Notes from the Edge
Go to StoneRuins.com,
my musical site, for more misinformation and downloadable music!
(but there are lots of lies on that site, so this page is where you'll
find the truth...)
I've been involved in musical things ever since I was a tiny tot.
At some point they started taking shapes and names, so here's the rundown.
CLICK on the art to see a larger version!!!!
For a long time I worked by myself in my room with my home studio.
I used a lot of synthesizers and effects, plus my usual guitars here and
there. The music is mainly synthetic, partly psychotic, and is said
to positively reek of the 80's. Well, I try to be original and not
be influenced by outside forces, but a whole decade is pretty hard to ignore.
photo: Sue Capell treatments: Fritz
This was a short-lived band, but its legacy lives on. It featured
myself on bass, Angus Hendrick on guitar, a certain Izac on Guitar, and
an Adre on drums. I don't even remember the last names of the last
two, they came and went too fast. The basic Infinity combination
(myself and Angus) has been resurrected as Infinity Plus One, with Wade
Burgett, and as Infinity Plus Two, with Wade and also Joe Capell.
These were short-lived projects, as Angus has lived on the east coast for
the past few years (and I on the west). When he's here, we usually
pull together an Infinity band and make some noise.
Originally, we set out to make intrumentals to play in the coffee shops.
Karl Gaylin and I played guitars, with Troy Hansen on bass, and we had
a few drum machines to keep the rhythm down as necessary. We played
quite a few shows in this configuration, then decided to write songs with
real lyrics and stuff. Shortly after we made this decision, we had
an opportunity to go on tour with another band, Baby Gets Tattooed, so
we made a tape and went on tour. The tour was a disaster, but we
had a really good time. Both bands broke up when we got back.
This music was very guitar-oriented. The instrumental works were
collaborative, and Karl wrote most of most of the ones with lyrics.
Somebody said it was stoner guitar music. Of the 350 tapes we printed,
we sold about 5 (I still have some - want to buy one?), but we got reviewed
in the Oregonian and it was... well, it could have been worse. To
see the review, click here.
line art: Troy Hansen watercolors
and treatments: Fritz
For a few months between bands, Troy and I worked together on a more
synth-oriented project, but we never really pulled it together. We
ended up with three tracks, which are good but unfinished, and it was clear
we weren't going anywhere.
From the ashes of Crawling With Emily and Baby Gets Tattooed arose
Handstand Skeleton. It began as me, Bryan Huey, Troy Hansen, and
Tim Hanson. Bryan had been the keyboardist for the Baby. I
played guitar and keys and yelled, Bryan played keys and drums and yelled,
Troy played bass and drums, and Tim played drums and keys. We swapped
around a lot. We played one live show, on Halloween 1992. After
that show we kicked Troy out of the band, and Joe Capell joined on bass.
Later we allowed Troy to rejoin, and for a while continued as a five-piece.
This was the most destructive, energetic, and dangerous band I ever
played with. We mostly argued, abused our brains, and lit things
on fire, and we had a few dozen old tv's and a big visual show. We
made some great noise, though, and I learned to yell until I couldn't talk
any more. Unfortunately, we weren't very good about recording, and
no good recordings survived.
This was rather aggressive synth-and-guitar techno-metal. Very
cool. Unfortunately, we found that we couldn't work together.
There have been several movements to pull ourselves back together and record
our material in the studio, but so far no happy reunions. I guess
we're not Fleetwood Mac, but I suspect that's because the price tag isn't
These recordings are from our very last practice session. I set
up a couple mikes and tried to get a recording, but one of the mikes didn't
work, and it turned out terrible. I worked on the recordings for
a long time after that, and got them cleaned up to the point where they
are listenable, but they could still be a lot better.
art: Bryan Huey
Myself and Joe joined up with my very good friend Wade Burgett on drums.
Most of the material was pretty straightforward punkish and grungeish guitar
rock. We played one show, on Halloween 1994. Shortly thereafter,
Joe left to join Tone Deaf Orchard, who later (with the exception of the
singer) became the now-defunct Myth of Cyrus Tower. They have their
own now-defunct web site: click
here for some pretty cool defunctness.
Hafajaraf was revived in 2001 with the addition of Lucy Capell on vocals.
We played for a little over a year, and then other life priorities (such
as Lucy having a baby and Wade moving to Texas) put the project to an end.
Wade and I decided to continue to play together, and to branch out
into more far-reaching musical areas. Armed with about a thousand
computers, we generate tracks with very lush instrumentation, rhythmic
sythesizers, samples, guitars, and anything else that seems to fit in.
We never know what we're going to do next. Our CD could be released
at any time.
(1997 to present)
This is another project that Wade and I have been working on the last
few years, with bassist Matt Brown. The rules for this project are
that we can't write anything down, can't plan anything, and can't play
the same thing twice. It makes for a very interesting and spontaneous
mix, full of good and bad and sweet and painful magic.
Usually I play guitar, Matt plays bass, Wade plays drums, we all sing or
speak, and sometimes somebody will monkey around with a synth.
This is my newest project, a techno-metal thing that is just beginning
to come together. So far the members are me, me, and me, but I'm
hoping to expand the personnel somewhat in the next few months. We
I'm working on making CD's available,
so if by some random chance you like what you hear, you can buy it.
They will be only a few dollars apeice, as I am not interested in making
money, only in spreading the love, man... but if I spread too much love,
by giving them away for free, I'll run out of love (or in this case, money)
and I won't be able to spread love any more... so they'll be priced to
keep me in the love and keep us all in the love, man...
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