarely play the organ and I felt a bit self-conscious but father the show a man approached me from the audience and said, “My name is _____, Im an organist and I really enjoyed your performance.” I felt an odd amount of pride. Michael Hoffer-trombone, Bruce Colson-violin, John Dexter-cello, PMS-organ & piano, Chuck Fischer-percussion, This is really great while drinking Moroccan Mint Tea with a tiny bit of honey early in the morning when you can’t sleep also great for nude day drinking alone with all the shades drawn.
40. Gyre – Dance Score
| Music by Peter Stopschinski and Graham Reynolds
Dreamy, watery, pulsating soundscapes and rough grooves alternate and swirl around you as bathtubs full of water and plastic bags are mic’d in stereo and large drums are pounded with giant bottles of soda pop. Elegant orchestral strings, bells, and vibes float behind foamy trombone solos. Dancers covered in garbage twirl past reeking of dead fish wet with petroleum and sweat and salt and grime. Piano strings are strummed harshly, vibrating themselves to metallic collisions. Endless plastic loops float noisily in international waters while no single country will claim responsibility. Video projection on the wall above and on the floor below flash sad images of marvelous sea creatures dying and a planet that is strangled and choking while future generations are screaming, “What the fuck!?!”
I included Graham’s name although I tried to include only the music I created for this performance but some of it includes themes composed by Graham and he plays some of the instruments. Also, some of the tracks were recorded at his studio. We collaborated by sharing musical ideas then each creating tracks separately from one another over a 3 year period. This music was commissioned by Andrea Ariel and Ariel Dance Theater. The piece was about the enormous amount of plastic garbage in the ocean, in particular the Great Pacific Garbage Patch which is apparently the size of Texas and growing. Just let that sink in a bit. Now we know there are many patches of garbage forming crazy waste islands in the oceans. There is no Planet B, as they say, yet sadly this is a real, unimaginable thing that exists in our world today and for which there is no solution nor is there a plan to take care of the disgusting problem. We are failing our planet. We have no solution. We still believe in sovereign nations and patriotism and most of the people on the earth refuse to think of us as one nation: Earthoplotz. John Dexter-cello, Jerome Smith-trombone, Ames Asbell-viola, Graham Reynolds-drums, vibes, guitar, Jimi Burdine- Guitar, PMS- piano, synths, programming, etc.
Listen to this music while smoking resin and meditating on the folly of humanity and feeling pessimistic about the future of our only sacred planet or while inventing and organizing ways and means to reverse the horribly destructive trends which our enormous effort to amass wealth for greed and war has created.
39. A Tale Of Two Cities – High School Musical (2009)
| Music by Peter Stopschinski and Lyrics by Arthur Pittis
Commissioned by the Austin Waldorf School with the incredible adaptation written by Arthur Pittis who had the impossible task of putting this enormous novel with a huge scope of characters into the form of a musical libretto. This is really an opera. An opera with talking. It is 2 1/2 hours long and we presented it with full orchestra and two alternating tasks. Its was a crazy experience and involved almost the entire high school, parents, faculty and even some outside volunteers. It was a huge endeavor for the school and the school was super supportive of the entire thing. By the end of the rehearsal process the students had full school days of musical rehearsal. Literally 8:15am to 5pm every day leading up to opening night. It was amazing. My mentors at the school, Terri Everett and Robert Brockett were so supportive and worked their butts off preparing and rehearsing the students. I conducted the performances and at the end of it all we made a recording of all the music. I won’t list the performers here because there were so many and because they were students and the Waldorf School is justifiably protective of the students rights. I love them all and this was one of the best experiences of my life. High School Musical. High School Opera. This is also how I met my opera buddy, soprano Liz Cass. So much good!!!
38. Predator Animals That Rhyme With Rocks and Other Hardcore Tongue Twisters (2011)
| Music by Peter Stopschinski and Cocksuckio and the Cocksuccors
Confusing musical tongue twisters in the hardcore style of 90’s Downtown NYC and rugged southern dirty noise in the style of 90’s South ATX. This album goes out to my pediatrician Dr. Sayus who brought me into this world dancin’ and singing’ all candy apple red with soft fur on my back. Dr. Sayus taught me to rock and confused that impulse with sloppy intellectualism. After years of loud music punishing my ear drums, certainly among the top 5 important tools of my trade, and a hundred drunkenly-half-read books I felt confident to strike out on my own. Would Dr. Sayus be proud? I can’t say. But I can say this music is impulsive, sloppy, rockin’, drunkenly intellectual, punishing, and proud. The Cleanse is perhaps the most brutal of all musical works. Josh Robins is up in there and Jason Craig and Chuck Fischer. Cocksuckio was there with the goddamn Cocksuccor’s plane. That plane caused me no end of trouble. I’m not sure they ever once flew that plane. Couldn’t afford the gas I suspect. Or a pilot. That stupid plane and that goddamn club ASTROPLEXXX 3000 SUPERCLUB. I freaking’ hate that place. Not once did I ever leave there not in the back of a cop car. Not once. My name is RunPMS and I love noise and impossible rock. You are hearing angry, personal testimonials to the power of DIY. All props to the supreme poet/artist/visionary who composed the immortal poem set roughly to music herein. Pair this album with your anger. And also drugs that begin with letter “C”. Pare this album by skipping the last two tracks or by only listening to the last two tracks. Play this album through the worst speakers you can find at top volume if you like things a bit more spicy. The good news is that even if you have excellent studio monitors our top audio specialists, degengineers, and unpaid interns have taken steps to ensure that the music STILL SOUNDS LIKE ITS COMING OUT OF BROKEN SPEAKERS!
37. Extreme Lo-Fi String Quartets (2005) and The Dissonant Romantic Piano Concerto (2011)
| Music by Peter Stopschinski
EXTREME LO-FI STRING QUARTETS
Recorded in the worst sounding rooms, small crowded rooms with loud air conditioning, in stressful circumstances, with bad gear, just shitty shitty gear. Mixed poorly to antiquated media, sloppily edited, improperly stored, and neglected for years. Mastered hastily by unpaid interns to a tape player found in a dumpster (tape included). Every signal too hot. Multiband expander making crazy *bomp* sound at the beginning of tracks. Aggressive, aggressive mastering eq. And then, seemingly suddenly, the listener is transported. It is the irresistible and unavoidable pull of distant planets. Now there is no expectation and we swim happily in the ocean of sounds. We glimpse a dolphin, giggle, then another. The third and fourth are much closer and we all realize how big dolphins really are and we begin to feel clumsy and vulnerable in the waters. There are pelicans as big as human children. There is thunder in the distance. The Imbroglio Quartet is there. The Red Armada Quartet in on the shore. Xenakis designed the beach cabin where we are all staying. There is water in your ear. It will be there for 3 days as micro-organisms from the sea sing their songs softly, micrometers from your eardrum.
THE DISSONANT ROMANTIC PIANO CONCERTO
This was a deep obsession for weeks. I went deep into this music which was created using samplers and Lana’s spinet. Something seems seductive and dissonant and sexy in the mood created here. I also makes a nice surprise pairing with EXTREME LO-FI. Both have a glassy, glossy. Natural in an alien sort of way. Inevitable. Consistent. If you are familiar with the 50 Backlog Album page then you will surely enjoy a smirk of recognition as this music shares material with albums #4 and #30. Despite this unfortunate re-use of material, there is deep freewheeling’ magic that still shines through in this charming concerto. It is a composer’s dream ensemble with the composer playing every instrument. Rehearsals went relatively smoothly with only one disagreement that threatened to ruin lunch.
Both of these pieces are well paired with experimental sex in a loft bed of a stranger’s un-air-conditioned apartment or painting a small, windowless room on a warm day or bronzing in the desert under the blazing west Texas sun.
36. Soundtrack to The Curious Case of the Watson Intelligence (2013)
| Music by Peter Stopschinski
FINALIST! Pulitzer Prize for Drama
2014 WINNER! John Gassner Award
2014 THE KILROYS LIST – 2014
This music is peppy and alt-classical and loopy and exciting. There are many variations of themes. One of the featured music moments in the play is a song sung at the climax. I never got a recording of that song since it was sung live by the actor. Here are only instrumentals; echoey, loopy, string and electronic instrumentals. Not everything on this album was used in the play but I included all my favorite sketches. A strange hypnotic feeling begins to arise as all these similar but distinct variations wash over you. The live musicians are Violinist Alexis Buffum and Cellists Liz Lee and Valerie Klatt-Fischer. Eric Roach helped engineer and create in the studio as well. This music pairs well with household activities like cleaning or straightening. Also enjoy while driving long stretches of highway lost in thought. Enjoy!
Please Note: The ePlay currently for sale cannot be used for productions. Please purchase the Pre-pub Manuscript for performance. Watson: trusty sidekick to Sherlock Holmes; loyal engineer who built Bell’s first telephone; unstoppable super-computer that became reigning Jeopardy! champ; amiable techno-dweeb who, in the present day, is just looking for love. These four constant companions become one in this brilliantly witty, time-jumping, loving tribute (and cautionary tale) dedicated to the people—and machines—upon which we all depend. REVIEWS "MARVELOUS AND FILLED WITH MARVELS. In the Stoppardian world of The Watson Intelligence, Madeleine George's human, dramatic play takes surprising turns." - New York Magazine, Read More "[Madeleine George] juggles several deep themes with grace, wit and intellectual verve" - Time Out New York, Read More "Thoughtful and ambitious" - Entertainment Weekly The (curious case of the) Watson Intelligence premiered in New York City at Playwrights Horizons in December of 2013, under the direction of Leigh Silverman. publisher website: Samuel French Webpage for The Curious Case of the Watson Intelligence
35. Grand Derrangements (2016)
| Music by Mohadev and PMS
Totally tricked Mohadev into making this album. Unintentionally, of course. Mohadev came over to do some electric guitar consulting and I already had some mics set up and before you know it we were jamming and making this really lovely and intimate improv album. Just him on guitar and me on my niece Chelsea’s beautiful Yamaha baby grand. Thanks Chelsea, much love:) We used lots of scrappy, springy, bell things to mash up against our instruments. This is true improv in the grand late 20th century european noise rock tradition. Little was said but entire universi were communicated. Listen while comfortably ending or starting off your day. Also great for stretching or yoga.
34. my Name Is Bobby (1997)
| Music by Gage and PMS
Let me tell you a story. Two gentlemen create a playdate with each other. They are curious, unafraid. One arrives armed with a saxophone and a guitar. The other arrives armed with a clarinet and a sampler. They draw crazy notation and record to the 4-track in the darkness enveloped in sound. They leave knowing history has been made in secret, the way true history has always been made. One goes on to be president of Earth. The other develops and markets technology to travel to heaven and back. They live full reproductive lives. The end. Pair this album with lots of stimulants or sedatives and booze and coffee and cigarettes.
33. 20th Century Mavericks Mashup (2010-2016)
| Mashup by Peter Stopschinski
Uh, this makes me super happy. As a bonafide 20th century wierdo classical music lover I get a musical classic weirdo boner about this. The concept came about when I was listening to some solo percussion pieces by Xenakis and I thought, “this is pretty cool but what is all this boring stuff between the actual sounds? These seconds where there is no music? These seem like blank spaces where some sounds could go. Maybe some piano” so I grabbed an equally spacious Morton Feldman piano piece and layered the two. Magic!!! Ultra weird music magic. Things started getting really interesting when I brought the electronic masters into the mix:) Enjoy these esoteric collages while doing dishes or bedridden after surgery high on tramadol.
XenakisWolffGelsin - Paille in the Wind, Variations Didactiques, For Prepared Piano NperignZimmermanCreshevsky - Sonata for Solo Viola, Variation II, Sonata StockhausenCrumbHaas - Struktur IV, Black Angels, Speyer Cathedral Bells FeldmanPekingducksDensity - Imperial Chinese Percussion Music, Density, Piano Piece (to Phillip Guston) StravinskyWilliams - Rite of Spring, Tatooine MarinettiBoulezWebern - Etude 2, La Battaglia Di Adrianopoli, Symphony op21 FeldmanStockhausenYoung - Durations 4, Studie II, Dream House XenakisCageRaFeldman - Rebonds, Tetora, Triadic Memories, John Cage meets SunRa live at Coney Island DockstaderFeldmanBrown - Quatermass, Three Clarinets, Cello, and Piano, Music for Cello and Piano AugersDifferentConductors
32. Soundtrack to Rara Avis: The Life and Times of John James Audubon (2015)
| Music by Peter Stopschinski feat. Chuck Pinnell – Guitar
Here you will experience a multifaceted gem of an album. It is decidedly “American” sounding in the tradition of Aaron Copeland mixed with the tasty folk/blues/19th century guitar stylings of Mr. Chuck Pinnell. It starts with a classic film score sounding theme and moves through all kinds of fun americana sounds fueled by acoustic guitars, mandolins, cittern, and rich with strings and french horns. The music was created over a 3 month period at the end of 2012 but the deadline was extended so Chuck and I were able to keep tweaking and tying up loose ends for another few months after that. We did four 12 piece string sessions with Chico at the old Ohm Recording Facility and the rest was recorded here at my studio. Lovingly mastered by Ben Blank. Hopefully you will enjoy this soundtrack while watching the documentary. Otherwise pair with countryside strolls or quietly fishing.
RARA AVIS ORCHESTRA LIST Music Composed, Arranged, and Produced by Peter Stopschinski Guitars, Mandolins: Chuck Pinnell Guitar, National Guitar, Cittern: Rich Brotherton Violin: Alexis Buffum, Concertmaster Pasha Sabouri James Anderson Leigh Mahoney Tracy Seeger Beth Blackerby Elizabeth Warren Helen Bravenac Amy Harris Viola: Andrew Noble Cello: Frank Jenkins Valerie Fischer Hector Moreno Anna Park Victoria WolffZavallos Sara Nelson Bass: Jessica Valls Utah Hamrick, Chris Afflerbaugh Flute: Seetha Shivaswamy English Horn: Jennifer Bernard Rebecca Fairweather French Horn: Rose Valby Voice: Erin Ivey Percussion: Steve Schwelling Piano, Percussion: Peter Stopschinski Engineers: Chico Jones Peter Stopschinski Mixing: Peter Stopschinski Eric Roach Christopher Brockett Music recorded in Austin, TX at: Ohm Recording Facility Rhonda Court
31. Shostakovich’s 100th Birthday (2004)
| Music by Peter Stopschinski and Dmitri Shostakovich
DSCH. The composer. The motif. These adaptations were composed for a concert celebrating the centennial of the composer’s birth and they flow a little more lightly than their Rite of Spring counterpart. Playful, epic, rock, jazz. Liberal use of noise and brash sounds. These adaptations focus on the devastating sincerity and the biting wit inherent in Shostakovich’s music. Some killer solos from the ensemble. These recordings come from rehearsal and performance. We recorded the rehearsal nicely at Graham’s house and the show was at the Cactus Café. I remember there was a tiny audience. I remember Tina Marsh was there smiling her big smile throughout. I remember the musicians were fantastic and we were tight while having very little rehearsal. I focused on a collection of 4 piano preludes, the ballet The Bolt, the opera Lady Macbeth of Mtsensk, and the piano pieces known as Aphorisms. Again these pieces were my focus for several weeks and then *smack* into the “finished” drawer! They were all recorded using Cubase but again I bounced everything to Tascam 424 4-track and to my new Akai X-1800SD 1/4” reel to reel which sounds super sweet. The g minor prelude recording quality sounds very early 20th century. All the big ensemble stuff was recorded all players playing simultaneously and always only 1 take. This actually works well at the late night afterparty with a small group of close friends while the conversation is still active. Here is the advert for the show from the paper:
Golden Hornet Project tackles Shostakovich, with composers Graham Reynolds (Golden Arm Trio) and Peter Stopschinski (Brown Whörnet) leading Chuck Fischer (percussion), John Dexter (cello), Bruce Colson (violin), Jerome Smith (trombone), and Erik Grostic (bass) in two sets of excerpts from/improvisations on the composer’s music, including the Violin Concerto, Cello Concerto, Aphorisms for solo piano, Preludes for solo piano, Lady Macbeth of Mtsensk, and more. Fri., Feb. 24, 2006, 9pm, Cactus Cafe.
30. Zen Songs VOLUME 1 (2005-2015)
| Music by Peter Stopschinski
Drunken ballades, operatic intensity, lost droning instrumentals–A carnival dream of songs with extremely psychedelic Buddhist lyrics culled from centuries of poetry. This is some of an ongoing collection of songs that were scribbled casually into notebooks in downtime during meetings, accompanying, waiting for a plane, a bus, etc. Zen songs. Songs made in small bits of purgatory. Songs that try to invoke my deepest patience. Short songs. Simple songs. I usually like layered vocals and background singers and harmony and other messy decorations but these songs mostly focus on solo melody. Lonely melody. Ancient melody. The recordings were made equally casually. Here and there. Tag-ons after more lucrative work. Liz Cass, Lana Lesley, Amy Hackerd, Julia Gytri, Peter Stopschinski, Robeto Riggio, Steve Bernal, John Dexter, Leah Nelson, Erik Grostic, Hector Moreno. This music goes great with city and country walks or morning sitting sessions. Best consumed during the delicate hours. Poets listed below:
Become The Sky – Rumi (1207-1273) and PMS (1972-Alive!) Become the sky and take an axe to these prison walls and escape like a smiling drunk into the night away from those who would have you drown in a sea of life go away let this lover be The Void - Zekkai Chushin (1336-1405) the void has collapsed on the earth stars burning shoot across iron mountain turning a somersault i tumble past stars burning the void Woodsman Singing - Taigu Ryokan (1758-1831) my house is buried in the deepest recess of the forest every year ivy vines grow longer than the year before woodsmen singing rarely reached me through the trees while the sun sinks in the sky i mend my torn clothes let me drop a word of advice for believers of my faith to enjoy life's immensity you do not need many things Bury Me – Moriya Sen’an (d.1838) bury me when i die beneath a wine barrel in a tavern with luck the cask will break The Green Willows - Yang Wan Li (1127-1206) trees laced in mountain mists patch broken clouds wind scatters a rainstorm of fragrant petals the green willows it said are without feeling why then do they try so hard to touch the traveller with their long green limbs? The Weaker The Wine - Su Dongpo (1037-1101) the weaker the wine the easier it is to drink two cups the thinner the robe the easier it is to see through to the good stuff ugliness and beauty are opposites but when your drunk one is as good as the other The Lady in the Lake – Mary Sarton (1912-1995) somewhere at the bottom of the lake she is entangled among the weeds her deep self drowned i cannot be with her there Universal - PMS (1972-Alive!) there are certain things that are universally stupid shitting in your food putting a screw in your eye eating glass Oh, Vaughn-Williams! - PMS (1972-Alive!) oh vaughn-williams i never got you they always play "greensleaves" its lame you wrote other things and you drank champagne violinists like "lark ascending" oh vaughn-williams now i'm doing it its hard to stop now i'm like you EE – ee cummings (1894-1962) a total stranger one black day knocked the living hell out of me who found forgiveness hard because my as it happened self she was but now that fiend and i are such immortal friends the other's each The Lyre - Su Shi also known as Su Dongpo (1037-1101) some say music lurks in the lyre why then closed in its case is it dumb? some say the sound comes from the fingers of the player why then on ours do we hear none? Traveling on the Wind - Saigyo (1118–90) traveling on the wind the smoke from the mountain melts into the sky so too my thoughts their end unknown On The Southwest Side of the Sea – Anne Sexton (1928-1974) on the southwest side of the sea we found a little unknown grotto where no people were and we entered it completely and let our bodies lose all their loneliness the walls of that grotto were every color blue and you said "look your eyer are sea colored look your eyer are sky colored" and my eyes shot down as if they were suddenly ashamed Haiku - Allen Ginsburg (1926-1997) looking over my shoulder my behind was covered in cherry blossoms An Untold Million - PMS (1972-Alive!) un untold million screaming children could not steal this moment ah The Southern Room - Su Dongpo (1037-1101) the room is prepared the incense burned i close the shutters before i close my eyes the patterns of the quilt repeat the waves of the river the gauze curtain like a mist then a dream comes to me and when i awake i know longer know where i am i open the western window and i watch the wind No One - Su Dongpo (1037-1101) the sky looked like snow flowers were filling the lake but deep in the woods there was noone White Cat - Allen Ginsburg (1926-1997) i feel like the white cat sleeping on the table he'll open his eyes in a moment and be looking at me i look up at the stars absently as if looking for something else through the boughs and for a moment i see me
29. Addysunn Clement – 9 Months Sober, 12 Months Pregnant (2007)
| Music by Addysunn Clement
Addysunn Clement had a short, unremarkable career as a concert pianist specializing in “no repetoire” which earned him some bookings in Japan where they assumed it was “noh repetoire” and were often disappointed. Addyson Clement recorded a startling 3 billion songs in his brief career but unfortunately in 1972 he had to give up his art and get a real job when he mysteriously became pregnant. Late that year he entered the studio to record his last record, 9 months clean, 12 months pregnant. The track fighting addiction was produced by legendary entertainer Gus Tenderfoot but even before addyson was finished with the fist take Gus had resigned and in a story that has become Hollywood legend Jean-Claude Chablis was in the booth within 10 minutes of Gus Tenderfoot abandoning the project to produce the rest of the record. Addyson was a well known addict, addicted to everything from kratom to clamato to coconut sugar to late night swims to freebasing crystallized carob encrusted in nutmeg. Addyson successfully gave up most if not all of his addictions and gave birth to a healthy baby furball named Assydon Paul Revere Clement, currently the CEO of Revere Latex Imaging. This music is best listened to while painting a room so that the fumes help relax you. Also terrific for listening in the car with stranger passengers.
28. Symphony #1 (2000)
| Music by Peter Stopschinski
Do you remember your first time? I remember both of my first times. One much earlier and more innocent, one with more hunger and intent. I wrote my first symphony in 1999-2000. Its one of my most conservative compositions. I wrote this piece for my father who immigrated from the Free State of Danzig which was a country that existed from 1919-1939. He was essentially Prussian, kinda part German part Polish. He was born in 1930 and by 1939 the Nazis had taken over his town. He spent a full year as a homeless refugee. His childhood was robbed from him by international warfare. This piece is a romantic tone poem describing his story which he so eloquently told in the for of several auto-biographical books. My first symphonies goes out to Dad. The entire piece was written in pencil to score paper while sitting at the spinet in my efficiency apartment in South Austin. All the score and parts hand written. No computers. I had friends and family helping me copy parts by the end of it. Some were very messy! I was writing for 12-14 hours or more each day. I had just been diagnosed with Diverticulitis which is an intestinal disorder and I wrote this piece over 2 months while in tremendous stomach pain and taking tens of milligrams of Vicodin daily. The Vicodin and pain combination gave me tunnel vision and enabled me to work for hours at a time without ever breaking concentration. I was still without internet an cell phone at that point but I’m pretty sure I had a pager but, no constant device/information distractions. Anyway, the piece was later premiered by the Golden Hornet Project at our second concert ever at the Scottish Rite Theater downtown conducted by Ludek Drizhal and performed by many wonderful friends who basically donated their services. This town has been good to me and I have been blessed to have had experienced some of the best qualities of its people. This recording is from the premier performance. Dad and I sat together. It was very special. Best listened to with my dad.
27. Seven 10-Minute Meditations on Distraction (2016)
| Music by Peter Stopschinski
01 Time Enough For Grasping. There is a bell in the distance. It will be difficult to achieve. Sonar calls, whistling pipes, the way becomes more difficult. 02 Pain, Bliss, and Boredom. We are reminded why we need to meditate. The sound of air pressure intensifies. There is a Burning Man Festival in our mind. 03 Thoughts Such as ’Me’, ‘My’, or ‘Mine’. We seem to be on the other side of some kind of scrim. The bells become clearer. Can we hold the gaze of the light? No. The mental sacrificial drum circle returns. Deeply disappointed our breath becomes wet. 04 Seeking to Conceptualize Phenomena. There is Light here. And astronauts. We float closer to one of them only to see our golden reflection in the spaceman’s mirrored visor. We look haggard and worn…but we are smiling a smile full of golden teeth. 05 Intense Beacon of Awareness. There is a glass man sitting on a spoon. He is smoking and playing with his phone. There is a Lunar Lander covered with antennae and gold foil. The man blows smoke and the astronauts check their instruments and radio back to earth. 06 Construction at the Meditation Center. Now there are too many astronauts for comfort. The glass man makes a hasty exit disturbing the spoon which goes spinning out of eyesight. It is all astronauts now, each one with a golden smiling reflection of our Merle Haggard face. Each one with a tiny little American flag on its shoulder. The astronauts are benign but there is no more room for us here. 07 Eighty Portals of Re-entry. In the first room: There is a Swiss international banking consultant there. There are employees and bosses working in the corner over there. There is a drug addict, sex addict long on confidence and ego there. In the next room: There are two school girls. One gives the other half her pb&j. Jimmy Carter is there wearing a hard hat, building a house. He is 195 years old and can barely lift a hammer. Martin Luther King Jr. is there speaking fire and ice. We are here. Pair this album with meditation, sleep, half-sleep, lucid-dreaming, or smoking on the back porch.
26. Rough Night Harp Concerto Live Bootleg Featuring The Louisiana Philharmonic with Peter Bay Conducting and Elaine Barber Solo Harp (2014)
| Music by Peter Stopschinski
Elegance and vanity in dreams. My biggest flaw is my desire to please. I self censor way too fucking much. I really confined myself unnecessarily in composing this piece. I had the impression my music was too “wacky” and “free” for the circumstance of the premier of this piece. Looking back I have to say I really love this piece. It’s easy listening in the most wonderful sense. One of my favorite things about this piece is that is speaks to Elaine and she really plays the hell out of it and that is exciting and fun to watch and hear. Elaine Barber made this whole thing happen and I am grateful. The lovely Peter Bay conducts members of the Lousiana Philharmonic in the Ballroom of the Hilton on Canal St. in New Orleans, La. Someone was shot right outside the venue the night before the performance. Lana and I stayed in a BnB that was formerly a brothel. When Maestro Bay asked me where I was staying I forgot to mention that is was FORMERLY a brothel and I said, “Lana and I are staying at a brothel” and he just sort of nodded his head. This was a great experience and especially fun to be in the Harp Convention which is so vastly different from the Brown Whörnet show at Siberia two weeks before where the opening act didn’t even make it through one song before launching into a tirade and leaving the stage completely wasted, too wasted. The singer was saying “I think I’ve gone too farrrr….” over and over again as his friends let him off the stage. Not so many drunks at the Harp Convention although Lana, Tyler, and Cate were there.
This recording is a bootleg from the front row at the big Gala Concert at the Annual Convention of the American Harp Association in New Orleans 2014. Elaine Barber, harp soloist, submitted my sixth symphony to the programmers at AHA and they liked the piece but needed something shorter since the entire program that night was already getting close to three hours. I turned my symphony into a little concerto and it is lovely. This music is great for driving on the empty highway during the daytime or ice skating in gallerias.
25. I’ve Never Been So Happy – Cast Demo Album (2007)
| Music and Lyrics by Peter Stopschinski and Kirk Lynn
I’ve Never Been So Happy (music/lyrics Peter Stopschinski, book/lyrics Kirk Lynn, created by Rude Mechs)
“Outstanding Production, “ and “Outstanding Direction” – 2011 B. Iden Payne Awards
“Production of a Musical”, “Music Direction”, “New Play Award”, “Ensemble Performance” – 2011 Austin Critics Table
“Best of 2011” – Los Angeles Times, Charles McNulty
New Play Development Program award – 2008 National Endowment of the Arts
Kirk approached me with a “script” saying he wanted to make a musical together. I opened the document and it consisted of a 6 page monologue and a scene that described a dachshund race. I was in. We agreed to work without any plans for a production so we could let the piece dictate its needs rather than our means dictating the scope of the piece. We worked happily for 3 years off and on frequently meeting at inspiring locations like Barton Springs Swimming Pool or at any of the many local hamburger joints. One day Kirk and I were working at my house and Lana, who had been forced to hear us over the previous few years, said she wanted to produce and direct and thus began our journey. Remember, no matter how many cool ideas you have nothing will be achieved without someone who is willing to do the PRODUCTION WORK to make it happen. Lana made it happen for real, in the real world, and people really loved it. Lana grabbed Thomas to co-direct and there was an entire carnival with booths where you could get food or play games and win prizes. It was madness to the extreme. Rude Mechs officially created the stage production and so many great artists and kind people worked on the show. The truth is we all fell in love with each other. It was a magickal experience and I will always be grateful to Kirk for approaching me to go on this journey together. Some of my favorite music and memories. Enjoy the soundtrack to I’ve Never Been So Happy!
Here is Charles McNulty’s Review from the LA Times. Pretty good but he is obviously a little baffled since he is a non-psychedelic-central-texans:0
Theater review: 'I've Never Been So Happy' at the Kirk Douglas Theatre OCTOBER 10, 2011 | 7:01 AM Rude Mechs, the crazy-as-a-fox performance troupe from Austin, Texas, loves throwing audiences for a loop. So for the benefit of any Rodgers & Hammerstein innocents out there, let’s acknowledge upfront that “I’ve Never Been So Happy,” the company’s new musical at the Kirk Douglas Theatre, could potentially give “Oklahoma!” addicts a stroke with its cowpoke sendup of musical theater conventions. This freewheeling carnival of a show, which opened Saturday under the zingy direction of Thomas Graves and Lana Lesley, adopts its air of insouciance with a deadpan mask. Why, our wacky friends from the Lone Star State, last seen at the Douglas just a few months ago during RADAR L.A. with the sprightly mockumentary “The Method Gun,” have returned to host a little shindig. What could be more normal than seeing wieners roasting in the theater’s men’s room and the lobby decked out like a country fair for our intermission pleasure? Thankfully, audience participation isn’t a requirement of this DouglasPlus offering. Theatergoers, however, must be willing to go along with the joke or the mayhem may start to seem raucously dizzying. But for those on the same wacky wavelength as Rude Mechs — and this boldly experimental group has earned its cult following — “I’ve Never Been So Happy” will no doubt possess a cobweb-clearing comic force. The book of this company-created show, featuring the contributions of Kirk Lynn (book and lyrics) and Peter Stopschinski (music and lyrics), contains a helpful description: “A Western operetta in eleven scenes, including: a mountain lion, a long distance phone call, and a race between equal dachshunds all tied together with a length of good rope.” Let me spare you the acid trip of guessing how the various parts of this “story of star-crossed lovers in the vanishing American West” interlock. Annabellee (Meg Sullivan), a regular against her will on her tyrannical father’s “Country and Western Comedy Variety Hour” (think “Hee Haw” spliced with “A Prairie Home Companion”), desperately wants to escape her showbiz nightmare and see the world — you know, “London, New York, Culver City.” Jeremy (E. Jason Liebrecht), suffering the consequences of even more audacious parental depravity, has been exiled from his mother’s commune and tied to a mountain lion. Julie (Cami Alys) explains that she has roped her son to a fierce cat to teach him how to be tough and wild, “respecting the earth and treating all women as if they had claws.” Annabellee’s father, Brutus (Lowell Bartholomee), is such a brute that he feels no compunction to justify his bullying child-rearing practices. A sheriff (Kerri Atwood) is called in after complications ensue, but the task of uniting Annabellee and Jeremy would be impossible without Sigmunda (Jenny Larson) and Sigfried (Paul Soileau), those perky dachshunds whose tendency to affect a stage German accent only makes them more lovable. (Larson and Soileau practically steal the show with their doggie delightfulness.) Rude Mechs specializes in theatrical collages that are less rarefied than the Wooster Group’s but no less eccentric. (The show gives an approximation of what a musical by the B-52s might be like.) The pop cultural amenities of “I’ve Never Been So Happy,” which include cutesy animation by Miwa Matreyek to go along with the cartoon story line, lure us into a world that is unmistakably warped. Bertolt Brecht elaborated the alienation effect to get us to see our social reality with sharper eyes; Rude Mechs takes a friendlier approach, flashing playground smiles to trick us into entering a distorted dreamscape that sheds oblique light on our cultural frontier. My score card lists more points for style than substance. I especially admired the layered production design and the score’s chuckling interplay of cabaret, country and western and operatic forms, performed by an onstage orchestra dominated by — what else? — violins. The show’s zany imagination, however, is overtaxed. (Does the mountain lion deserve such a Wagnerian aria?) The commitment of the cast is a thrill, but the shenanigans have dud patches, and the parody can seem aimless and diffuse. But in an age when musicals are patched together from Hollywood trifles and jukebox castoffs, it seems pointless to criticize “I’ve Never Been So Happy” for lacking substance. It’s no sillier than most Broadway blockbusters, but it sure is a whole lot more original.
24. AMBIENT! (1997)
| Music by Brown Whörnet
Two great landmarks of music were created in 1997: Radiohead’s album OK Computer and this little gem from deep in the Brown Whörnet archives: AMBIENT!. Extremely active ambience. A lovely counterpart to Album #23’s spatial sensations, AMBIENT! (like its all capitals title) screams ambience. The tape is labelled with Peter, Tyler, and Jimi but most likely others participated. Prolly AUNT J or Chef Poonstick. I hear the ASR-10 and the SK-1 doing battle and back then tyler had a cool 8 sec delay pedal. It was only 3 tracks on a 4-track cassette. Perfect listening while driving in traffic or doing laundrytime. Nodes of 1970’s high-brow electronic music and early Kraftwerk. This music is excellent while working on the website or making a spreadsheet. Great with a granola and fruit breakfast. Also works well at the psychedelic afterparty.
23. Deep Layers in the Early Morning – 33minute Meditation (2016)
| Music by Peter Stopschinski
Music inspired by my some of my experiences at NMASS festival in Austin, TX 2016. Really love NMASS curated and produced by Henna Chou and Melissa Seely. Saw some amazing sound sculpture, music, and performance. Was inspired to create this 33minute meditation. After a brief piano introduction we flow right over the edge with the fog and chunks of ice. We are quickly submerged in the dark and deep waters. The diving bell sounds. The mermen sing in the waters but our ears are not physiologically capable of hearing their song properly. The diving bell rings and again the waters fill with echoes of familiar piano music. You hear the sound of voices but not what they are saying. My 4-track is about to break. The motor is super unstable and wont run at a consistent speed. If you feel uncomfortable that may be why. Also, every track in this mix is in constant pan motion moving across the stereo field slowly but with purpose. Enjoy this music when the night has grown long and the conversation has gone low and the mind has turned inward. This music is nest enjoyed very late or very early, alone or with strangers.
22. Catalogue of Spiderfarts LIVE at the Off Center Austin, TX (2015)
| Music by Peter Stopschinski
Moody tones, relentlessly morphing soundscapes and fragmented melodies swirl and lurch around the room in these live performances of the 45 minute graphic score that is The Catalogue of Spiderfarts. I’ve provided both the 7:30 and 9pm performances for comparison. The piece is so very specific yet allows for many freedoms within its silky-webbed confines. Leilah Henley – Flute, Bass Clarinet, etc., Mary Schani – Bass Clarinet, Josh Robins – Electric Guitar, Henna Chou – Cello, etc., Jimi Burdine – Electronics, Eric Roach and Peter Stopschinski – Keyboards, etc. I created the piece when I got my first Pro Tools setup at home running on OSX as a gift from my brother Karl (IheartKarl) I set everything up and collected every musical instrument in the house and just started recording. I recorded hours of sounds and hundreds of layers. I spend the next few years casually editing and exploring what I had recorded. Eventually I edited together The Catalogue of Spiderfarts. A few years later I sat down and transcribed the entire thing into a written musical and graphical score. It was a difficult process. The piece is divided in to 13 movements and each has on average 4 sections so a total of 52 or so unique sections. Sometimes it would take as many as 10 written drafts for a single section before I got it right. I did the whole thing in pencil to paper. We rehearsed for about a month and freakin nailed these shows. The band is amazing and weird and super fun. There is also a book of spider art you can get to go with the music. This music is really lovely for working around the house and for early morning porch sitting. Use sparingly with special friends for interesting results.
21. Delicious Concerto Grosso – Delicious Food (2009)
| Music by Peter Stopschinski
Viola, Bass, and piano play against 5 violins all accompanied by electronics and pre-recorded drums. Hooked on Stopsch or Montevani distilled 25 years in an oaken barrel stored on the beach in the south of France. Actually this music sounds a little east coast to me. Its attitude reflects a little Charles Ivesian New England Futurist. In my opinion, the grossest Concerto Grosso ever is by far Schnittke’s Concerto Grosso #1 (1976) So super good. The soloists are 2 violins and they often play in really close canon at the unison so its sounds more like digital echo than counterpoint. The piano is prepared as well adding these wonderful splashes of otherworldly color. Go listen now on youtubes. This is not that, although I think it is similar in spirit and equally gross. Its more like if Schnittke were writing for a club gig. Psychologically this piece hits on fun levels. It has memories of EDM. It has the palate of classical. It has the casualness of rehearsal. Oh yeah, this is a recording of our run through before the show—the actual show did not get recorded. I love this rehearsal though. We are tearing it up all crammed together in a room at Graham’s house. Its whimsical yet we are still “performing” trying to impress each other. Delicious was an amazing band with Erik Grostic on bass and Ames Asbell on viola and Peter Stopschinski on piano. This was our last gig together, I think, and we were playing with DJ Spooky and Golden Arm Trio at the Mohawk here in Austin. For this show I arranged a bunch of our material into a Concerto Grosso format and we added 5 Violinists to back us up a la Maraiachi. Also reminds me sometimes of disco strings. The music is all compositions I wrote and we developed together. The percussion is all pre-recorded and run off of Qlab. And again a rehearsal. The recording quality is fine and even though you can hear us talking and laughing a couple of times I guarantee you will forget you are listening to rehearsal. I changed the order of the movements from the performance. Its better. Trust me. I couldn’t believe it when I found this in the bowels of my computer. My new favoriteJ Also prolly includes Thomas Vanderbrook, Julie Wang, Elizabeth Warren, gosh I know there were friends there and Im so sorry for not remembereingy:() Pair this album with morning poopy time, coffee and cigarettes, as well as semi-dressy happy hour fundraisers.
20. Wank Tribe – External Braindrive (2015)
| Music by Peter Stopschinski
Excellently recorded noisy, conversational, exploratory-probey, trio rock played from graphic scores and a font that translates text into music. This is another one of those concepts that I got so totally into that I thought I would only make Wank Tribe music the rest of my life and everything else I had done was worthless compared to Wank Tribe. I figured out a system to change text letters into musical gestures so you could actually spell words when playing music. It wasn’t really meant for listening, rather it was meant for communication. I made several prototype fonts before creating the final Wank Tribe Font after which I just totally dropped the whole thing. This recording was made by Chico Jones at the Ohm Recording Facility and has Phillip White-drums, Eric Roach – Guitar, and Peter Stopschinski – Keys.
“Congratulations, you broke music.” – Snoopy Melvin.
This album is straight up speed racer late night marathon drive to Colarado with your best, most hardcore party friend riding shotgun and someone you dont know very well asleep in the back.
19. Valamaranaro Original Demo (2006)
| Music by Brown Whörnet
I don’t know what possessed us. I was living at the Rogge House. There was a huge picture of my sister and her husband holding a cake that said BOOM! pasted to the wall of the entryway. We had a full PA in the living room and we worked and made music pretty much all the time everyday. We were recording with Digital Orchestrator on a Windows 98 machine and I think we had some sweet sounding drum tracks that we had recorded at a professional studio and just started collaging with those and before the end of the weekend we had created the magical and mystical world of Valamaranaro which became the title and first song of the Brown Whörnet album we were working on. This little collection has so many secret wonderful things: Demon’s Story. I just got Jules high as shit and locked him in the bedroom with candles and 4 hours later he came out with Demon’s Story. Good Feelin’ wound up with some humorous massage themed voice-overs on one of the Brownloads. In the evenings at Rogge House we would play croquet. We devised the hardest fucking croquet course in the world complete with sand traps, water holes, jumps, holes, and all kinds of other hazards. At night we wore white and made mystical sounds. This album pairs well with 19. Wank Tribe External Braindrive on that same late night hellride to Colorado. Start with this and then when whats-his-face is really totally passed out in the back move to External Braindrive.
18. Chablis – Kratom Blue (2012) + Live in San Francisco (2010)
| Music by Chablis
So good but…right away shit goes wrong. Just straight off the bat, mess. A lot of people don’t know this but there are only two places in the world where Kratom grows: Vietnam and Caddo Lake. After 8 teaspoons american Jean-Claude looses his groove but then luckily a long drive to Lockhart in Jussie’s Big Blue Truck gets everyone in a pleasant meat coma. Then an authentic Caddo Lake string jam that sounds a bit like the two players aren’t listening to one another until the appearance of a surprising synchronicity. The sun sets so quickly on Caddo Lake. After trapping and eating a feast of Swamp Trout Jean-Claude and Charles head out for drug fueled mischief, get lost, eat 14 more tsp. of Kratom and go hunting. To cleanse your palate I have included a rare all acoustic live performance from an art gallery in San Francisco. Its a 17 minute version Candle in My Mind, all acoustic, in front of a completely disturbed and enthralled audience of music lovers. Jean-Claude broke his foot and Charles got lost in the museum during the show and wound up taking the elevator to the ground floor where he was promptly arrested. Oh, and BTW, SF Chablis are some amazing peeps, Bran(…)Pos, Jason Stamberger, Joshua Housh, Ma++ Ingalls, Ava Mendoza. Jeez y’all really? Listen to Chablis at the pool party/bar-b-que or in the truck or immediately after hunting rodents. Also great when emptying rat traps.
17. Soundtrack to The Orange Garden (2016)
| Music by Peter Stopschinski
The moon drips its creamy light onto the hard round surfaces of the oranges in the trees. Just the tops of the oranges are illuminated creating dozens of tiny crescents of light. The air is fragrant with dung and orange blossoms. In this beautiful scene you are the only thing that does not belong. Soundtrack to a play by Joanna Garner featuring east meets west style music and the lovely voice of Erin Ivey. Chill your load out while writing reports or grading papers or other looky-downy-writey activities.
16. Modern Masters Visiprompter Live @ The Church of the Friendly Ghost (2004)
| Music by Peter Stopschinski
Ahhh…have you ever been in an orgy? Well let me tell you that the key to orgies is to keep your mind WIDE open. Its not the body, it is the mind that will keep you from enjoying yourself in orgiastic situations. I’ve heard that in the 60’s you could have an orgy with anyone at anytime and it was totally cool. Modern Masters pays homage to that time. I spend way to much time creating an animated musical score for musicians to follow in live performance situations and Jimi Burdine would take a little of everyone’s signal and manipulate their sounds electronically live. At this particular show we had quite an amazing group: Bran(…)Pos, Tarantism, members of Brown Whörnet, Benko, Pong, and probably some other motherfuckers Im forgetting. This group really reveled in the weird and kept their minds OPEN in what could have possibly been a socially confusing situation. Also, this was recorded live at the old Church of the Friendly Ghost church in East Austin. The CotFG is currently loved and cared for by Henna Chou and Melissa Seely and they are presenting my Massacre of Spring next week! Link to Tickets
Listen to Modern Masters when trying to impress artsy friends or trying to piss off artsy friends or trying to engage artsy friends or make non artsy friend laugh.
15. String Quartet – Hashish Dreams of the Elder Bach (2011)
| Music by Peter Stopschinski
Johann Sebastian, seeking relief from his chronic gout, visits the local hashish dealer resulting in a psychedelic and fantastic string quartet blur that was created hastily in a couple of days. Join the elder Bach as the colored tracers stream live before his eyes.
I was so happy when I found this on my computer. I had totally forgotten. Technically a string quartet, Hashish Dreams of the Elder Bach was written and recorded in one weekend with a broadly talented group of players. I made short variations on a fragment of one of the Courantes from on of the French Suites of JS Bach and then we just recorded for several hours improvising and trying different things. The end result is this deep and mystical sound simultaneously modern and ancient, western and eastern. This was recorded digitally but I recorded it back to the Tascam 424 cassette 4-track because it seems like I cant not do that. There are some lovely warbles from the old cassette. Bruce Colson and Roberto Riggio – violins, Leah Hesla – viola, Hector Moreno – cello. This is paired best with a tall glass of Basil Hayden’s and a side glass of ice water. In a glass-glass not a plastic-cub.
14. Incidental Music to Rude Mechs – Match Play (2015)
| Music by Peter Stopschinski
This collection of music was created for New York performances of Rude Mechs’ play The Match which i still call Match Play. The first track is the best thing ever. A mash-up mix-up deconstruction of Gilbert and Sullivan’s tune Little Buttercup. I confused the lyrics and created a sort of chorale prelude out of the melody and got the fabulous mezzo Liz Cass to sing some serious business on there and I really think its is just plain magic. The patty duke music is one of my best parodies. I think it sounds just like that classic hollywod style from that era. I added a couple of extras that didn’t make the play: Dissonant Rag and another of my favorite recordings- Anton Weber with laugh track. Rude Mechs is Austin’s premier experimental theater company. There is tons of good theater arts here in Austin but the Rudes are internationally recognized, tour frequently, are published widely, and like most of Austin’s exceptional international and national artists, Rude Mechs are sadly overlooked in their home city. Of course part of it is that experimental theater is not the worlds most popular art form and we live in conservative Texas where they would rather spend that money raising Stevie Ray Vaughn from the dead or voting on privatized transportation. Anyway, they get to travel the world and get commissions from some of the biggest makers of experimental theater that exist so not so bad. This play was made by adapting a dance piece by Deboray Hay who is another luminary in the experimental art world. Match Play is my favorite of all Rude Mechs plays. It is not a fan favorite but it is mine. I feel lucky to know them and get to make work with them. This is best listen to with earbuds while watching someone else’s play. Also great way to make the party a little uncomfortable.
13. The Bloat – Get Bloated! (2012)
| Music by RunPMS and Stin-G Bunion
I’m not sure what to say here. I am so envious of you. I wish I were about listen to The Bloat for the first time like you. You are more lucky than you realize:) Throughout the long history of Brown Whörnet we assumed many alternate identities: Chablis, Aaartfÿstte, Stinky Bunny, Gamblor, etc. In the spirit of that madness I offer you The Bloat- Get Bloated. This is Tyler and I just getting completely stoopid and freaky during one of his visits from San Francisco. I took advantage of a couple of sessions I was recording for other projects and added live strings and french horn in a couple of places. Supr Epyk! The Bloat is goth and dark and psych. The Bloat is completely ridiculous in an ancient and mystical way. The anthem, Fuck The Sun, has some of the greatest and stoopidist lyrics known on earth and the hi-hat is a wood saw sawing a hi-hat. Very dark. Enjoy the bloat while partying or trying to impress a future lover. Put on makeup and enjoy this album while having sex.
12. Soundtrack to Allegro Non Troppo (2004)
| Music by Peter Stopschinski
Allegro Non Troppo. First off. Its totally live at the original Alamo Drafthouse on Colorado St.. Second off. I was a little bored with the pristine nature of the whole thing SOOOOO…. I recorded everything back to the cassette Tascam 424 4-track and I used a tape preciously mutilated by Jules and Jimi and me [we sprayed some contact cleaner on it and “crumped” it a little] so what…. oh…I also played it back at a slightly faster speed. So impatiente. So it sounds like a strange old record from a forgotten time or maybe the soundtrack to a silent film played at the wrong speed. The only thing that gives it away for me consistently it the sound of the digital piano. Anyway, its still live and the band is awesome. Chuck Fischer-Marimba, Steve Bernal-Cello, Erik Grostic- Bass, and Peter Stopschinski- Piano. It was the soundtrack to the animated italian answer to Disney’s Fantsia. A film called Allegro Non Troppo that was animated and used classical music. Like Fantasia it also had live real-people orchestral interludes that wnt a little more like Fellini’s The Orchestra. Anyway this is a cool listen. Weird tape hiss. Warbly instruments. Liks that are a little too fast. A wild ride in a mild cafe sense. HERE’S THE DEAL REALLY: I was intermittently mixing this live-from-the-soundboard recording and trimming trees with a 30-foot pole with a saw on the end and a tiny electric chain-saw and I would come inside all sweaty with that little chain-saw buzzing in my ear and I would think, ” This cafe music sounds to fucking clean” so I started editing it and freaking it out. Thats the god’s honest truth people. Cause what it really lacked in that direct from the soundboard recording was ambience. You know. The ambience of musicians playing in a room and how all those frequencies mingle. Now it has plenty of ambience and tape hiss. Enjoy this album while reading a magazine in the airport or doctor’s office. Also great during drinks before dinner.
11. Written PEas (2008)
| Music by Tyler Harwood, Peter Stopschinski
This is just pretty much perfect. Recorded between shows in Oakland and San Francisco as totally different personas: Gus Tenderfoot and Gary Stardle (lounge singers), Chablis (the first incarnation when we were a little more cajun), Aaartfÿstte (drums and bass hardcore) and a quadraphonic electronic noise set. Somehow this didn’t bother me so much with its cleanliness. I guess the sound palate is nasty so the clean recording is less offensive? I don’t know. The “Written PEase” song was scored out in advance on paper and we recorded from the score which included mic placement and real time mic movement while recording a la Stockhausen. Also, the last track was actually a soundtrack to a digital slide show i made using pictures from the tour and text overlay telling the story of a young woman’s fist trip to San Francisco. Not sure.. anyways/. Some of this stuff was used in the quadraphonic noise set and we made sounds over it. Especially the “wind” piece but it sounds good by itself. Shit. It all sounds good! Just two sensitive-to-the-organization-of-sound buddies making soundz. Perfection. Listen to Written Peas while weighing drugs or in line at the pharmacist. Great with spicy food.
10. Aaartfÿstte Original Cassette Demo (~1996)
| Music by Tyler Harwood, Peter Stopschinski
[Pronounced sorta like “Art-fist”]
Tyler turned me on to the Japanese band The Ruins who blew our minds regularly. Later I found out The Ruins were inspired by the French band Magma. It turns out Christian Vander who composed all the Magma music was inspired by Stravinsky Les Noces. Man, it all comes back to Stravinsky somehow. Aaartfÿstte was inspired by The Ruins and we had a total blast freaking out and playing this music as a 2-piece bass/drums band. Its freaky, fun, epic, and hard. Recorded to a Tascam cassette 8-track sometime in the mid 90’s. So difficult to remember exactly. We were constantly starting new bands but Aaartfÿstte was one that stuck. This cassette has an amazing silver embossed picture of a fist on a black background and Tyler handmade each copy so there are very few out there. Enjoy rock!
PS I don’t remember the names to all the songs!! Tyler is gonna text me soon… This album goes great with friends and driving large passenger vans around the country. Sounds perfect on college radio and pirate radio.
9. Soundtrack to Saturday Morning Massacre (2012)
| Music by Peter Stopschinski
The film was a parody of Scooby Doo but like a Scooby Doo episode where Shaggy got some seriously angry meth-acid and shit just goes entirely wrong. This soundtrack starts off very atmospheric in a more “haunted house” style and then gradually becomes more of a “slasher” style aggressive sound. We only had 2 weeks to make the entire thing. Spencer Parsons, director/writer, would come over in the mornings and we would work most of the day. One morning as his ride was dropping him off and he was getting out of the car with his arms full of things, coffee, binder, bag, etc. he accidentally slammed his hand in the car door (I watched all this go down from my porch) his reaction to slamming his hand in the car door was to shake his hand violently in an “Owwww” type gesture. The only problem was that the door had actually split the skin of his finger open so when he shook his hand he sprayed blood all over his friend’s car. An obnoxiously huge splatter of blood all over the side of the car. He was totally ok but what a great day to start off mixing a horror film!!! Listen to this soundtrack while making the day’s to-do list or while deep cleaning the bathrooms.
8. Symphony for Large Rock Band (2002)
| Music by Peter Stopschinski
Starts out with a distorted guitar and opera soprano in unison, playing whole tone and octatonic melodies. Moves from ambient soundscape to rock to noise to avant-garde classical to prog without blinking an eye. Loopy and free. A recorded full length concert dance piece commissioned by the fabulous Ellen Bartel for her Spank Dance company. This is a sprawling mix for my industrious little computer at the time. It was all made on my Windows 98 machine with Digital Orchestrator and some killer musicians. Gary Chester and Jason Craig – guitars, Chuck Fischer, Phillip White, and Graham Reynolds – drums, Sara Nelson, Leigh Mahoney – cello/violin, Kris Olson – soprano. just nutso. Recorded with terrible mics and no pre-amps. Just raw digital signal. No plugins either. Well, no non-destructive plug-ins. Plenty of destructive plug-ins. Basically like working with tape. Ellen had me record samples of the dancers telling stories about experiences with color and I kept a few bits of that in the album. Getting real spiritual towards the end with a low/high frequency climax and a simultaneous fade out and overdrive. This album sounds really great driving home after rock shows and also at the after party; but later in the evening when the real intimate action is just about to begin.
7. Herr Meyer: Complete Works 1930-1962 (1998)
| Music by Herr Meyer
Grueling, metallic, digital noise. Aggressive, unpredictable, predictable. Sometime in the late 90’s Stin-G Bunion made Gustave Holgurtz. Herr Meyer was my response album to Gustave. It was freaky Stin-G B. that introduced me to noise music. Ah, noise music. Changed my life really. Or was it the messy path for which I had always been searching? Through my decades making music with Brown Whörnet peoples we made so much noise. Boxes of 4-track cassettes. Dusty crates full of bleeps and bloops. New sounds, new combinations. Once you start talking like that you sound like an academic but the verbiage is true. However, in the late 90’s my brother Karl got me a computer with music software. Mind blowing!!! This music was all made on a Windows 98 machine using Digital Orchestrator DESTRUCTIVE audio editor. That is right! Pure destructive editing. Pretty much just like magnetic tape. Once you cut–that shit stays cut. Like a frat boy at his first frat party I way overdid every fx parameter and editing technique just to see what the fuck would happen. This is what happened. Herr Meyer is best listened to alone. Include one of the shorter tracks on a mixtape for extra wtf-cred.
06. Soundtrack to the 1922 Danish silent film Häxan (2003)
| Music by Peter Stopschinski
Häxan means witches or witchcraft. One of the greatest things about listening to a soundtrack separated from its film is the flow of the music. When the flow of the music is allowed to come from a source external to the musicians and the musicians are forced to react to this—ah magic! This is a live recording from a Halloween show at the original Alamo Drafthouse on Colorado St. I made a completely freaky soundtrack to this film which made use of the music of Corelli and Rochberg and lots of graphic noise. Slow, dissonant, atmospheric but not always ambient. Fits nicely in the Horror Film Score genre. This is a live recording with sections mixed from the two performances by Jimi Burdine. The band was totally amazing: Alex Coke on flute, bass flute, percussion, and fx; Ames Asbell on viola; Chuck Fischer on Marimba, timpanum, drums; and me on piano/synth. The film also feature narration added later by William S. Burroghs which we used and you can sometimes here his phantom voice floating through the pics during quiet moments. This film is very creepy and campy and the soundtrack reflects that with more emphasis on creepy:) This is great just about any time or anywhere while people are awake. This is not good sleeping music.
05. Tyler Hearts Lenny Kravitz (~2000)
| Music by Tyler Harwood, Julien Petersen, Peter Stopschinski etc.
Are we the worst DJ’s ever? I mean, this doesn’t even mean anything. I know it was late at night and there were at least thee of us at the Rogge House although probably Jimi and Pflap involved in this somehow. Played a rocking Brown Whörnet show somewhere and partied all night and we had a makeshift DJ setup in the living room with samplers and such and we just zoned out and made this destruction of kravitz. Bizarre, out of place, stupid. You will love or you are wrong. This is fun with strangers in the car or at parties.
04. The Dissonant Romantics (2011)
| Music by Peter Stopschinski
Commissioned by one of my favs, Andrea Ariel. This is a live recording direct from the soundboard from one of the performances. Our band was so tight every night. Almost always perfect and when we weren’t perfect it was possibly even better:) Im just going to post this review which really creams all over us:
Andrea Ariel has probably made dance in Austin longer than you’ve lived here, and for almost two decades, her Ariel Dance Theatre has taken on some considerably larger-than-life subjects. In this original production, Ariel and her dancers, includingher frequent collaborators Steve Ochoa and Adriene Mishler, create a dance of our hidden universe, of those things we cannot see and those things perhaps only imagined. Quarks, black matter, aliens – you know the drill. The dancers are accompanied throughout by Peter Stopschinski, who conducts an orchestra of five executing his entirely original score.
Calling an ensemble of five an orchestra may sound strange, but their sound is nothing short of orchestral. With Stopschinski on piano and electronics, Henry Q. Vines on bass, Chuck Fischer on drums, Leah Nelson on viola, and Thomas Echols on guitar, the ensemble ranges broadly over styles and produces a dynamic and versatile sound as grand as the subject matter. Contributing mightily are Fischer’s booming, emotional percussion and Nelson’s dissonant, frantic strings. And make no mistake, Stopschinski conducts his musicians to accompany the dance, observing what is happening onstage and ensuring that the music works in concert with the movement. It’s a solid hour’s worth of stirring sound and a truly grand achievement.
I often found myself watching Stopschinski and his orchestra rather than the dance. It’s quite possible that this was purposeful on Ariel’s part. Ariel and her production designers, Natalie George and K. Eliot Haynes, have kept the Off Center in its usual proscenium configuration, with the audience on one side and the stage on the other. Stopschinski’s orchestra is upstage on a wide platform and backed by a scrim, and the dancers primarily use the space between the orchestra and the audience, sometimes moving up onto the platform behind the orchestra, sometimes moving behind the scrim and appearing as shadows. Designer Kari Perkins has costumed all the dancers, three men and five women, in close-fitting tops and flowing skirts, and Ariel has choreographed long sections of the dance with lateral movement, going back and forth between the walls of the theatre. Now consider that almost everything you see is white – costumes, stage, scrim. With eight dancers moving laterally in white skirts against a white background, I often didn’t know where to look, and while the universe and the things that happen in it can certainly be seen as a collection of quarks bouncing around and off of one another, combining to create different forms of existence, I longed for something more solid to rest my gaze on.
That ended up being the orchestra, not just because of the dynamism of the musicians or Stopschinski’s focus and precision, but also because the musicians weren’t all quite dressed in white. And it’s not that things in the dance itself didn’t stand out – Ochoa and Ariel have a brief duet together, and they dance so serenely, like two people who know each other well. Also, I sometimes saw animals and other recognizable forms rise from the mist, but I wanted more of a reason to watch those dancers because it really is a grand idea. It’s certainly grand music. And who knows? It might just be the grand theory of everything between.
Listen to DisRom while driving or walking or jogging. Great after dinner or after the club.
03. CD madnASS (2003)
| Music by Peter Stopschinski, Carolyn Cremona, Jimi Burdine
Pretty straightforward here. Carolyn and Jimi and I sitting around partying, scraping and otherwise defacing random cd’s, trying to play them on the cd player and recording the results to the Tascam 424 cassette 4-track. At times familiar strains stutter past you on violent waves of ruthlessly mechanical musical errors. We spent a decade or so in that house making music most nights of the week. Getting practicing, recording with the 4-track, partying, writing and recording so much music. So much noise music in particular. This is definitely noise music. This is difficult music to listen to while driving in rush hour traffic but it makes a good story. Talk about this album when trying to impress a new music friend.
02. SYMPHONY #5 LIVE (2006)
| Music by Peter Stopschinski
My fifth symphony was assembled from the soundtrack to a film about a lowly country boy who falls in love with and then becomes possessed by a chicken. He ends up going into full angry chicken mode and killing some people. It’s a little fucked up. It’s called Chickenfüt written and directed by Harrison Witt. I scored that film and then turned the music into a symphony premiered at a Golden Hornet Project show at the Off Center in September 2006. There are 5 violins, 1 viola, 1 cello, 1 bass, trumpet, trombone, flute, and I used Josh Robins on Electric Guitar and Banjo. Oh and I’m playing piano and Brent Baldwin is conducting. Probably forgetting some shit but it’s been a while and my memory is fuzzy like my robe.
This is great late at night just sittin’ and thinkin’. Also great out at the state park in the late evening as the stars come out.
01. Soundtrack to the Rude Mech’s FIXING KING JOHN (2013)
| Music by Peter Stopschinski
Busting out the RUNPMS BACKLOG SERIES and for the opening release I choose this Alt-Renaissance classic: The Soundtrack to Fixing King John. Alt-Rennaissance. Eric and I spend many lovely afternoons exploring this new ancient reckoning. The ancient cousin to yacht rock. The soothing recorder to the harsh flute. The pleasing mandolin replacing the annoying guitar. Lyrics taken from actual medieval drinking songs. We created an enormous amount of music for this thing because we actually made all the pre show music from scratch as well as the show music. Here is collected the greatest hits:) King John is the first in Kirk Lynn’s series of plays called “Fixing Shakespeare” where he takes Shakespeare’s least popular plays and spices them up a little for our modern sensibilities:) Premiered November 2013 at the Off Center in Austin, TX. I created the Alt-Renaissance genre especially for this soundtrack. I was inspired by the flute playing of Black Sabbath’s Tony Iommi mixed with a little bluegrass vibe and some heavy noise and drums. Big buddy Eric Roach helped a ton on this’un. Enjoy!
“Lynn has injected one of Shakespeare’s least performed plays with a dose of vitality that brings it vibrantly and hilariously (back) to life.” — Austin-American Statesman Review by Cate Blouke
“It’s clear that King John wasn’t fixed so much as MacGyvered with a rusty nail and a broken 40 oz. of Mickey’s.” —Arts + Culture review by Phillip John
“This loose and gangly treatment of Shakespeare’s history is both remarkably original and fiercely energetic.” —Austin Chronicle Review by Elizabeth Cobb
Fixing King John tells the story of one of history’s shittiest kings, so self-obsessed with his own legacy that he drives his country to war, is willing to kill women and children, and rejects the authority of God and church. But even within King John there is a drop of sweet honey. Will he find a way to redeem his rule before his kingdom collapses? You can’t go wrong trying to find out. Whether you know Shakespeare’s King John backwards and forwards, or simply want to see the best contemporary drama, attending Fixing King John will fix everything that’s wrong in your life.
Warning: Lots of “F” bombs.
Enjoy this soundtrack while drinking keg beer waiting for a play to start or smoking in the car outside the renaissance festival.