What Will You Do? is a Death Blues text and image piece that was created for a project by Kate Mytty which deals with the ‘finding of humanity.’

Click here to view Death Blues: What Will You Do?

Death Blues: A Celebration of Life
‘Death Blues’ will utilize a number of methods of communication, featuring writing, recording, images, movement, video, food, performance, and more, creating an experience that’s understood in a personal way, rather than being directed by a single external source.

More info about this event forthcoming.

More info about Death Blues can be found at deathblues.com.

Jon Mueller
Alphabet of Movements
LP (clear vinyl + signed)

U.S. and Canada
$30.00

International
$40.00

I have a handful of the limited (100) clear vinyl edition of this record. Each copy comes signed and with a full set of Rhythmplex cards. First come, first served.

From Type Records:

With the music of Milwaukee-native Jon Mueller, patience is the key. His radical snare workouts are meditative master-classes in drumming, but require a distinct offering of time and attention to truly enjoy the dense clouds of sound his music creates. After crafting last year’s critically acclaimed ‘The Whole’, Mueller decided to put together a live set that, while not reflecting the over-dubbed nature of the album itself, reflected the philosophy held within. The result was ‘I Almost Expect to be Remembered as a Chair’, and Mueller proceeded to perform this piece at various venues across the USA. Utilizing a unique snare drum setup, which finds the drums mounted on small amplifiers, Mueller’s enviable focus is put centre-stage and his resolve transferred absolutely into this dense, moving twenty-minute piece. Here, the composition has been recorded to tape with a tireless attention to detail by Greg Norman at Steve Albini’s legendary Electric Audio studio. The haunting, resonant drones spring to life with a surprising clarity, and the silo’s natural reverb gives the percussion a deeply human quality.

On the first piece, Mueller sticks to his chosen snare, slowly ramping the buzzing rhythm into near-cacophony. By the time the piece is fully formed you barely notice the change you have witnessed, but are surrounded by a cloud of thick, resonant, cavernous drones. The second rendition moves the composition to gongs and sees the dense resonance enhanced by the instruments’ singular plethora of harmonics. It is hard these days to emerge with music that could honestly be described as original, but ‘Alphabet of Movements’ is a truly singular piece of work. The focus that Mueller injects into his composition is unmatched, and his interpretation of drone and noise is absolutely on its own. Listen, absorb, and let the sounds permeate; you’ll be coming back for more in no time at all.

At home, I have shelves that display things that I think are interesting. I put them there so that people that visit can see them and a conversation starts.

That’s what I’m doing here. Every so often, a new thing will be placed on The Shelf; a thing that has had an effect on me that I feel is worth sharing with others. We might not be able to have an immediate conversation about these things, but I hope you at least think about them and seek more information about them. I wouldn’t have put them here if I didn’t feel that task was worth doing.

Currently on The Shelf: Vieo Abiungo

Earlier this year, on a whim, I bought a record by Vieo Abiungo. At the time, I didn’t know much about it at all – what the name meant, who it was, if there were other recordings, etc. All I knew was the few samples I heard at a record seller’s website. When the record arrived (in a box with a few others), I saw it and was reminded of the chance purchase I made. I put it on first, to see if it was as good as I remembered the samples to be. From that moment on, I was transfixed.

After listening to the record repeatedly over the next few weeks, I then began the hunt for more, and stumbled upon the label’s site that released the record. There, I discovered that more recordings (at least one) existed, and immediately purchased it. A shipping cost glitch put me in contact with the label. A friendly conversation ensued, and not long after, I got connected to the person responsible for the music itself: William Ryan Fritch.

It’s difficult for me to describe connections like this. I think a lot about how these things end up happening. And maybe it’s not that big of a deal, but I’ve been in enough situations with people who put up walls instead of tear them down that when you meet someone like William, you just know that something is different.

It’s also difficult for me to describe his music, and why it had such an effect on me. For one, it’s incredible from a technical standpoint. You might assume that there’s an ensemble, perhaps even an orchestra, playing the music. But it’s all just him. His story is fascinating; how he came to music, how he learned it, and what he wants to do with it now.

As far as Vieo Abiungo goes, there’s a new project in the works, which I’ve gladly contributed to. An interesting release involving film, photography, poetry, and William’s stunning music. I hope you’ll check this out, and support it as well. His is a rare talent that deserves any attention it gets.

Presented by:

Arnolfini
16 Narrow Quay
Bristol
BS1 4QA
UK

Solo concert of ‘Exorcise’ – a variation of ‘I Almost Expect To Be Remembered As A Chair.’

Presented by Tubersmusic
at:
St. Margarets Church
Rufford Road
Whalley Range
M16 8AE
UK

Jon Mueller: DEATH BLUES from rhythmplex on Vimeo.

Forthcoming throughout 2012, ‘Death Blues’ is a multidisciplinary project that addresses the inevitability of death vs. the reduction of time wasted, encouraging people to do something important right now.

‘Death Blues’ will utilize a number of methods of communication, featuring writing, recording, images, movement, video, food, performance, and more, creating an experience that’s understood in a personal way, rather than being directed by a single external source.

More components of this project are documented at deathblues.com.

I went to his place and we sat and talked. A lot of time had passed from when he received them, and certainly before he had them. The watches dated from the 1800s, and we’re not exactly sure where or when my Grandpa actually got them.

I thought about this spanning of time as I held them, noticing slight characteristics of wear, yet being surprised by what amazing condition they were in for being so old. At a glance, they looked as if they could have been new.

My thoughts were broken by the phone ringing. My Dad answered it, and proceeded with a quick conversation where he spoke in answers only. “Yes, I did. Ok. That’s right. I will. Ok.” and then he hung up and sat down across from me. I turned my attention away from the watches and toward him.

“You know who that was?” he asked, and without waiting for an answer, continued, “Your Grandpa.”