Country Doctor Museum
Release Show January 5th 2008, Joe's Pub 11:30pm

I'm very pleased to announce the release of The Lisps' debut full length album, Country Doctor Museum. We've been working on this for a while and I'm very pleased with how it came out. Here's what I have to say about it:

1. The album puts on display the anatomy of relationships while using the distorted understanding of science as a metaphor for the nostalgic confusion of true love.

2. Peter Evans plays some amazing trumpet.

3. The release show is going to be a very elaborate performance featuring guests and all sorts of hijinks,

4. Buy your Tickets as it will sell out.

5. Buy the album before the show and you'll be able to sing along.

6. here are some mp3 for you:

The Lisps [mp3] - Heaven
The Lisps [mp3] - The Familiar Drunk
The Lisps [mp3] - Documents
The Lisps [mp3] - I'm Sorry


Luke Winslow-King Thursday @ Union Hall

so my dear friend (and former lisp) luke is playing at 9:30 on thursday the 30th at union hall, followed by the brilliant Mia Riddle. I'll be there. You should be too.

Luke's songwriting is quite literary and exceptionally moving. His knowledge of the old ways is unending. He's the only actual rambling man I know.

These are two videos I took of him in NewOrleans when we were on tour.


Savoir Faire...

It will be a night of sublime musical moments.

Friday August 10th
we'll start at 8pm @ Fontanas 105 Eldridge btwn Grand and Broome


El Jezel

Vermillion Lies

The Lisps

All night
Dj Ladybyrd


Cyberpunk & The Cybernetic Culture Research Unit

So I've taken to trying to understand the bizarre stylings of the Cybernetic Culture Research Unit (CCRU). While many of the words and connections elude my attempts to parse them into familiar modes of cognition there is something about the blurring of thought space science culture and fiction that makes the most perfect sense. (verbal technobatics and all)

"Cyberpunk torches fiction in intensity, patched-up out of cash-flux mangled heteroglossic jargons, and set in a future so close it connects: jungled by hypertrophic commercialization, socio-political heat-death, cultural hybridity, feminization, programmable information systems, hypercrime, neural interfacing, artificial space and intelligence, memory trading, personality transplants, body-modifications, soft- and wetware viruses, nonlinear dynamic processes, molecular engineering, drugs, guns, schizophrenia."

"The impetus is not so much inter- as anti-disciplinary, the concrete problem being the freeing up of thought as synaptic-connectivity from its prison as subject-bound logos. Following flows where they want to go leads not into random noise but out onto what Deleuze and Guattari call the plane of consistency . 'If we consider the plane of consistency, we notice that the most disparate things and signs move upon it: a semiotic fragment rubs shoulders with a chemical interaction, an electron crashes into a language, a black hole captures a genetic message... There is no 'like' here, we are not saying 'like an electron,' 'like an interaction', etc. The plane
of consistency is the abolition of metaphor; all that consists is Real.'"

We should start with Sadie Plant.

And this article: Writing Machines by Mark Fisher (quoted above)


Savoir Faire (part deux)

I'm very pleased to announce the second installment of Savoir Faire.
Savoir Faire is a magical event which features 4 brilliant female fronted bands.

We Lisps will perform along with Mattison, El Jezel, and Vermillion Lies (who will be on tour from california)

And DJ Ladybyrd from WhoNeedsRadio.com will spin throughout the evening

Friday August 10th
we'll start at 8pm @ Fontanas 105 Eldridge btwn Grand and Broome

do come.


Red and Blue

Composer Zeljko McMullen just posted his new double album Red and Blue.

It's a formidable amount of music, and wonderfully crafted. The recordings are binaural and best listened to on headphones. However I got a chance to listen to Blue in a 10.2 ( i think) speaker arrangement. I haven't listened to every track but here are some things it makes my think about.

1. Hypnosis
2. Mental Transport
3. How does the emotional intensity of sound operate in relation to volume.
4. Bass Fatigue/Addiction
5. I think I'm very well suited for the recorded version rather than the installed, because I have a hard time with loud music in general (aka low threshold of pain), but I also don't completely like headphones, because a major aspect of these pieces is bodily.
6. The intense bass is what at times gave me the most pleasure and at times drew me out of the music.
7. The spaces between the pieces can become very enjoyable.
8. memory = resonance
9. commitment to a certain sound world.
10. vertical musical form?

[mp3] - Zeljko McMullen - diffusion (from Red),
[mp3] - Zeljko McMullen - blue (from Blue)

Also check out Zeljko's other projects Sadjeljko and Shinkoyo


Moving Beyond Kyoto

Al Gore's op-ed in the New York Times, is chilling. He is definitely trying to invoke a sci-fi-esque global call to arms which perhaps will resonate with our nation of "Armageddon" fans. I don't know if people will catch on until the sky actually catches on fire and you need a scuba tank to get to your wall street job.

"In the last 150 years, in an accelerating frenzy, we have been removing increasing quantities of carbon from the ground — mainly in the form of coal and oil — and burning it in ways that dump 70 million tons of CO2 every 24 hours into the Earth’s atmosphere.

The concentrations of CO2 — having never risen above 300 parts per million for at least a million years — have been driven from 280 parts per million at the beginning of the coal boom to 383 parts per million this year.

As a direct result, many scientists are now warning that we are moving closer to several “tipping points” that could — within 10 years — make it impossible for us to avoid irretrievable damage to the planet’s habitability for human civilization."

full article here...


Animal Feet, Infra-Sound, and The Destruction of Humanity?

I had a wonderful discussion w/ James Rouvelle about his ideas on human disconnection from the earth.

1. Animals communicate w/ infrasound using the bottom of their feet.
2. Amphibians and other low lying creatures use their jaws as we use the tympanum in our ear.
3. Humans (w/ shoes, buildings, pavement) systematically disconnect ourselves from the surface/vibrations of the earth.
4. We are inventing our demise all the while we have an uncanny capacity to contemplate it.
5. Humans work to make everything known, Artists can conserve the unknown.
6. Parable of the elephant and the blind men
7. A gesture of expression helps illuminate the whole elephant.
8. Cultivate Empathy?
9. The Architecture of Teranobu Fujimori
10. What's wrong with the bees? Not cell phones but possibly GMOs
11. What will cull the Human herd? Probably a lack of something very basic (food/water) rather than a catostrophic event.
12. Robot Animals.


Marina Rosenfeld Interviewed by John Cage

"Sheer Frost Orchestra" at Tate Modern

John Cage: Marina... umm, are you comfortable with doing this interview now? Yes? Shall I state the date? January 1, 2007, my goodness. OK, let me start by saying that I... I love your work.

MR: Really? But you wrote in Silence...

JC: I’m trying to re-evaluate. I’ve been a bit... confused...

MR: Don’t be so hard on yourself. Yvonne Rainer wrote that the essence of your project was a “web of undifferentiated events set in motion by and referring back to the original flamboyant artist-gesture, in this case the abandonment of personal taste.” It’s a little harsh, but let’s not be squeamish. Anyway, from the vantage of a couple of decades I can appreciate the music, the somber, slightly genteel spectacle of clarinets and cellos and tubas intent in conversation with more recent inventions. I love that. I owe you that...

JC: Thank you. I... wish I could have... I see now that I ... You know, when I entered the anechoic chamber and...

MR: Oh my god, please, that whole language of scientific justification bores me to tears—the anechoic chamber, the oscilloscope, the whole justifying discourse of the laboratory...

JC: You seem a little pissed off.

MR: No, no, I’m not, not really. Let’s start somewhere else...

JC: Well, how would you like to talk about your work? We could begin with your instrument, this sort of hybrid you’ve adopted, the original dub plates you make in series, the live mixtures, your hands...

MR: My dub plates are a form of notation—musical housing. I compose with/for/through them. They are interpretations—deteriorations, transformations, generations—of interpretations, way before they even sound. They are, in the ultimate sense, both representational and completely abstract.

JC: I’m not comfortable with the representation part.

MR: You’re not supposed to be. That Rainer bit I just quoted was in an essay she called “a revisionist narrativization of myself as subject”. I am writing about myself right this minute and calling it a conversation, but what I really wish I could do is revise the conversations I had a long time ago. I spent so long worrying about how to make a sound that wouldn’t arrive dead...

JC: I wouldn’t change a thing I ever said...

MR: Even when you called Glenn Branca a fascist?

JC: Even now, I don’t... I can’t... I don’t like large groups of loud people...

MR: Let’s leave my family out of this. But you’re right to be wary: crowds unleash energies of all kinds as, unfortunately, we’ve seen. It’s kind of dumb to pick a side on this one. The modern divorce of music from music-making, that is, collective social situations, epitomized for Adorno even in 1927 by the use of headphones, was already apparent in the evolution of the piano “from a musical instrument into a piece of bourgeois furniture” in the nineteenth century. Next in this trajectory was the gramophone, it’s output destined for private consumption, i.e. the home; he called its domain “the pregnant stillness of individuals”. (But isn’t this exactly what we’re not? When I listen I’m never quite alone.) He also razzed people listening to headphones as “petit bourgeois girls, most of them underage.” Well, girls are the ultimate headphone wearers—aloof, but also aware, skeptical, porous. Music on headphones is the outside coming in. And the outside—the crowd—is only getting bigger, and louder... Can you tell I’ve been reading Adorno?

JC: Yes. Is it helping you sort anything out?

MR: Not really. But I like to gaze across the divide. Let’s say that when I get a whole orchestra to play electric guitars with nail polish bottles as musical implements...

JC: Are you talking about the “Sheer Frost Orchestra” now?

MR: Yes. Let’s say I’m making a covert reference to painting: there’s a little brush inside each bottle, surrounded by pigment, agitating space over the instrument’s strings. At the time, the cross-disciplinary gesture seemed to be a way of confronting the intense gendered-ness of the guitar, though, of course, what everyone liked about it was the sexual reference that remained. Power wrapped up and contained in a very tight package. Painters love to sentimentalize musicians as social animals, doers, emotional beings. But they make much more money then we do.

The visual—when you are interested in it and you make music, you’re now supposed to be a sound artist. The sounds you make are suddenly categorically metaphorical. OK, I hereby reject the entire category (I’ve already done this for a couple of years, actually) and embrace music, which is only as ephemeral as smell or touch—that is, not really at all. Music is primarily material, and records are primarily filmic—two-dimensional surfaces, screens. As I said, tracks engraved onto dub plates are themselves a form of graphical notation. The invariable shape of a record player, the circle in the square, telegraphs the configuration of notehead and staff, have you noticed that?

JC: No... I don’t think I have.

MR: It’s ironic. The idea of the note is very powerful, once engrained. Surprisingly flexible too. Let’s say improvised music (electronic music, all music really) is essentially a flow of signals, and thus, essentially describes thought, or the architecture of thought, another intermittently invisible entity that we can now visualize again, just like Spinoza did in the 1600s—it’s material, that is, god-like—god for atheists.

JC: Is the turntable valuable to you for its visual properties?

MR: Not necessarily. The turntable doesn’t mean all that much to me, although it is my instrument of choice as an improviser. I like how it feels and what it means and doesn’t mean. Its relative and cyclical obsolescence and/or resurgence make it almost ideally marginal. In its implicit conversation with the computer, its more socially adept cousin, it is almost perfectly beside the point; separated from commercially manufactured LPs (because I don’t play those, I make my own dub plates—one-offs, one or two at a time), it refers only tangentially to musical history. (I would define that tangent as somewhat comical.) It’s a transforming machine, an alchemist, an agent of both repetition and change, but it doesn’t do more than play what’s already there.

Adorno already had it right in 1927 when he said the only interesting aspect of the gramophone, the point at which it “interferes”—and this is the only thing I want from it—is when its spring wears out and its “sound droops in chromatic weakness”, a wonderful possibility that I think I’ve tactilely aspired to in the wake of every thinned-out Robert Wyatt vocal or timbral Morton Feldman-ism I’ve ever heard.

JC: (silence) ...Is there anything you’d like to add?

MR: Did you know that “glitch” comes from the Yiddish “glitshn,” meaning slip? Has anyone written about that?

JC: Not that I know of.

MR: Someone should...

JC: OK, thanks, Marina.

MR: You’re welcome.

Marina Rosenfeld, New York, 2007

Yvonne Rainer, “Looking Myself in the Mouth”
October, Vol. 17, The New Talkies. (Summer, 1981), pp. 65-76.

Theodor W. Adorno, “The Curve of the Needle” (“Nadelkurven”), originally pub. 1928,
translated by Thomas Y. Levin, 1990, MIT Press
The 10 Point Program of The Sonotronic Manifesto

a nugget of genius weirdness from this interview with Kodwo Eshun

1. SONICFICTION breaks with the obligation to the STREET by destroying the compulsory deference to BIOGRAPHY

2. Pop RESCUES unpop from its admirers by defridgerating the CONCEPTECHNICS of the avant garde from the icebox of its admirers.

3. Science fiction is theory on FASTFORWARD.

4. Consciousness is a SEMI_PERMEABLE MEMBRANE persistently mistaken for an identity.

5. You are a population. Have you been feeling YOURSELVESlately?

6. The sampler doesn't care who you are. It's only using you to reproduce.

7. The SAMPLEFINDER assembles digital myths from todays datastream. MECHANO-INFORMATIC MYSTICISM is tomorrows science dreamed today.

8. COMPUTERMUSIC obliges us to confuse information with mystery.

9. The CONCEPTENGINEER does not dispel confusion: she ORGANIZES it along several planes at once.

10. YOU are the alien YOU looking for.


Pulverizer of the Past

My friend Chris got some great NYT facetime with this article about his zany intermissions project. Some of the listening is really interesting, and the concept is a riot. Chris is someone that has a very unique relationship to sound, and I love him for it. The only thing weird about the article is that they put "sound-artist" in quotes as though that is a term which is either from another language or just not acceptable yet. Good job Chris, if anybody could get the word sound-artist in the Times you could. (Though usually you say Phonographer no?)

I came across these quotes that are relevant to Chris' work today:

"The musician, once outside the rules of harmony tries to understand and master the laws of acoustics in order to make them the mode of production of a new sound matter. Liberated from the constraints of the old codes, his discourse become non-localisable. Pulveriser of the past, he displays all of the characteristics of the technocracy..." (Jacques Attali)

"...In other words, digital freedom comes with a price attached: confusion gets disseminated from the fringes as much as from power centres. It therefore becomes the task of acoustic engineers to make a humanised noise, to wrestle the new tools into a language usable and accessible by the listener." (Rob Young from Worship the Glitch)

Audio Clips From “Music Before and Between Beethoven, Stravinsky, Holst”
Audio “After Beethoven” (mp3)

Audio “SF Variations” (mp3)

Audio “Holst, Hitherto” (mp3)


The Ladybug Transistor

My dear friend Kyle, Lisps emeritus and current Ladybug member, informed us on the road us of the tragic passing of San Fadyl, the drummer for Ladybug. I've posted below his letter remembering San.

Ladybug is performing tomorrow at Bowery, with Bowerbirds and Rosebuds, and their excellent new record is out June 5th on Merge.

As some of you know, my friend and bandmate in the Ladybug Transistor, San
Fadyl, passed away on Wednesday. Some of you knew San better than I did,
some of you didn't know him at all, but I wanted to share my thoughts on San
as I knew him. I also posted this on the blog set up about him at


The first time I met San Fadyl I was late for rehearsal and he was already
behind the drumkit. It was the first practice for the recordings that would
be my first with The Ladybug Transistor and, as it turns out, San's last.
Six months before, Gary Olson, a guy I had known through friends and seen
play with Ladybug the one time I saw the band, years before at NYU, had
asked if I would ever come over to work on some music with him. I was
surprised and flattered by the offer, and even more surprised, really, as,
over the next couple of months, I became more and more involved with the

I'm not sure when I even learned that the drummer was a guy named San who
lived in Switzerland. I do know that, on the day when I rushed down the
stairs of Gary's house, I had never seen a picture of San and I don't think
I knew that San wasn't actually FROM Switzerland, although maybe I did. So
obviously he made a surprising and distinct first visual impression. Look at
this short guy with unbelievably gorgeous hair and unbelievably gigantic
hands! And what a voice! And I'm almost positive he was wearing his novelty
DUNKIN DONUTS parody "FUCKIN GONUTS" shirt. We shook hands, I sat down at
the keyboards, and San counted off the song the rest of the assembled (Gary,
Ben, and Julia) were already working on, "Always on the Telephone."

This was one of the first songs I had worked on with Gary when we started
working together the previous autumn. The demo we had been doing was with a
little drum machine track, and did not even begin to prepare me for the
sound of this song as soon as San started drumming. I still distinctly
remember the feeling when we went into the first chorus, San switched to the
ride cymbal, and started playing the hi-hat (with "ching ring"!) on all (or,
actually what felt to me like way way way behing all) four beats. What a
feeling playing with this guy was!

So, my memory of this is slightly hazy, it might have actually been after a
different song, but I'm pretty sure that after we finished that very first
run-through of that song, Gary made a comment to San about something he had
been playing and San paused for a moment, then replied something like, "YES,
GAZA! I would be GLAD to do that! But, in THAT CASE, this will be my LAST
RECORD, as I am SICK to DEATH of playing this FUCKING TWEE MUSIC! FUCK!" I
was shocked, of course. After another song (again, slightly hazy memory of
this) Gary suggested that San try playing with brushes "to make it sound
like Fleetwood Mac", to which San replied, "Gary, if I had to choose between
sounding like Small FACES or the ZOMBIES, or FLEETWOOD MAC, I would NOT
choose FLEETWOOD FUCKING MAC!" These outbursts, I quickly came to
understand, were San's trademark, and his dedication to cranking them out
(with a truly breathtaking consistency), seemed to make them funnier and

After that week of recordings, I was exchanging e-mails with Julia, and she
wrote something really good about this: "Wait until you tour with
San....then you'll have a wealth of San-isms on heavy rotation in your mind.
You too, will start speaking like a bougeouis raving lunatic. Resistence is

I thought again of the "bourgeouis raving lunatic" line when we were on tour
in Spain last November. San was talking politics with Andy the tour manager
and being typically radical in his indictments of the wealthy, the
corporations, the military-industrial complex, etc. Andy called him a
"champagne socialist," to which he shot back, "Yes, Andy, I am a champagne
FUCKING socialist! I live in FUCKING ZURICH!"

San's convictions, about politics and music mostly (OK, also sex and
relationships, chocolate, potato chips, the media...), were expressed with a
unbelievable vehemence. I think he really enjoyed overstating his case,
knowing the amusement it brought others. I remember when we played a show
without him, opening for the New Zealand jangle pop band the Bats at
Maxwell's in Hoboken, and he texted Gary something to the effect of, "Ah!
The Bats! The music I TRIED to ignore in New Zealand in the 80's! It's no
ELP or Genesis!"

San's specific devotion to the decidely unfashionable (ESPECIALLY in his
chosen circle of friends and musicians!) genre of progressive rock (note:
writing this to Genesis' "Duke", although I know San would have prefered
Gabriel-era Genesis, of course. Sorry, dude.) was representative of his
contrarian nature, but more importantly, his absolute devotion to the craft
of music. I mean, the only reason I can think of to, as San ACTUALLY did,
listen to Phil Collins' fusion side project Brand X, is the appreciation of
music being played at an incredibly high technical level by people who have
spent years honing their ability to do that.

But, in this musical regard, what was so amazing about San was that, unlike
so many musicians who achieve this high level of craft, he was totally
concentrated not on showy technical stuff, but on "GROOVE" and "FEEL," as he
was always happy to talk about. Recording with San, he rarely needed more
than one take to play his part flawlessly. BUT, if he did make mistake, he
would still listen carefully to the take, and if he liked the FEEL,
disregard the mistake in service of what he considered more important.

Truly amazing also, given San's near-perfection in recording and performing
(I still remember one of the rare onstage mistakes I ever saw him make,
miscounting a measure in "Telephone" in Goteborg, Sweden. Immediately after
the song, San audibly yelled, "FUUUUUCKKK!" And never made the mistake
again) was the fact that I don't think I ever saw him criticize anyone else
for making a mistake. In fact, I never even saw him get frustrated while the
rest of us struggled to figure out how to play songs that he could already
play perfectly time after time. This is a patience I've found in almost no
one else I've ever worked with.

In fact, San was probably the most supportive person I've ever played with.
I just found this e-mail, from right after the EP we did together was
finished, subject: "I'M SO PROUD OF YOU GUYS... :) from San in Swizzy."
(This e-mail also reminded me of the joke San had, early in our time playing
together, of writing "Who the fuck is Kyle?" or just a question mark,
everytime I came up). "Just letting you know, after listening to the
master(piece) EP, how proud I am to have played with all of you....
especially Kyle (?)... :) the EP was beautifully recorded, and all of you
played wonderfully in it." I still remember how good it felt to read that
the first time.

The warmth of his personality, as it came out in his e-mails (the most
amazing e-mails, by far, I've ever read, from anyone) and in person, was
really amazing. In a group of people with very complicated relationships, he
was above every conflict, the only person NO ONE had anything negative to
say about. He was fiercely protective of the people he cared about. I
remember recording something with him late at night. Gary was engineering.
He had just found some space on the tape, but there was a chance, if we went
longer than expected, we would tape over part of a song Julia had written.
San yelled, "Gary! Do NOT tape over JULIA'S SONG!" It was like wathching a
mother bear protect her young.

Something that I've been surprised by the last few hours I've sat here is
that the times I've gotten really choked up were when I was writing about
San as a musician. And I think that really would have pleased him. He was
one of the most beautiful people I have ever met, but when he was playing
the drums he brought out a beauty in the people he was playing with too, and
I will never forget that and will of course always think of him and try my
hardest to do the same.
The Lisps Homecoming Bash @ Luna Lunge 5/14/07

Keith Zarriello

Jeremy Double Dutching

Salt and Samovar

The Lisps

Sammy broke her tambourine...

Salt and Samovar joined us for the finale..

Lisps pictures by Jeri Keimig

I didn't get pictures of DDWTYH because I got sacrificed again and then had to go set up!

This is a Tour and We Went on it

So things have been quite hectic ever since landing back home to New York, but here's a shot at illustrating the utter joy that was the Lisps tour...

From Las Vegas we went through Death Valley...

and over the Sierra Nevadas...truly amazing....

San Fran

was super wonderful. Kate Saturday from DeatHat painted my face, we were going for Darryl Hanna from bladerunner but it turned out a little more like the Hamburgular.

Death Hat...

We met our new best friends Agent Ribbons...Who stole all of our hearts and cooked us breakfast.


Sammy hung out with her famous boyfriends:

had some shots...

We were charmed by Parson Redheads...

played Pictionary...

San Diego was special. Jesse from Princeton was cute as a button and has an amazing voice...

Scene Bar in LA...not the best show.

We were off to Denver...sped past our beloved Vegas...over the rockies...and we all felt like we were going to barf because of the altitude.

Laura Goldhamer put together a great show for us...

Bad Weather California was fantastic.

Paper Bird
...oh Man.

Imagine three of the most attractive girls you've ever seen singing impeccably executed and extraordinarily complex harmonies, with two cute as crap boys playing trombone and guitar...and that's paper bird. The were even missing their virtuoustic banjo player...man they were great.

(video to come)

We hung out with them later at their house which is apparently the International Headquarters for Youthful Idealism, and general Joie de Vivre.

Laura Goldhamer played us a few songs. She is so wonderful and weird. And she is good friends with one of my favorite bands in the world The Books.

and then we were off to Kansas....

isn't it amazing that kansas actually looks like that?

Lawrence was a very great show...the only bummer was that I broke 3 strings during the show which caused a lot of bad joke telling to kill time.....the altitude changes seriously f'ed up my guitar I think. Coat Party was very fun....They should get together w/ Ear Pwr.

Coat Party

Sammy w/ Melissa from WJHK

St. Louis

Way Out club was very cool...it was a country western bar in the 30s and 40s. Lot's a class.

obligatory Arch shot


so good...so many friends....

Pool of Frogs rocked

This show was one of the most surreal of my entire life. It started off as a beautiful outdoor house show. The Yspi noise-folk allstars rocked and we played about half our set in this little puppet theater-esque porch thing.

But of course the Ypsilanti police showed up and shut us down...so we moved inside and Eric played a tambourine, cowbell and scrabble pieces.

And then the amazing Carla Harryman joined us for a an improvisation (video coming)

and THEN we were led to a remote location by Double Dutch will take you Higher...

and treated to an amazing moonlit jump-rope-o-rama!


This was Day 2 of our 3 day lovemaking session with/ DDWTYH...and it was a carnival of activities and beer.

We all did Caricatures of one another:

I was sacrificed

Sammy did pretty well in the Hula Hoop contest:

DDWTYH killed it:

Standard Hijinks:

Cutest Dog in the World: Definitely..no that's her name: Definitely (Deafinitely?)

And we were homeward bound.

Baba was happy to see us, she got a fancy pink collar while we were gone.