electronic

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.

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New #MIRS single on Jan 7th, 2014

The second single from the upcoming Mirs, MEAT ON YOUR LONELY BONEZ ep, will be available 
on Jan 7th, 2014.  

Since this is a concept EP, I struggled with the idea of letting them go as singles, but, whatever brah.

Come back in a week and pick it up at your favorite digital store.  The whole EP will be available late Jan or early Feb.  However, i might release another single from it, which will spread the whole item out.  Yes, it is made to play in order, but, I am just one man, in a world full of men.  And women are a whole lot better then men B.

Here is the cover art, done in collaboration with my man man, Ali Sabet.  Check out the rest of his world here.

liza_mirs1400.jpg

 

Summer of 08 - a throwback to a simpler mindframe

Adding to the universal catalogue of #tbt for the first time, I thought it a great opportunity to join in and contribute to the grand fall of civilization. 

Sometime in 2007 was my first time forming a band with more than one person in it.  And in the summer of '08, it was the first time I wrote songs with lyrics and the first time I tried to produce an album on my own.  My bandmate Art came aboard as well to try his hands behind the instruments as well.  And this was all first times for me because music is not my first endeavor.

I had co-produced my first instrumental Shanks and the Dreamers album (A DAY LATE; INSTRUMENTALS FOR ILLEGAL ALIENS) a year before, but this was different.  This one had vocals, this one had songs.

It was a crazy time, and a crazy pursuit, since I didn't know much about the recording and post process (A DAY LATE was mostly recorded live with one takes).  I was also in grad school, doing film/video projects and maintaining a job that I might discuss at a later date. But, I went in and got down with recording anyways.  And I'll admit it, the overall mix is not very good.  But, that's with that hindsight knowledge.  That’s that aftermath bullshit.  

When we wrapped the mix, my bandmate Art traveled to NY to Masterdisk to get it mastered since my schedule wouldn't allow me.  And at the legendary Masterdisk no less, home of some of the best mastering engineers in the world.  I can only imagine their auditory horror at this lo-fi, hodgepodge, too often mono mixed, crazy bedroom album.  But, shit, they took the money.  And, it ended up sounding mostly better. And, I still love some tracks on that record.  

If I had waited to learn everything, I would never attempt to take it on with reckless abandon.  Once you think you've learned enough, the world starts to simultaneously slow down and speed up in the most inopportune ways.  You become overly cautious.  Don't do that to yourself.  Just get in, and do it.  Regret it later.  Learn from it.  And, take that leap again.  You'll never learn enough.  That's the idea, the beauty of creative pursuits.  

Once you become a PRO, you're an industry.  You appease the mass because you expect that paycheck, but you're no longer relevant in the absolute sense.  You're the status quo.  In the hip hop metaphor, you’re basically rhyming about mad money in every verse because that’s your only reference point.  The industry.  So, have fun in your obscurity.  It's the greatest time you have to take on the world. 

This was the video for HUSH from the SHANKS AND THE DREAMERS album MY DARLING DIA.  This was one of the better produced tracks.  Well, at least the stereo image is fuller.  It features my good friend Stephanie Lambert, was produced by myself and Art Toussi, and I shot it mostly in my bathroom.

If your still interested, these are some of my favorite tracks from that album; EXTRAORDINARY MACHINES, HUSH, CAMEL CRUSADER, 777, CHARLIE GET A JOB, WHITEHOUSE ( trivia, the instrumental for Whitehouse was used in Rick Curnutt's fantastic film, Free Lunch).