Tuesday, August 11, 2020


HELLO! Because of such socially awkward times, this week's interview was facilitated through the generosity of a highly-favored feline in Erel's life. Please delve further into the world of P!LOT by enjoying this new music video (directed by Amelea Elmstreet), which was released on International Cat Day (8 / 8 / 2020). Each question was answered in a very delicate code of sorts. 

What kind of genre does P!LOT exist in and how does that resonate with your particular species? 

No offense, but human music really doesn’t do much for me. I generally excuse myself whenever my personal assistant, Erel turns some on. Her band, P!lot, is in the indie genre — her words, not mine. I recall she was listening to 60’s French Pop as she worked on her latest song. But it’s really all the same to me. The only human band I make an exception for is Cibo Matto.

If you had an hour of network tv time once a day, what would your show be called?

The Internet is where it’s at (it’s actually run by an uncle of mine), but I do love a good nature show. Mine would be called “All Around the Neighborhood” and it would feature scenic views visited by hopping birds, foraging squirrels and funny rabbits. It would also feature the soothing sounds of streams and brooks, or even water traveling through the pipes in a house.

I have another idea for a TV special. I would go undercover and do an exposé to find out where those darty red, lit up dots come from, “Lazers," I believe you call them, and whether any cat has been able to catch one. It’s one of the great mysteries in the catdom.

How many years have you known Erel Pilo and would you recommend this person for a position as a pet care activist?

Erel and I met about 9 years ago at the shelter in Teterboro, NJ. She had pretty good skills at manipulating her fingers to imitate prey, and that’s what broke the ice. She took me home that day. It was love at first sight.

I don’t believe pet care needs activists because we are so lovable to begin with, but yes, I would recommend her for this position.

Are you especially excited about International Cat Day since so many people have more time to spend with furry companions?

For me, every day is Cat Day, because I understand the importance our species carries in the interconnectedness of all things. However, it is a special day for humans to honor us, and it is helpful to humans that they have more time to devote to us. Many furry friends are helping their human assistants to get through this difficult time.

What are some goals you have set for yourself before the year is over?

I currently work as a gravity controller. My job entails that I check whether gravity is still working at various locations by going to the edge of a table or countertop, and pushing whatever object happens to be there, say a tissue box or a pair of sunglasses, over the edge. If the object falls to the floor, that means gravity is functioning properly and I’ve done my job. Can you imagine a world without gravity?! It would be a disaster. That’s why I’m on call 24/7. I hope to continue to excel at my job. 

Besides this, I spend most of my time meditating on the true nature of reality. This requires a lot of time. Last year, I mastered telepathy, but I mostly get to use it with other cats. It is frustrating that people have not learned this skill yet, and continue to communicate in words. I’ve learned to say my assistant’s name in English to get her attention, and then I communicate my needs to her with telepathy. She’s not great at it, but she’s learning. 

Another goal of mine is to get rid of that scratchy feeling in my right ear.

Wednesday, July 01, 2020


This week we get some insight from the brain behind the electronic music cassette label-head, David Mason, also associate with Listening Center, Hess Is More, and some next level sort of sh_t in NYC. I’m happy that our paths crossed once upon a time or two. 

Please, seek out and support this wizard of analogmagic: temporarytapes.bandcamp.com

FOLLOW ON THE 'GRAM: @temporary_tapes

Thank you for reading and for your interest in these things! 


What are some instruments / sounds you're experimenting with these days? 

Over quite a long period I’ve gradually built up a small modular synthesizer. For the past while I’ve been experimenting a lot with quantizers and analog shift registers. A quantizer “quantizes” incoming control voltages into tempered pitches, modes, or arpeggios and an analog shift register acts as a sort of 4-stage sample and hold that you can use to produce canon-like patterns with 4 oscillators. it offsets the notes of a sequence in time by one so it can get quite dense harmonically, and with the quantizer you don’t actually need to use a keyboard. They work pretty well together, and it’s so addictive.  I’ve also for the first time in my life acquired a guitar, which I am presently only able to use as a sound source. 

Are you composing or programming?

Probably somewhere in between - for electronic music I don’t compose in the standard sense of writing everything down, although I’d like to explore graphic scores for electronic music. It’s probably more akin to improvising. A lot of it involves patching that although it can be replicated, the sounds and final notes will never be exactly repeatable. So I tend to think - lazily -  of the audio recording as being the “score”, which comes at the end of the process.  A lot of the more conventional stuff I have made in the past  is so simple that it seems a bit odd to write it down. Many of those kinds of pieces also have a sort of ephemeral quality, as if they were never meant to be around very long, inviting themselves to be lost. Now, the patching of modules and the playing of notes on a keyboard have become the programming aspect, and when it reaches a satisfactory state of performance and sound, and is recorded, the piece is "composed". In the past, I have played the musical elements in real time, with two hands, but recently I’ve been trying to learn how to make generative pieces that start from one simple idea and evolve from there in the modular, making patches so that the composition develops over time.

What inspired the origin of Temporary Tapes? 

Temporary Tapes came about due to the fact that when I was operating Listening Center via Bandcamp and mailing out tapes and records, it felt like a record label, but just for myself. Then I had the idea of trying to include like-minded artists, with a view to highlighting projects that might be overlooked or neglected, and to try and be a bit less individualistic…it’s basically a psychological experiment. I have recurring desires to always return to the fundamentals of things to find inspiration and ways forward and the tape label has followed this tendency, notably in the design department. The initial few releases were intended to look as if they were printed in a medical office of some kind, the tapes possibly containing information that might not necessarily be music. They do of course - electronic music sounds really nice on cassette and its sponginess can round off some of the hard edges of digital recordings and also provide a more unusual experience for the listener which is not centered around convenience and “best” quality. It feels different.

In an age of digital everything, what fuels your interest in such tangible analog(ue) media?

I like digital, mp3s especially - not for their audio quality, but for the role they serve. They are sort of the cassettes of our time - a bit lo-fi, yet we can’t quite get rid of them. But I’ve always, like many people, been fascinated with analogue media - tape and film. Cassettes were a part of my early life, recording things off the radio, swapping them with friends, and I played along with records on the drums. Also growing up in Dublin in the late 70s/early 80s, all TV was produced on film, or sort of bleak video. So all that grain, alias-y memory is there and I gravitate towards it subconsciously. The thing with analogue media is that it is, as you say, tangible. It is tactile, and the interfaces of devices differ - the actions involved produce narrower outcomes. For me, the digital realm provides really good tools  but I get more inspired when working with analogue media - there are unknown chance operations, accidents.  There is so much room for intuition and for error and in the context of this data-driven world, it can feel strangely subversive, to be off the grid. It’s like an instrument in itself. 

If you had the task of naming a small town full of obsolete tools and resources  (but hidden magic), 
what would you call it?



Wednesday, November 13, 2019

Check out some illustrations I made for the 2019 SC State Fair! 
BIG THANKS to Indie Grits Labs and The McKissick Museum for facilitating and curating. :::


#folkfabulous #oralhistories 

Friday, October 25, 2019


Our entire back catalog is now available on cassette, including additional media and tangible goodies. 

Order HERE, or email here: infinitikissmy [at] gmail, 
or send some love over to the Venmo: nicholasmjenkins 


Monday, September 02, 2019

I am very thankful for 

Tuesday, July 02, 2019

visit / follow / peruse / contact : https://www.instagram.com/prints_clothing/

1. Your designs are so fresh and very fun. Who are your biggest inspirations when it comes to fashion? 

To be honest I don’t think I am inspired by a person so much as colors and patterns themselves. I love wandering the streets and people watching. I gain inspiration from thrift shops and drag shows. When I see a textile design that I vibe with and I have this sensation of wanting to be surrounded by it, consumed by it: I turn that desire into reality by making it clothing! I think I romanticize very feminine 60s and 70s fashion a lot too though, I am definitely trying to bring that back. 

2. It seems like you've found your stride in the indie fashion & clothing market. When did you realize that you wanted to start your own business?

I think [it was] when I realized that I could sew and turn my visions into reality. I taught myself to sew and while it was a bit of a frustrating process, it became rewarding quickly as I stuck with it and saw myself getting better and better. I have a background with sculpture and I think that helped me a lot to understand how to construct something just by looking at it. As I started to wear more of my own garments I would get lots of great feedback and it definitely encouraged me to start making things for other people. I do lots of markets around Melbourne now and it is so rewarding getting to present my work and chat with people about it. It is still so thrilling every time I make a sale! 

3. It seems like Melbourne has always been a mecca for modern and international arts. What's the fashion scene there like these days?

Oh, Melbourne is such a wonderful place for fashion in the fact that it absorbs inspiration from all over. Australians have a bit of a crush on American pop culture and I love the way they interpret it into their own style. Melbourne is filled with so many cultures from all over as well and the beautiful clash of it coming together is very inspiring. It is the kind of city you can be confident in whatever way you want to present yourself, and that is so encouraging to creative individuals here. Like most cities trends spread really quickly and it’s quite funny to observe- I loved watching the growth of Kim Kardashian eyebrows being worn by the masses! So to sum it up it is a very accessible place for art and fashion, and it welcomes your input! 

4. If you could time-travel to produce wardrobes for any of your favorite tv show characters from the 1980s or 90s, who would you style?

FRAN DRESCHER in the Nanny, no question. Or Kath and Kim from the early 2000’s would be a dream as well. The Australian one- I’ve heard the American re-make isn’t as good. I am thinking of being one or the other for Halloween this year (already been Fran haha). 

5. What's next for PRINTS?

I am really focusing on custom orders right now. I really love the experience of bringing something together with an individual. The satisfaction we both receive from it is so rewarding and it is such a unique relationship- even if that is all we spend together. I want that to become more of a norm people can incorporate into their lives. My next big thing will be SUITS. I have been dreaming about it lots and the time is on the horizon. I have recently started a job in the corporate world and it might be surprising but it has inspired me lots. I am so fortunate to have found a place that still allows me to put my spin on “office couture” and I want to run with it. I think it’s a market not yet tapped into, and I’m bringing it on! 

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?