Thursday, January 03, 2019

Greetings, mes amies. Merci por la fun, feasts, freak-outs, considerations, compassions, and curiosities throughout the 2018 journey. I hope that more good things than crappy things happened to you and yours. I also hope that 2019 is full of more good things than crappy things overall. 

I am most excited about new projects involving: 


Over the holydaze, there was much movie and tv watching, so I hope that over the next few months, my brain will be inspired to work out any abstract symbolism that may have been cross-wired. Thanks again for your support and optimism. 

Wednesday, August 08, 2018

"Did you ever? 
Did you want to?" 

–– That Dog, 'Retreat From The Sun' (1997)

Sunday, April 08, 2018

REFLEXIONS is out today! It's been a blast to work on this album with such talented people and I look frwrd to many more collaborations in the future. 


featuring sonic magic by: 

Felicia Douglass – vocals

Loni Lewis aka DJ Lanatron – synthesizer
Khari Lucas aka Contour – ambient synth / bass guitar loops
Anjali Naik aka Diaspoura – vocals
Camille Rhoden – synthesizer
Donovan Taylor aka Don Crescendo – vocals
Mel Willis aka DJ Mummbls – drum machine

and album cover photography by Steffi Brink

Thursday, April 05, 2018


This photo was taken on the road with Grace Joyner (SXSW Tour, 2018), which was a blast. 

Friday, December 08, 2017

Dear Experimental Music Supporter / Performance Art Patron, 

THANK YOU for a great season of sharing your spaces, curious faces, engaging dialogue, and well wishes. The Fall season of the experimental music series that was Dojo Nowhere (2017) was a blast and a great learning experience as a whole. On behalf of the artists and new collaboration opportunities: thanks. 
We look forward to sharing more sound discoveries with you as community members / contributors of culture. In one form or another there will be more. Until then – be well. Thanks for sharing, caring, and listening. 


Tuesday, August 08, 2017

DOJO NOWHERE is happening

We're kicking off a 6 week experimental music series in Charleston, SC on August 16th through October 25th. Each of the events will feature an interview with the artists, a performance of some kind, and an interactive element in the form of a workshop or group improvisation. Genres of influence and expertise include electroacoustic music, jazz, electronica, sound collage & design, musique concrete, sound healing and music for meditation.

Not only am I excited to see and share what so many of the artists have to offer, I'm also really curious to experience the variety of sonic characteristics each of the spaces these concerts will be taking place. 

In case that information has been hard to find, those spaces are: 

Charleston City Gallery 
August 16th / 6-8p
with sound works by: Marge Marshall, Sam Sfirri, and Michael Vick (with Geoffrey Cormier)

Redux Contemporary Art Center
August 23rd / 6-8p
with sound works by: Marcus Amaker, Peter Coish, and Caroline Marcantoni

St. Julian Devine Community Center
September 13th / 7-9p
with sound works by: Ben Jacobs, Donovan Taylor, and Levin Osterpeck

September 27th / 7-9p
with sound works by: Muhiyyidin D'baha, Loni Lewis, and Leah Suarez

Redux Contemporary Art Center
October 11th / 6-8p
with sound works by: Celie Dailey, Brett Nash, and Dan Voss

October 25th / 6-8p
with sound works by: Lee Barbour, Khari Lucas, and Nic Jenkins

Each of these events will be free and open to the public, but there will be a suggested donation to help appreciate/validate/compensate/congratulate the artists involved. We THANK YOU SO MUCH in advance for your generosity! Your ears will be pleased.

If you are interested in volunteering or contributing at all to help make this a rad experience for all, email me at: 
paperjenkins at gmail dot com.

Thursday, June 01, 2017

Happy Spring, dear person. 

We're currently in Fall programming mode with our gears set to assemble an experimental music series called "Dojo Nowhere". It will be the 3rd installment of the ongoing project, but the longest and most interactive of any of them. We're collaborating with a few special spaces around the Charleston peninsula, with a great guest list of performers who will be generous enough to share their new works, processes, as well as opportunities for sound art workshops. Stay tuned & thanks 

Monday, May 01, 2017

5 Questions for Adam Parker

Thanks to Adam Parker for humoring me on some pop trivia and inside scoops. If you see him out and about, chat him up about the music scene, local or abroad. Keep up with his very relevant writer-ings over at the P and C.


1. What got you into writing about arts and culture? 

The retirement of a colleague; the burden of qualifying degrees; an infernal, inextinguishable interest in both arts and culture. I was already writing a lot about “culture” when I was responsible for the Faith & Values section over the course of five years or so. I wrote about everything and anything: religion, of course, but also, poverty and race relations, Borat and Harry Potter, fascinating people, hot-button issues and more. I also write a bunch of reviews and covered the Charleston Symphony Orchestra. I grew up playing music, then in high school started singing music, then decided I would major in music, then got a bachelor’s degree and a master’s degree in music. I also looked at a lot of art in museums and, in my 20s, began to dip my pen in the ink well. So when Thompson left The Post and Courier, I was the obvious go-to guy. 

2. Are you more of a Jim Jarmusch fan or a Wes Anderson fan? 

Well. I’ve seen Jarmusch’s “Dead Man,” “Coffee and Cigarettes” and, I think, “Year of the Horse.” All good. On the Wes Anderson side of the equation, I’ve seen all seven of the features (and none of the shorts), so I guess that indicates a preference for Anderson’s brand of loopiness over Jarmusch’s. “Moonrise Kingdom” probably is my favorite. “Grand Budapest Hotel” and “The Fantastic Mr. Fox” come close. And “Rushmore.” “The Life Aquatic” was a bit of a mess, but how can you not love it? Both of these fellas seem to grapple with some big questions in quirky ways. Both have an explicit and appealing – if quite different – visual aesthetic. Both are auteurs in the true sense of the word. 

3. Who are five writers (living or dead) that you'd enjoy having tea on a rooftop with? 

My answer might vary from day to day, of course. Depends on what I’m reading at any given moment, and on what I’m thinking and feeling and seeing and hearing. Gabriel Garcia Marquez comes quickly to mind. He’s dead, so he’d have to be propped up in his rooftop chair, but at least I’d get the last word in. His opening sentence of “One Hundred Years of Solitude” is my favorite opening sentence of all time: “Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.” Ta-Nehisi Coates is a current favorite. A true intellectual with a flexible mind and a determination to listen and learn and grow. Andy Partridge of the band XTC is a living writer – of music and lyrics. Does that count? Probably it’d be beer, not tea, that we’d sip on the rooftop. Conversation would broach such topics as songwriting, politics and religion (of course), Brexit, his song “Human Alchemy” in particular (and several other songs in particular), and whether or not he’d be willing to design a tattoo for me based on one of his nautical ditties. I doubt I’d get a word in edgewise. I have read none of Zadie Smith’s novels, not even “White Teeth” (though I do have “NW” on my book shelf, beckoning), but I have read her several first-person essays that have appeared in the New York Review of Books, and they are so fine, thoughtful, beautifully rendered, that I’ve decided I want to know more about her. Lastly, Dante. That he’s dead shouldn’t matter much, given his reputation. But I wouldn’t want to be confined to a rooftop. I’d want to stroll. 

4. Assuming you had your wits and health about you, where/how would you like to spend your 80th birthday? 

Sailing. Anywhere pleasant and beautiful. Charleston Harbor would work. So would the Amalfi Coast. 

5. What are three records that you could never ever live without? 

Here are three records I could never live without. Three of a thousand. XTC’s “Black Sea.” The fantastic songwriting and exuberant performances get the blood flowing. John Eliot Gardiner conducting Bach’s St. Matthew Passion (or the Mass in B Minor). Bach never sounded so good. “Parker’s Mood” by Roy Hargrove, Christian McBride and Stephen Scott – an album of Charlie Parker covers. A masterpiece of tight ensemble playing. Who needs drums?

Tuesday, March 29, 2016

5 Questions for Autocorrect (Bot?)

Many thanks to AUTOCORRECT (transmission relayed, decoded & translated by producer/rapper/sound designer: Cecil Decker) for the radioactive optimism via this blissful read of an interview. 

Please, check out – AUTOCORRECT: as it is.

1. How has the world received the new album?
[begin transmission] probably like the equivalent of eating a lot of cotton candy. you're really exciting and you tear into it and then later it eats you up inside. in a good way? [insert shruggie] like if your whole body was filling to the brim with [transmission interrupted] you know what I mean? just here for a good time.

2. Who is the character on the cover of the latest release’s album art?
[loading stock reply] it's you. or me? or. maybe it's [loading random name]. yeah! that damn [loading random name]. or probably it's anyone who anxiously looks over their shoulder at the shadow of a terrifying cat god waiting to know their fate. [insert emoji]

3. If you were on staff at NASA which office party would Autocorrect play?
we would probably play the gig where like, they are letting diane go but didn't tell her that until she showed up to the party. so everyone is dancing except diane who is just in the middle of the room glowering. that's our kind of party.

4. When is the best time to write rhymes? 
rhyme time is like, the best time is right when you aren't gonna try at all. when you're at the edge of giving up forever and becoming full trash ~*a e s t h e t i c*~ but then ye olde brain box decided ok it's tricky to rock a rhyme that's right on time so just do it. what? [insert gif here]

5. If Charlie Rose were your tour manager, how _________ would he get on the road?
what is a charlie rose? is that like, a gender swap of charlie brown? [loading laugh track] charlie sounds cool. needs a constant supply of nickels though. [loading groan track] we have literally no idea what is going on right now and our pizza is finally here. [end transmission]

Wednesday, January 06, 2016

5 Questions for Michael Milam of Secret Guest

If you like fun music and witty lads, go and get an ear load of Charleston’s own Secret Guest: here. I personally think 'Joker City' is bananas. Treat yourself to a nice listen. Also: I suggest making a point to catch them if you can on their first northeast tour – this January. Thanks to Sir Milam for humoring me about his time-keeping role within the band among other things.

- - - -

Of all the modern drummers in the world, which would you trust the most to give you a haircut?

Honestly, and a few of my more high-falutin' drummer friends would take issue with this, but Travis.  His own physical appearance and the band that made him famous notwithstanding, there's just something professionally perfect about him.  He started playing with Blink-182 as an impromptu fill-in while they were touring with Aquabats and he was so on the ball that he just happened to turn them into one of the biggest bands on the planet for a minute there.  When I was first playing the drums in the 10th grade, playing along to the CDs I owned was the bulk of my self-education, and I'd be lying if said there wasn't copious Blink in the mix.  Those records don't have much to offer me past the age of 14, but just based on the drums I could probably still listen to them.  Every stroke is impeccably selected for maximum impact.  He was always done recording in a day or two, and those songs would be nothing without him.  Honestly, I'll probably never understand how someone could be a drummer and not at least secretly love Travis Barker.  In any case, if he could turn a pair of broey ding-dongs like Tom and Mark into rock superstars, I'm sure he could turn my noggin into something presentable.

Runner-up if I can't afford Travis: Matt Barrick from the Walkmen.  Under-appreciated band with a seriously underrated drummer.  And they always look sharp.

And since we're here and usually no one cares, my favorite drums are on 'Rid of Me' by PJ Harvey, 'Mare Vitalis' by Appleseed Cast, and everything Jeremiah Green ever played on.

During the recording process of Secret Guest’s ‘Joker City’, did Brett Nash (a fine drummer / frontman of Secret Guest) ever tell you that you weren’t allowed to play certain kinds of beats? 

Actually, Brett seemed to like everything I came up with for the 'Joker City' songs and I don't remember him having to coach me too much.  Those six songs were all fleshed out in the practice space from the basic progressions Brett brought in, and at the risk of sounding cliche, they came together pretty organically.  Now that we've started learning song from the companion album, 'Goodnight Nothing' (which Brett performed mostly by himself), it's a different story.  There's already a precedent for what those songs sound like, so I have more constraints.  There's one song, for example (Drancy) where Brett said the drums and bass shouldn't change dynamics during the song.  That's pretty much the polar opposite of everything else about Secret Guest, but it works for that one.

Also, I don't think I'm ever gonna be in a band where nobody tells me to relax and tone it down a little at some point.  I'm a spaz.

Which band could be a better opener for Secret Guest: Devo or Ween?

I mentioned this question to the band and everyone immediately said Devo, but I have mixed feelings.  Partially it's a weird personal hang-up, because I've always felt like I'm supposed to be more into Devo than I am.  (I just realized that this interview has already turned me into a pretty uncool dude: likes Travis, doesn't like Devo. But bear with me.)  I picked up 'Q: Are We Not Men? A: We Are Devo!' because I thought it was rad that they named their album after a part from one of my favorite books of all time, The Island of Dr. Moreau by H.G. Wells.  I fell asleep re-reading that book on a train through the jungle in Peru and had dreams about being pursued by strange beasts of prehistory and woke up with weird scratch marks.  It's amazing.  Devo, unfortunately, was not Moreau-y at all.  More like The Island of Dr. Ramones.  The rigidity of it, the canned drumming; it's more half-Xerox machine than half-hyena.  I respect it, but it never struck a chord with me.  Ween is comparable to Secret Guest in a really roundabout way, because we tend to have a lot of twists and turns in our set and you never really know exactly what you're gonna get when you come see us.  Also, we get (half-jokingly) called a "jam band" a lot, and I always laugh but it's kind of true.  We stretch a lot of our songs out, although I'd like to think it's more Built to Spill than The String-Cheese Incident.  Brett and I used to sing that messed-up spinal meningitis song to each other a lot, too.  You know, "It really hurts, mommy.  Am I gonna die?"  Under penalty of perjury, I'm going with Ween.

Are there any other extracurricular activities that help you make more sense of your current musical path? 

I don't think I could relate drumming to any of my other artistic pursuits without making a pretty pretentious stretch.  I'm working on a book as well, but if anything, drumming is a welcome break from having to put things into words and being in my head all the time.  I don't think they have anything to do with each other.  Sentences have a rhythm, too, though, maaan... no.  Kill me.  Really, having a steady drumming gig has inspired me more in general health and self-care ways.  It can be a pretty arduous physical task, so I've started running more and trying to eat healthier and not drink so much booze.  It's nice to have reasons for self-improvement that go beyond just doing it for its own sake.  If I hit the gym and don't smoke cigarettes, I play better.  So really, exercise, diet, and temperance are my extra-curricular activities with regard to Secret Guest.

What’s on the horizon for Secret Guest? 

Whatever Brett wants!  He's spent a lot of time as a role-player in bands where other people were the band leaders.  He's great at that and we'd never want him to stop, but from the get-go we decided this project was going to be his baby.  We make an active effort to let him make all the decisions, and it's worked out so far.  We're going on our first tour at the end of this month (January), which is really exciting for me because it's something I've never had the chance to do.  That said, we're touring the northeast in late January, so we will probably all die of frostbite.  So yeah, whatever Brett wants and frostbite.  Also, we're making a music video and maybe a live album?  All the Guestheads will just have to wait and see.

Tuesday, December 29, 2015

This interview is so meta that I don’t know how to introduce it. 

_questions answered by:
Heimo Wasserschneider (Skylark Quartet Archives, Director:

- - - -

1. Upon the genesis of this project, what moment was the "a–ha!" or "bright lightbulb" moment for the overall concept? 

Members of Skylark Quartet have been doing regular jazz gigs (restaurant, wedding, etc.) around Pawley's Island, South Carolina for decades. About two and half years ago, they realized that they have never played any jazz standard correctly. After some discussion, they decided to book some studio time in the event that they might play it right for once. "Skylark" (Mercer/Carmichael) was the first song they chose to record.

2. Were you given access to a time portal, through which Skylark could exist as real-life human actors in a sci-fi movie played by any casting of your imagination: who would play such roles?

池田若菜 as "Lulu Haedl-Austenmeiser" (flute), 拓宇波 as "Paul R. Statham" (lute), サム球 as "Margaret Haedl" (clavichord), and 服部玲治 as "Roland Spindler" (percussion). "Orlando Lewis" (recorder) and "Hayden Pennyfeather" (bass) are unconfirmed.

(Optional synopsis: "After recording Missa Tota Alauda (?, 2014)–an album of Renaissance musica ficta continuo–under the name Alauda Inlaudatus, Skylark Quartet members and unknown Japanese correspondents express interest in bringing this music to the Japanese stage. However, the band members are not able to sub out their regular gigs, so they begin the pre-planning stages of a Tribute Concert Tour of Japan.")

3. Who would you pick to direct a project like this?

Isao Okishima.

4. How would you describe MIDI to a four year old?

MIDI is a way to play in a band without humans.

5. Why the tune "Skylark"?

No reason. It could have been any jazz standard. 


Forthcoming album: 
Skylark Quartet – Lark City (?, 2014) 
It will be released on vinyl as the first of two releases (with Nakao Trio) by a yet-to-be-named Japanese label. I'll forward more information on the release as it becomes available.

Currently available: 

Sunday, September 27, 2015


Pierce Alexander released some music a few months ago via Soundcloud / Bandcamp. 

I look forward to more as he has been working with a dear friend / collaborator 
of mine by the name of Josh Kaler (Nashville, TN : man of many talents, master of juggling arts). 

I was very happy to be considered to design the album art for his digital release, 

which you can sonically digest & enjoy here. :::

Thanks for the interview, Pierce!

- - - 

1. How excited are you to share your new music with the world? 

Generally, I try to write music for myself, what I would want to hear. I think you have to start there and focus only on that at first. It’s a great feeling when you end up with something that you do want to share with others. I’m definitely excited about putting my new music out there.       
2. How was your experience of working with the legend that is Josh Kaler 
(of: The Planetarium / Hello Telescope) for this new material? 

Working with Josh Kaler on this track was a blast and a major learning experience for me. Josh has worked with a huge variety of artists over the years, including his own band Slow Runner. Slow Runner is an influence of mine, so it was really cool for me to have one of the members of that band working with me in the studio. In addition, I felt like Josh understood my vision for the song and was able to help me bring it to life, even with a tight deadline in the recording studio. Overall, Josh and I were just able to communicate very well and bounce ideas off of each other, all the while having a good time and a few laughs. I hope to work with Josh on upcoming projects.              
3. If there were a movie genre that your music would work well in, what would it be?

I could see my music in something like a drama or a psychological thriller, maybe even a coming-of-age movie, depending on the setting. I try to create songs that are not one-dimensional and I think this kind of music would best fit into a film that has some complexity. I feel like my music kind of reflects the way I think about life- it’s not usually just a happy song or a sad song, but a combination of many things at once. That’s why I think the music could fit into a variety of movies with a similar vibe.  

4. What philosophical concepts are you thinking about these days, musically or otherwise?

Something I often think about is the philosophical question of whether or not all of the truly original music has already been written, or that everything else is just an imitation of something that came before it. Some people claim this is the case, and I have thought about this a great deal during the past year or so. My take on this is that music, like any other form of art, is not finite. We can’t have all the paintings or all of the stories, and I can’t see that it will ever happen. Unlike earlier times in history, we do have many influences to draw from today and those musicians definitely set the stage for the future in their various genres. However, I believe music evolves with the times and with the individual artist. There will always be something new. 
5. How has 2015 been for you so far?

During the first 4 months or so of 2015, I spent a whole lot of time flying solo just writing and recording new music at home for hours a day, every day. I also did quite a bit of reading, and listened to a ton of music in my downtime. I am one of those people who enjoys having long periods of productive time alone, so it was a good few months for me in that way. It was the first time ever that I was able to devote so much time daily to writing and composing. The product of that was maybe a dozen new songs, several of which may be on my upcoming EP. In June, I got to record the single with Josh in the studio, which was a major highlight of my year so far. This summer has been great for me in other ways too. I’ve had time to get out and see some incredible live shows around Charleston, including many of my favorite local bands. My best memory of this summer was seeing the Pixies for the first time. Hands-down the best concert I’ve ever seen.

- - - 

Monday, August 31, 2015

5 Questions for Felicia Douglass of Gemma

If you seek a new sense of magical musical aesthetics or fractures of style from another world. I would like to recommend Gemma. I learned about the new material from the Ava Luna intel-wave, as Felicia Douglass is also a contributing member and graphic designer for the project. Explore / expand / appreciate. 
Thanks to Felicia, once again, for the interview. :::

- - - -

1. What is the most inspiring thing in your world today?


2. How did you decide on the name: Gemma?

Erik and I just like the name. It's nice and bubbly.

3. If there were a dream brunch date of 5 of your favorite artists (alive / departed), who would you like to see there?

I hope it's a potluck/impromptu jam session! Janet Jackson, Arthur Russell, Maurice White, Beck, and Fiona Apple.

4. What could Gemma do if given the ability of unlimited space and time?

Create and inhabit the world's largest roller discotheque.

5. What’s the most romantic part of the Fall season in your current neighborhood?

Different shades of crunchy leaves. And this old italian pastry shop, Fortunato Brothers. It's been around since the 70's and they have cute custom napkins and doilies in blue and white. Delicious pastries on little plates with little forks...true romance!

Monday, August 24, 2015


This song / video are super fun. Check it out while you read this interview. 
Thanks again to H. Sims for the inside scoop of fun / funky. ::: HERE.

1. How does Devereaux feel about the hot, hot single: "Bikini"? 

I feel pretty good about it!  It's really wild that a song I crafted based on a week at Folly Beach in 2001 is having a little moment in 2015.  It's a little curious, too, that this particular track is a point of interest for listeners. Like, obviously I like the track. I put it on the record; however, I also made it track number two.  

I don't know how the kids consider their track orders on albums these days, but where I come from, if you're putting a cut on spot number two, that's just a little breather before you start dropping the bombs.  Blur's "Song 2," is an exception, I suppose.  Ah, shit.  Wait.  "The Way You Make Me Feel" is number two on "Bad," also, and that track is fire.  I have no idea what I'm talking about.  I guess "Bikini" is just the shit.  One must go 2, but only in theory.

2. What exactly (and metaphorically) is 'Pineapple Flex' and how can the world experience this special thing? 

"Pineapple Flex" notes the progression forward from my first EP, titled "Cacti Pace." With the title "Cacti Pace," I was referencing my naive and mistake ridden process that was me penning entire pieces of pop-oriented music primarily by myself for the first time.

"Cacti Pace" is about how slow and dumb my process was, as if I were wandering about a patch of cacti in the arid desert, very concerned and carefully trying to wend my way through the needles whilst avoiding the getting stabbed.  

With all that in mind, "Pineapple Flex" is the idea that I've progressed and arrived at a slightly more refined execution.  It's still spiny, but it's sweeter.  It's more appetizing and it's more confident. It's stronger and it's sexier.  I'd hope you would want to touch it. 

To experience "Pineapple Flex," one simply must press play on your mobile device or home hi-fi.  Perhaps accompany your listen with some fresh sliced pineapple and a crisp bottle of Apollinaris. Couple the duo with a nice, light, relaxed googling session, and you're well on your way.

3. Why is the bass riff for "Bikini" so funky?  

Cool answer: "cause it post to be."

Real answer:  One day, in or around September of 2013, Madonna's "Lucky Star" slipped onto my car radio frequency as I was cruising. I had heard this song countless times over the years, but in this particular instance I was utterly transfixed by its drums and bass.  I was kind of looking around for a audio trajectory to follow for the bass and percussive elements on my next record, and I knew that this track was the blueprint I wanted to consider when thirsty for inspiration. 

I also realized I knew next to nothing about Madonna's catalog besides the myriad radio singles peppered about the 80s and 90s. So, I dove into her real hard.  I downloaded the first album and spun the record tirelessly. I wore it out ragged like Donald Trump's hair. All day. Turns out I would be and still am in love with this album.

Fast forward to about November 2013 when it's time to download Madonna's second album, "Like A Virgin."  I looked into who produced this album and the first person listed is Nile Rodgers.  God, damn it.  That makes sense.  No wonder I always had such a penchant for "Material Girl."  Is that dude just responsible for everything awesome?

In conclusion, though, the bass is so damn funky because it was inspired by "Jellybean," Nile, Madonna, and New York City in the 1980s.

4. Has 2015 been a relatively fun, challenging, or mysteriously wonderful kind of year? 

All three, my man. On top of pushing "Pineapple Flex," I maneuvered into a new job and became a dad and my world is just straight up weird. Write that shit down: W-E-I-R-D.  I'm also super stoked about October 21, 2015.  It's my 34th birthday.  That's also the day Marty McFly goes into the future.   I've been waiting for this since I was 9 years old.

5. Who came up with the concept for the "Bikini" music video?

That'd be that @rotarychicken.  That boy is way up.

This advertisement from 1993  might make the whole thing seem a little bit clearer, though: