MIRS

Hafiz Drinks from the Cup of Time v1 - MAN (Original Motion Picture Soundtrack)

The first release from the MAN soundtrack is from the quietly embedded MIRS track, HAFIZ DRINKS FROM THE CUP OF TIME V1. The full soundtrack releases early next week on all major platforms featuring the works of Chicago musician Stephen Holliger (swim ignorant fire).

The feature film MAN is officially live!!!!

Here it is! The second of three releases of the THREE MARKS, TOO MANY SIGNALS series. Only available on Vimeo On Demand (worldwide) over the weekend, then Amazon Prime (US/UK), and then the rest of the digital platforms.

I wouldn't tell you how to watch it, but I do think a solitary experience heightens the effect, preferably with some headphones. 

The film is experimental in the structural sense, so, come with open eyes and let it unfold at its pace. 

$2 bucks to rent. $7 to buy. A steal! 

Enjoy luv. 

(ps: If you were part of the IndieGoGo campaign, we got cheat codes :) )

Things and Such....

Project Updates:

Planning to start our release cycle shortly, which includes multiple media types.  On the film side, we have gotten multiple offers on the two films but none of them seem favorable to someone trying to retain rights all while viewing things in on a longer cycle. This is a game of leverage, and I'm perfectly comfortable waking away even though I have to rely on my own platform. Which is the great lesson of our time. Build your platform. 

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RAINBOW SEASON LP & A Dark Desert Drive with No Lights

It's been a decade since I released a "full length" record. The first time up, I was just learning music production. I had never recorded anything myself before (not entirely true; I had recorded a short film score ((STILL LOVER)) on a portable multi-track), and my understanding of the process was from what I gleamed from observing my friend produce my first record, which was purely an instrumental one. While I had some production credits on that, my role was in composition, instrumentation and performing, not in tracking, or any of the studio stuff associated with recording records. Up to that point, I had been in and out of bands, mostly just playing electric guitar. But the opportunity appeared because I felt like I could do it. The thought just sprang up in my head, and like the field of dreams, it had to be done.  

It was an intense ordeal, since I had no clue, and was left to learn everything myself, from the ground up. But that process taught me an invaluable lessons; that if you want to do something way outside your competence, it can still be done. Dive head first, break shit, learn, and if you're still excited, do it again was the ethos. You have that bounce back energy with youth & there never is anything to lose. Time refines process, but process comes before quality even after refinement. You never really know quality (it's an intangible), but you always know process & that's easier to refine. 

My time in music happened in a similar way to filmmaking. It was the start of the digitalization of media. Computers and soundcards and emulation and plugins and as important, digital aggregators where making the home recording possible, and the barriers to entry affordable. All that was left was the energy, the desire and the doing.

In 2007 I released a short instrumental record, A DAY LATE: INSTRUMENTALS FOR ILLEGAL ALIENS under my project alias at the time, SHANKS AND THE DREAMERS. My friend Ray P headed the production. He had recorded a couple of DIY albums (they still hold up) for his own projects and was a super fan of Steve Albini's style and methodology. We did the tracking in a music space (Bassland Studios) in Santa Ana California headed by OC electronic music pioneer Alex X. from the project of the same name BASSLAND (location where I shot a film called "my break ups into a million pieces"). A DAY LATE had six tracks and it took nearly 2 years to complete. Scheduling the sessions, mixing, tracking, school, work, and balancing my first love, film, expanded the production cycle way past what I had anticipated.

As a son of first-generation immigrants, my life seemed completely foreign and wayward to my parents. They had no idea where I got my interest in music, as I had never played an instrument before, except after high school, while in college, picking up my first guitar while I studied at UCLA.  Though the seeds were planted much earlier, and maybe I'll write about that in a different time. In any case, all was upheaval. It's hard to transpose an understanding now, to how things were. At that time, my choices were limited, because my understanding was completely limited. So, I could only see two viable options. Go back to school, or work at a coffee shop for the rest of my life (this binary seems incredibly naive and silly, but I suppose that's how it looks for large swarms of people). There were no career aspirations in art, even though all my time was spent doing it because I was disconnected from that reality even existing. It was an impossibility. And of course, that impossibility was just an illusion. But an illusion is no different than a reality, without the tools to break through.

In any case, and to the relief & constant campaigning from my parents, I headed back to school for a graduate degree. This experience made me an advocate at dissuading most from going through the same mistake. It is part of my story, and I would not change it in any way, but when asked, I offer the truth. And that truth is that for the majority, there are much better options and routes. 

And that leads me the last full-length record I did many years ago. A month after I shot my thesis project, I recorded my first full-length record under SHANKS AND THE DREAMERS (it had turned more or less into a band at this time), "MY DARLING DIA". It took a few intense months of education, assembling the tools, learning the programs, writing the songs, and tracking.  And all of it was a giant fuck up for the most part. But it was the single greatest music production lesson I ever learned. It was a condensed, intense education, full of "Skin In the Game" and no help or resources other than my partner at the time (Art Toussi) and localized friends in the scene (bands) and of course, the web. To my giant relief, almost every question had an answer on some forum once you filtered through the arguments. And some of the tools I gathered for that project still sit in my studio (music hardware lasts much longer than the digital stuff). Here we were, a local two-piece band out of Orange County Californian, self-producing an entire record, sitting in one of the top NY Mastering Studios, where a single compressor cost more than the whole production & still completely clueless, but feeling accomplished & wild-eyed. Oddly enough, neither of was thought of ourselves as musicians really. We both had wholly different lives with trajections that had nothing to do with music.

Which leads me to this. My first full-length record under my project MIRS, RAINBOW SEASON is coming out later this year. While I've been recording EP's and singles for the last several years under MIRS, I had assumed that a full-length project was out of the scope, as each EP was thought of as my last time recording (interestingly, music had always been regulated as a side project until the last couple years when I dropped compartmentalizing everything).  But, with time and refinement usually bring in something else. Help. And ever since CANYON, MIRS has had lots of help. So what was once a solo endeavor now has the assistance to take the means of communication into another space. 

And that all changed because one thing was missing. The desire to repeat & expand the process, something that I had always wanted to do with this new project, but never allowed myself to go all the way. It was another glass ceiling. That's what they always are. 

It took a long time to get to CANYON and the merging of music & film, but not surprisingly, it's just another beginning.

 

 

 

 

MIRS

For the last couple years (actually, since the beginning of this), I've compartmentalized my music projects and my film work into separate spaces. And, I'll continue doing that, but with some important changes.

For one, MIRS is turning into as much a visual project as music, but with music as its fundamental core. The last record we did, CANYON, was a visual album and the imagery was co-tangent with the music. It played as a dual narrative.

In fact, I have been trying that since I started MIRS, with the debut release, SPIN CYCLE. But, I came short of the resources required to pull that off. That was essentially a visual album (before that became a mainstream thing), without it ever becoming a visual album, strictly because I couldn't pull it off (resource wise). Truth is, an idea is just an idea, and they are a dime a dozen.

Every time I start writing music, I preface it as a final act. The last record was supposed to be the final songs I write, and then, this last single, MOONLIGHTING MISSION MAN became the last piece of commercial music I write. Eventually, there will be a last, but I think I'm do for at least one more effort, as a new concept came my way, and I want to attempt bringing it to life. This feeling might change, but, my mouth doesn't want to shut yet.

Though, this one has larger ambitions, which means, I will be up against bigger barriers.

We would love to have you follow us on Spotify, so hit that link below.

Updates to the Static Website 1.0 to a 3.0 World.

It's apparent that I hardly ever update this website. With all these platforms vying for your attention in exchange for tools, the old web 1.0 website is a lonely place. My last post was in Oct. 🙄

However, I think it's time to share some information.

A) CANYON, a project under MIRS Is coming in several mediums. Very, very soon. We locked a date, but I won't say.
B) Feature film MAN is in the final stages of Post Prod
C) Feature film THREE WORLDS is shortly behind but rushing to completions.

Several other projects are in various stages of development with one going up soon.

For CANYON, we teamed up with the incredible Ali Sabet who is painting five original works of art as part of the CANYON package. The original paintings, plus a very limited number of prints are available to own.

Pricing/availability is coming shortly.

With that, I'll leave you the first two trailers for this special collaboration.

Sabet + MIRS collaboration video campaign shot by Mahyar Alahyari  . Series produced by ANIMALS.