Tripecac - Aerosol Concrete (2014)

  1. Snail Space [2:17] 2014-02-13 - 2014-04-07
  2. Drumidea [6:24] 2014-04-14 - 2014-05-11
  3. Tripacat [7:15] 2014-05-17 - 2014-06-04
  4. Same Old Trip [4:31] 2014-09-01 - 2014-09-10
  5. Big Bad [5:44] 2014-09-11 - 2014-09-16
  6. Repeatish [4:50] 2014-09-17 - 2014-09-24
  7. Happiless [6:55] 2014-09-30 - 2014-10-06
  8. Bad Sector [6:09] 2014-10-09 - 2014-10-22
  9. Reggaer [6:15] 2014-10-23 - 2014-10-31
  10. What I Call [5:58] 2014-11-04 - 2014-11-17
  11. In This Song [5:52] 2014-11-18 - 2014-11-27
  12. My Hair [7:10] 2014-12-01 - 2014-12-08
  13. Aerocrete [5:17] 2014-12-11 - 2014-12-15

This album is a collection of songs based on ideas that I had originally recorded on my digitial camera, starting in 2010. When I was working on it, I really enjoyed having those "seeds" of ideas to play with; there are few things as daunting (creatively) as a completely blank slate, at least to me. Also, since most of the song ideas had lyrics, this album gave me an excuse to record more vocals than I have in years. This equalled more fun for me, though maybe not for you. Oh well, that's why this is a hobby and not a job!

The album title, as usual, has multiple meanings. The first is a reference to a phrase that my parents misheard when I was a kid. I was playing a wargame called Air Assault on Crete and my parents thought I was saying "aerosol concrete". They thought it (or me) strange. (Did you know there's actually such a thing as aerosol concrete? I didn't, until after I started this album.) Anyway, the notion of "mishearing" references the task of listening to those camera ideas and then trying to reconstruct them for Tripecac. I was frequently wondering: Am I hearing them right? Am I capturing the coolest bits, or the lamest bits? Am I butchering or neutering them? Of course, no one really cares, except me. Well, actually, including me.

The second meaning is a reference to the way I worked on these songs. Ideas shot out quickly (like a spray) from the camera, onto the virtual "canvas" of my audio projects, but the editing of those ideas took a long time, usually several days. Waiting for a song to become "good enough" to declare finished (by Tripecac standards) was like waiting for concrete to dry. And a lot of times, I felt like I was waiting, playing a minor role in the decision making. But it was still relaxing, and, at times, fun.

Just like a parachute drop onto Crete!