365 days of Creative output in 2020 continues in June with the Diary of Count Ribula. This bizarre Rap-Opera follows a Vampire from his birth in Eastern Europe to his relocation to Houston, Texas in the early 1990s. Count Ribula comes into contact with DJ Screw and later forsakes drinking blood and the violence attached […]
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Check out this sampling of songs featured in Season One of the Mad Stabercrombie Show. Note many of these songs appeared on the show in excerpts and appear here warts and all in their entirety.
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The 365/2020 project continues in April with a look backwards through all of my previous musical projects.
The creative every day project continues in March with 30 songs of rage, anger, hate, doubt, paranoia and war on Audiomack. This lined up nicely with the psychological stress brought on by the first Month of the virus lockdown.
Sometimes it is easy to be so artistic and expressive that you forget how to be human. This sort of happened to me. I have devoted my musical focus to artists that push the envelope and break the expectation barrier, so a lot of my music has tried to emulate these values. In other words
The creative every day project begins in January with 31 freeform pieces. Each day consisted of an improvisation on one instrument, usually done in one take.
I made a choice to publish some kind of creative project every day in 2020. I did this for a few reasons. My entire life has been a steady balance of visual arts and music up until 2010. That year my Daughter was born and my parental instincts told me to focus on commercial art and put the music on hold. This was all fine until around 2018 when I noticed a buildup of stress and general displeasure with life. I kept trying to approach it from a clinical mentality. Get more exercise, eat better, meditate… all beneficial in their own ways, but something was still missing.
This 2017 release was my final album with the Nice Machine. In my opinion, we went out on a very high note with this album recorded and produced by Ken Henslee. The recording sessions took place over a year at Ken’s home studio. Ken was an ideal collaborator for the Nice Machine and we enjoyed
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Athens, GA Surf Punk act The Nice Machine spent close to a year recording Jack Cousteau in guitarist Chris Vanderford’s basement. It was a very old-school scenario going to 8 track tape, and then to digital for mixing. Working with tape meant getting good takes without any punches. This coincided with the band’s residencies at
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