The Miscreanthology: Music for Interventions

Drum machines, microphones, 4-track recorders, feedback, guitars, samplers, skateboards, sleaze, dysfunction, nihilism, turntables, slipmats, needle thrashing, analog synthesis, lo-fi everything, counterculture, experimentation, digital destruction, sonic manipulation, fuzz pedals, space echo, spring reverb, damaged delay units, tape noise, trap kits, vocoders, talk-boxes, theremins, amps, speakers, woofers, tweeters, dusty records, multi-channel mixers, ear goggles, Casio keyboards, strange loops, sex sounds, 12-bit beats, bad raps, live claps, djembes, jam sessions, distorted vocals, filter sweeps, knobs, crossfaders, sequencers, cassette decks, saturation, compression, motels, strippers, peepshows, DIY ethics, improvisation, bongs, bowls, beans, lysergic acid diethylamide, psychedelic freakouts, surrealism, manic panic, mohawks, abstract angst, ill harmonics, stoned vibes, offbeat rhythms, crazy girlfriends, red wine, white wine, cocktails, beer, modded kicks, broken snares, good times, bad times, seven day weekends, insomnia, isolation, insanity, absurdity, and everything in between....

I've been recording music in one form or another since 1989, and whereas the collection below is far from everything, it represents the gist of the sonic-nonsense that I've released or been involved with between 1993 and 2015 under such monikers as The Miscreants, Tripnophonic, Casiohardcore, Pugs on Drugs, Sleaze Machine, and most recently; The Hi-Fi/Low-Life

Be forewarned that most, if not all of the early tracks prior to 2000 were recorded either on an analog 4-track or on a second hand cassette deck so the quality is probably not  up to modern standards. To put things into a further perspective, many of these songs were recorded live in one take with minimal, if any, legitimate production value. Back then, it was all about capturing a certain moment, mood, or vibe which could not be easily reproduced or duplicated. I didn't start utilizing digital audio until 2001, and even then, it was used reluctantly as initially it felt too paint-by-number, but as time went on, I realized that it opened up a plethora of possibilities ranging from virtual instruments and effects to unlimited, non-destructive tracking and editing. From 2002 forward, I fully immersed myself into the realm of digital audio and honed my skills with software such as Cubase, Rebirth, FL Studio, Acid Pro, Cakewalk, as well as my current DAW; Ableton Live. Lastly, keep in mind that many of the aforementioned early tracks may have been digitized via a second or even third generation cassette recording as the multitrack masters were lost years ago. I did my best to clean these up a bit while still maintaining the sonic integrity, but as the old saying goes; you can't polish a turd.  

With that said, for the first time in one place, I excitedly/shamefully present twenty-two years worth of my music, collectively known as...

The Miscreanthology: Music for Interventions (1993-2015)

Part 1: Bad Raps & Punk Shit

Part 2: Instrumental Vibes

Part 3: The Hi-Fi/Low-Life