Live Oct. 24 - GVCFA 

This has been one of those clusters of time where big things happen and there isn’t really even a way to gauge how much it impacted. To see Barack Obama elected was something I never thought I’d witness in my youthful days, and not for the reasons the media is obsessed with. I know it meant a lot to me to see this, as halfway through the minute after MSNBC announced he had won I was calling all my family quite emotional. That happened. It was beautiful.

Now here in the whirlpool or resilient aftermath, whatever it’s called. Things have been quaking a bit. I’m listening to old music and catching up on some long overdue chores, generally putting things into categories and then evaluating each and every one. Like: for instance: music. The album of songs I’ve been playing live is getting to the point of “ok, well, let’s put it out!”… though I’d like to have a sudden revelation and record another song or two with it. The other albums are floundering, and have taken far too long to put together. But it’s all organization at this point… a lot of the material is there… just waiting to be shaped up.

And then there is Aaron Ross’ new project, The Heirs Of Mystery. That album is almost done. A trio: Aaron singing playing guitar, Cody Feiler on electric guitar and backup vocals, me on cello and backup vocals. It’s a fun mix, it’s a good mix, it’s the kind of mix that doesn’t happen often, musically or personally… I really admire and respect those guys on all levels and I think that what we end up putting out, such as this last Sunday at the Crazy Horse Saloon in downtown Nevada City, while the sweaty pre-election crowd sat waitingwise under the redlights hearing for the first time… I think it is good. It is good music.

So tomorrow evening downtown Nevada City again, playing cello for an art opening at the Mekka… will be an interesting thing… fun I hope. And lately that’s what I mean, just a constant waterfall of these types of opportunities, crossing paths with really cool people. Nevada City has opened a bit, and yet…

now winter is upon us in it’s own way

and who knows… I just feel that of course, as always, as usual, it is not enough to be sitting here waiting for the next page to turn, waiting for the blind spot to become defogged, and perhaps even waiting for some approval to crop up out of the ether, because you know, we all want that. And, as it is shown, we are all getting there, older, and wiser, and closer to our fate, whatever it may be.

So, in short, things roll forward. I’m moving this more into journal form again by the way. I don’t really mind if it offends anyone that I shall tell of my days and nights and life in a truly vain manner on these pages. It’s what it is. I don’t need no excuses…

“The darkness has got the best of us… there’s a darkness in this town that’s got us too…
they can’t touch me now… you can’t touch me now… they aint goin’ to do to me what I watched them do to you… ” – Independence Day you should know perhaps who by

So yes, thanks in the air, the full fall leaves weighting down just enough. Enough passing by in a blur to become one with each exhale, the days. The sharpness of breath, the long-ness of the night. The books to read, the family to see, the projects to complete. The holy arena of reflection. It always happens, thank goodness.

Ambition is the answer to the vanity that tears me apart. I know I want to do more, and I believe that it will come about, the restless dreams of each and every night meaning something, meaning that indeed there is meaning. Simple tasks like homework pull me into two halves, the perfectly numb and the perfectly distraught. That’s where I’m at… You?

No, I haven’t been drinking. I just get this from the crisp air, from being on the cusp of change. From being a part of this second that said: write.

Cody Feiler practices a guitar part in this picture during an off moment of practice. Me, Aaron Ross, and Cody are playing together on Friday night at The Center For The Arts in Grass Valley. The show is pretty exciting because this set is really complex and unique music. The rhythms are in strange timings and the harmonies are pretty crazy. I play cello, Cody plays electric guitar, Aaron sings and plays acoustic guitar. We pitch in backup vocals… It’s really fun to be a part of such a great project.

As a band we’re the “Heirs Of Mystery”. (We might go with the “Ayers Of Mystery” for the next month however…)

I’m also playing that night, is going to be a big, rad show.

Picture uploaded by www.cellspin.net

well I’ve always wanted to play a show in new York, and that was fun… Good sound, people at Pete’s were cool… What I should have realized though is that what thisnwas really about was being here, wandering the MET in awe of Warhol and Okeefe… Gotta get on the plane now…

IMG 2224 

Well the truth is I’ve reached this certain critical mass of things happening, they may very well spontaneously combust. I’m trying to figure out NYC still, but I’m determined that it will be a great show. I guess what I’m saying is that, everything is there, happening, with strange mutations. But they do move ever-forward of course…

September is here, and the air has cooled almost imperceptibly. I’m still looking for a long summer. Yes I have been very busy lately, hence the lack of a voice here in website land.

This weekend I had so much fun it’s hard to put into words recording Aaron Ross‘ new album with him and Cody Feiler in the old church at St. Joseph’s in Grass Valley. Last night was the last of three nights recording there, and we were all banging on drums at midnight. It was some of the finishing touches on the most productive recording weekend I’ve ever been a part of. His album is so amazing, I’m listening to the roughs of it right now and it is so amazingly complex, varied, smart and moving I can’t wait for it to get out in the world.

Melora Creagan
I’m already also excited about the Mondo Cello Fest, which is coming around sooner than I’ll know I’m sure. The bottom line is that this touring show is so packed full of incredible cellists and is like, going to be the best show ever when it comes through your town… I’m going to post all the info here for your reading pleasure, and in the meantime be sure to go to the

Click here to visit the MySpace Page for the Mondo Cello Fest for info on tickets and the performers

October 15th—Broadway Performance Hall Seattle, WA

October 16th—Aladdin Theater Portland, OR

October 17th—Slim’s San Francisco, CA

October 18th—The Unknown Theater Los Angeles, CA

(more…)

I love New York City, having had Oh So Much Experience there (I’ve spent a total of like, two weeks there). But it is super amazing. And I’ve been wanting to play this place Pete’s Candy Store for a long time. Much respect to it, a lot of my musical heroes have passed through there at one time or another.

And so, I’ll be there September 21, a Sunday evening, playing at 10:30. NYC People, come out and be there. Spread the word if you have friends there (it seems like we all do!).

It’s been fast and cool and full of nostalgia and crazy weather and we are headed south again, leaving portland, and the bridges behind… again.

It’s the best city, and the rain settled in on us, and the lightning was everywhere, and so were our friends, and places to eat, and to get coffee. Now we camp our way back to Northern California… “home”…

Here I am in Powell’s books in my former city Portland. It’s not rainy, or cold, it is really really hot. People are flocked to the indoor spots, and here, books are being flipped through with indifferent non-commitment.

Such a great city, and so much happening here. Easy to deal with, comparatively, and vibrant. The energy of youth is off the charts, and the ambience registers thickly.

I miss writing music here, but it’s good to see that it is a time that has indeed passed. In other words, I’m also glad that I have moved along, done cool things… writ new stuff.

Speaking of which, keep an eye out for new material on its way, it basically is all going to arrive at once in a flood, most likely by mid-October.

Just checking in, have been out of touch. Thanks for stopping by!

Live at Amnesia - 07)31(08

Pre-PS… if you have any pictures that you’d like to share via flickr, go to http://www.flickr.com/groups/lukejanelalive and join in…

It was, indeed, the best show ever, and, though I can’t really sum up why, here are some of the elements:

1. My family was there. My cousin, two of my brothers, my sister in law, and my girlfriend were there, and it made me happy that they made it. I felt more at ease and comfortable pre-show (I am usually freaking out feeling ill with nerves) then I have in a long long time. I’m so glad that after all these years they’re not sick of my music (or me) yet!

2. My friends were there. A lot of my brothers’ friends showed up and it really meant a lot to me to see them there. They’ve been coming to my shows in SF for several years now, and I really can’t begin to say how much it rules that were there. I really respect them in general, and so it meant a lot to me.

On top of that, amazingly, some friends whom I had not seen in literally 7 years showed up. (One of them brilliantly sang for the headlining band SEAQUENCER). When I saw them in the audience (I didn’t know they were coming) I had to do a double take to believe that it was actually them. It was so good to reconnect. It kind of blew me away. It made me appreciate what real friendship is (you know… it stands the test of time, no words necessary to catch up, et cetera).

3. The venue/sound was perfect. Amnesia is a really cool bar, the ambience is dark and bohemian, the drinks are strong, the velvet plush, and the sound guy (thanks mike!) did a fantastic job with my absurdly over the top setup (two drum machines via midi, two cello pickups, vocals, and effects!). I felt really at home there, and the room glowed a cool red.

4. The crowd was really cool, and totally into it. Looking out over the crowd, the room was packed, some people were dancing (which I love), and everyone was just… into it. It was great… really great!

5. Things went right. I was playing all new material, and any number of things could have gone wrong… forgetting parts, pressing the wrong button, falling out of tune… it certainly wasn’t perfectly in tune (it is still a cello after all) but really, it was fun to play new stuff.

6. The SF Weekly review, and a blurb in the SF Ist… Honestly, I can’t say enough about the insightful, kind, and, I felt, poignant review in the SF Weekly. It did a lot to bring people out, and it did a lot to kind of affirm the sound I’m going for now…

7. On and on. I just really can’t sum up how much I enjoyed this show. Here is to many more. As a friend toasted at the end of the night:

“May the best of your past be the worst of your future.”

SEAQUENCER, Luke Janela, Round Mountain
Date/Time:Thu., July 31, 9:00pm
Price: $7-$10

Dreamy Cello + Dark Beats + Smart Emotional Vocals
“Elliott Smith with a cello” would be a lazy and reductionist way to introduce the music of Luke Janela, despite the parallels between the two songwriters — namely, their intimate, minimalist, melancholy acoustic elegies originally born in the bedrooms of gray and rainy Portland, Oregon. Janela’s inclusion of a drum machine and effects pedals, combined with the rich, deep, sonorous tone of his cello, gives his performances the time-collapsing atmosphere of ancient eras meeting the future. This is no mere gimmick at work, though: Janela’s welding of words to melodies is as accomplished as any erudite troubadour. That Janela left Portland for Nevada City, CA, hasn’t altered his desolate atmospheres, either — it merely means that maybe he’ll wheel his way into the city more often. Good news for us indeed. — J. Graham

Read the original review here.

This is a really nice, and amazingly insightful review of my music in the SF Weekly. I wish that I could write these words, the way that it so respectfully and accurately conveys what I am attempting to do musically really blows my mind!

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What you hear/see in this practice session is two beatboxes, one cello, effects on the cello, and the vocals. This song was writ about two months ago… part of the new batch. This is all live, just the mic on the camcorder (not the most perfect performance but you know… honest 😉

I’ve been trying to keep a fresh supply of new material up here on the site but wow it has been a busy time!

Also I’m in a period of transition, where I’m really figuring out my new sound right now: By putting this restriction that everything that goes onto the new album must be able to be done live, it has raised the bar. I now have multiple beatboxes as part of the cello/beat sound on top of that, so it’s tricky.

And it is fun to work this stuff out, I’m really excited!

Thanks for watching/listening!

rad cello dudesers

I am extremely honored to get to share the stage this October with this unbelievable lineup of the best cello based indie music in the United States! Having this incredible group of musicians all taking the stage the same night is sure to be phenomenal.

Here are the dates and locations:

October 15th–Broadway Performance Hall Seattle, WA
October 16th–The Aladdin Theater Portland, OR
October 17th–Slim’s San Francisco, CA
October 18th–The Unknown Theater Los Angeles, CA

The Lineup:

Zoe Keating

Portland Cello Project

Bonfire Madigan

Loop!Station

Judgement Day

Merch

Luke Janela

If you are in these cities and you like the cello, you HAVE to go to these shows. You will love it because it will rule.

Much is falling into place, but slowly, more like leaves than rocks. I am very excited to have confirmed the following live performances.

July 13 – Portland, OR – Outdoor Concert – More details to follow
July 31 – San Francisco, CA – Amnesia

and for now last but not least
October 15 – 18 – Portland, Seattle, San Francisco and Los Angeles – The Mondo Cello Tour

Stay tuned for more details!

Washington DC Boys Choir

“Be On Your Way” off Midnight Door was one of the songs that I worked on over and over again in the mixdown. I recorded it while on the road, and there was a lot that I wanted to “fix”, but there was a lot that I wanted to leave exactly as I recorded it that very first magical time.

The song was recorded in Washington DC, while we were staying in an apartment there. It was a moody place and time, and a good one, there were thunderstorms every afternoon.

Also, my guitar had just been stolen out of a campsite in Virginia Beach, which was tragic. I had that guitar for 10 years and really really loved it. So I had made the odd decision to buy a new guitar (using up my reserves for sure) because I couldn’t handle the loss, and because I couldn’t handle traveling without one.

So this song was the very first song I recorded with that guitar. In this version you hear only cello however, it was a quick mix I did, trying to ascertain whether the cello sans beats was “good” enough for the record. I like this mix, but you can hear the beats through the headphones, so it never did make it to the record.

Enjoy, and thanks for listening!

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Listen to the album version here.

PS – The picture there is the boys choir in Washington DC that I recorded and is featured in the ‘bridge’ section of the song “Fireflies” off Midnight Door.

When I lived in Portland, OR for a number of years a good friend of mine said “Hey have you heard of CD Baby? You should sell your CDs there!” and I said “OK!”

Since then they have been my favorite ally as a musician, and I’ve always recommended them… to any musician.

So, if you don’t use CD Baby, you should definitely consider it! Click here to see what a rad music page looks like over there 😉

I have been reading the founder Derek Siver’s thoughts on Music Marketing for many many years. He is a cool, genuine, nice guy and he often will drop emails to folks just to say “Hey you! You can do it!” It’s great.

I realized yesterday that this really could apply to ANY field, and so, if you need to get yourself inspired, download his pdf on getting your music out into the world. It will be applicable if you are a musician of course, but I think it can help if you are anyone who has ambition and needs to focus it!

Visit his site daily for good solid thoughts that really will help you stay on track. Do it now!

Last minute correction: It’s the Rocklin It’s A Grind… don’t go to Roseville!

Rad

Tonight I am playing a gig with Aaron Ross at It’s A Grind in Rocklin, which clearly means that transcendent insanity will arise, and perhaps there will be golden rays of fire leaping from the clouds above that fine city. So if you want to come down to the epicenter, do so, otherwise, if you happen to notice a glow on the horizon, that would be our show.

Directions to It’s A Grind

Aaron Ross

I originally recorded the song ‘Pinon’ off Midnight Door as a long, meandering piece. The idea was simply to open on the I chord, in C Major, and linger on the V, G7 for a good long time.

It worked better for the album for me to split it into three parts, because I really felt that this song in particular felt like the road.

Here is Piñon in its entirety… enjoy!

PS – Thanks to a listener for requesting this.

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Piñon - Full Version
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The Basement in Nevada City is one of the best places I’ve ever played, and I’ve played a LOT of random places, from small clubs to big outdoors thingys.

Here’s why:

It is an integral part of a music scene that only happens once in a generation.

It is cozy yet big enough to pack people in.

It is comfortable to go alone or with friends.

The sound is amazing.

The audience feels really warm and friendly, but it is not as disarming as playing for your friends.

It is an organic response to an evolving culture, in other words, it is a place that was created out of pure necessity, without pretense, and that, like a healthy plant, is thriving without the need of marketing, alcohol, food, or ‘coolness’.

What I am trying to say is that it is the quintessential underground music scene place. And I thank Ryan for making that be.

We had a great show on Saturday, the night was warm and friendly. Cody was splendid. The Actionists really blew me away, they had a great sound going on, they reminded me a bit of Karate, but they took it beyond that mellow ness. It was like, very intelligent, very … good. It was good music. I was impressed. Aaron Ross came up and you know, that guy can sort of have a quiet presence but halfway through his first song he really really commands a room. His lyrics wind, unwind like a river, and though they are very sort of big, epic, profound lyrics, he never makes it feel as though he is preaching… it is just amazing to watch him.

A lot of my friends came out to the show and man they have to know that they are the best. And a few people came not knowing what the scene would be like and I have to thank them especially. It was a fun night.

I know I haven’t posted in a little bit… I have tons of awesome excuses! But really I’ve been practicing. I’ve been playing some music with Aaron Ross and Cody Coyote (we might do a bit for the show on Saturday, we might now!). But I’m thinking: hey! I will record one of my last practice sessions here and post it to the site here in the next couple of days. Stay tuned!

Was listening to this instrumental electronic album I had made a few years back while driving through the redwoods in Northern California this weekend. I still like it. It is good to be moving along to. I can’t wait to start another album of the same “genre”.

Here is the first track, check it dude:

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Last night saw Bruce Springsteen live in Sacramento. Arco Arena. I had seen him 10 years ago in Oakland, where I was absolutely blown away by his 3:30 hour straight performance of all his great songs and newer songs as well. Last night was even better. The man is one of the few true heroes I have had in my life, an amazing songwriter, talented performer and musician, terrific human being, and capable of cathartic miracles upon thousands and thousands of people.

I think he is quite misunderstood by most of my peers, but he will have his due if anyone would stop saying “oh der, Born In The USA is so funny ha ha”. People don’t realize oddly that this song is an anti-war song! And that that album is an absolute masterpiece all the way through. Anyways, it’s not like he is underappreciated. His rabid fans were singing along to every song with abandon last night, and I have never ever heard such a ruckus for an encore. And he and the E-Street Band band played an hour long encore. They are classy man. So good.

So Bruce, thank You. You are such a positive influence on my life.


“Now young faces grow sad and old and hearts of fire grow cold
We swore blood brothers against the wind
Im ready to grow young again
And hear your sisters voice calling us home across the open yards
Believin we could cut someplace of our own
With these drums and these guitars”
– No Surrender – Bruce Springsteen – Played gloriously last night.

I found out, naively, that I can record with, hold the phones, TWO microphones at once. I didn’t have to buy a mixer or anything. Well, I already had what I needed.

And so, the blueprint for the cello & voice only album is laid out: two mics, live recordings.

This song was recorded as a test of my setup, the room, the mics, positions, et cetera, and I am quite happy with how it turned out. The mic on my cello is big and right, and the vocals (hint of sick still in my voice, I hate recording when I’m sick but I can’t stop myself) are the ever faithful SM57 at work.

So, preface this song with: a test. Lyrics… not quite worked out, but I will keep some of them and rework the whole thing. I wanted to give you a little something, as I have been far from the external world lately in the land of illness. But I’m back again!

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Two Of Them
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Last second I know, but tomorrow night I shall be playing a little cello ambient music for Kate’s art opening in Sacramento.

Practicing tonight, working it out. Here is a short sampling of what might happen… Here I am playing the cello (with my hands) and the beatbox (with my feet).

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Last Things First
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Looking East, North Fork Yuba River 

Some of you may have noticed that over on the page for “Midnight Door” I am now allowing you to listen to the whole album. Yay! Enjoy!! Let me know how you feel about this. I always love feedback.

Also, I imported into this site my blog that was used for traveling the states a couple years back. What that means is just that in the archives are all kinds of writings that I had previously kept separate from this site. I don’t really see the point though, of keeping this site “impersonal”. I have tried to to some extent, but, be forewarned: I no longer really care whether it is my persona or not, if it is cool, or not, et cetera. If you like the music, that is all that really matters.

I can always label my posts “personalisms” and then you’ll know. Yeah.

So on that note, March is here and the daffodils are cautiously blooming. My brother Nate came to visit this weekend which was rad. He is so great to hang out with, and he got me out of the house. I really love the rapport we have together, all us brothers.

My life has felt busy but also fulfilling lately. It has been difficult to get much recording done, as our small little one bedroom apartment is currently in painting frenzy mode, as Kate is getting ready for a show which opens this weekend. That is fine by me though. It can be good to lay off, let the ideas sort of settle, and then go again, in terms of writing.

Also, a sort of revelation today… was listening to A Very Serious Conversation today and there was a discussion of the state of the recording industry these days. In short, they talked about how major labels are screwed, no news there, but what strikes me about it is two things, both sort of tunnel vision so forgive that…

1. Major labels are not “Bad” per se, and in some ways it is sad that the industry is so desperately affected right now. It means less rock ‘n roll, no matter which way you look at it. Now, whether that rock and roll is crappy, commercial, fake, overblown, horrid, et cetera, is certainly debatable… but what it means for the sphere of music is that less people strive for a music career, which is sad, and that less money will be put into (this has already happened) promising artists. If any.

2. I personally am going to take this revelation to focus a lot less, if at all, on the ultimate goal of “getting signed”. I’ve always had this resolution in the back of my mind, and have legitimately embraced my independence. For better or for worse. But, honestly, if the goal is to simply play and share music with as many people as possible, to give something to the world, without the faux and ill disguised intention of “getting signed”, I personally will be a lot better off.

Yes, obviously, I want to, and plan on making a living from music. And I would certainly hope that I am continuously as blessed and lucky as I have been to be able to write songs, play with people, record, make my own albums. It is a joy that completes me. But this doesn’t really change anything in that sense… in fact it makes me more likely to get on with it and do it!

Really, am I not better off accepting the obvious, which is that I’m on my own in terms of promotion and marketing? And that, in being in that state, that I have freedom to make it whatever I so choose?

I really love and appreciate everybody that has supported me in this. You know, every so often I get a comment about the music that I make that makes me feel so honored and fulfilled. Last night Kat played some songs on KVMR… and its like… thank you. What more do I want? This is it. I want… I should say I would like for this music to echo about, and maybe give people the (life saving) meaning that music has given me in my life.

OK, this is ranty… but you get the point. Onward. More music. Less phony ideals.

This version of Porcelain Backdrop (track 8 off of ‘Midnight Door’) is really only slightly different than the version that made it onto the album. I have to admit that the difference is very subtle. You see I had grown slightly weary of… not of the sound… but of *relying* on the dual vocals thing that I blatantly borrowed from Elliott Smith.

When Elliott Smith recorded ‘Either/Or’ and other albums, he often doubled up on his vocals… ie., he recorded the same vocals singing the same words and notes twice. For me what it did is made hushed vocals louder and more present. It also accentuates rather than avoids the very natural inclination that humans have to being not perfectly “in tune”. When the two slightly imperfect vocals cross paths, they create a very human sound, since, when two real human beings sing together, they tend to be slightly “out of tune”, and thus, they sound HUMAN. (I rant because so much music that you hear is not really people’s voices, but computer “fixed” vocals).

When I record cello for other people’s projects, I like to double up, and record two versions of the same melodies to be played at once, so that the sound of my less than computer cellos adds up to a human sounding orchestral type of thing.

So I got addicted to doing the same thing with vocals. Which is what you’ll find on the original version of Porcelain Backrop off the album. But I almost released it with only one vocal, so that you could hear the sort of rawness of the lyrics, against the very deluxe backdrop of sound.

Porcelain Backdrop was named so because… well, it kind of just stuck. I did however, record that song after returning home from my epic road trip. I was trying to write a song, which is something I never do, I usually say: “I’m inspired… NOW is the time to write a song”…. and I wanted to write about how grateful I was for finding
1. answers to some of the more simple problems facing me regarding moroseness (“I think that I can see through… the shortening of the days”),
and
2. a person who really wanted to share with me in the experience of living in the way that Kate did on our road trip. (“you saved my boat from sinking… you made my nights complete”)

Without further ado, Porcelain Backdrop as never heard before with one vocal track instead of dueling:
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Remember: Porcelain Backdrop Live
Also: Listen to the album version

Dear Nevada City,

Last night I was out in your wilds and down at the old Chief Crazy Horse bar. Casual Fog was playing and the room was full of young people, and old people, the bartenders were frantically busy. It was an electric night.

It reminded me so much of the first night I spent here, New Year’s Eve a couple years back, when we stumbled accidentally into Cooper’s to watch the Rolling Stones cover band. That night was so invigorating. Kate and I were so new to everything, the world, apartments, a town, a home, all seemed so far away but necessary. In Cooper’s that night the scene was crowded with people, so young and together and excited about music that it felt like it could have been a scene from any big city in the United States, not some little tiny town up in the Sierra Foothills. It swayed us to move here, we were within throwing distance of San Francisco, Sacramento was there if we needed it. We could continue our road trip somehow with a stop along the way, in the last destination our road trip had taken us: Nevada City.

We stopped in Nevada City in the first place because it was on the way to Auburn, where Kate would settle for a couple of weeks at her parent’s house in time for Thanksgiving. Most campsites had long since closed for the season, and we just saw on the map National Forest campsites along the North Fork of the Yuba River, which meant: open to camp. We spent one night there on the Yuba, and then drove down into Nevada City. I remember reading about the town as we had always done on the trip from our guidebook. It said a lot about how many bookstores there were. How charming the town was. How it was a haven for bohemian artists and poets from the 60’s.

We found it to be pleasant in November. It felt like an island in the trees. I could sense the rest of California around it, which made me happy. We had coffee from the Mekka, walked around the little streets. We got some groceries and went to spend our last night of the trip camping on the shores of the reservoir up Hwy. 20.

That was a sad night. All the moves we knew so well, gathering wood, preparing dinner out in the chilly open air on the campstove. Snuggling up in the back of the truck, getting up to the crisp morning.

We moved here to Nevada City because of that New Year’s Eve. We had been looking for a place to live for a month, unable to pull the trigger on going anywhere it seemed… San Francisco was too expensive and too big. Portland too familiar. Mendocino we had done, and it was the smallness of that place that made us leave in the first place.

Luck made us find a charming little apartment on Deer Creek. Bohemian and old, dirty and cold, but charming all the same. It would be our art studio/recording studio. We would have all kinds of friends our age, they would stop by to visit us since we were right in town. We would find jobs and walk across the bridge to them.

It was so hard though. I spent four months unemployed. How I survived I don’t know. It was depressing. And then I did get a crummy job waiting tables at a mediocre restaurant in town. I couldn’t even eat the greasy food, the tips weren’t that great. There was nothing glamorous about it. Not fine dining, not historical, just a place.

And I didn’t really meet people. We made a few good friends, but there was no getting in with the kids in this town. If you were a stranger here, you were just an outsider. You were mistaken to be here or you were somehow taking advantage of it by existing here. We’d go to a couple parties when Cody would invite us, but all we ever got asked is how we came to be here. From there it didn’t really matter. We weren’t from here.

I finished my album. I met another couple of really good friends, and got a new job at the extremely shoddy local paper. Things could have gone so well. I was ready to make podcasts and write stories and do great design. But any new voices couldn’t be heard at that paper. The “entertainment editor” was severely out of touch with reality, extremely uninspired, and closed off to the real music scene that was happening here. Such a sad waste of talent that place. Kate found a job at the cool hip gallery in town, but it quickly dissolved because of some very strange lack of communication. I hadn’t heard from the guy I had framed photographs for for months… out of the blue he just didn’t call. I still haven’t heard from him. All the promise of this town would go up the roller coaster, and then swoop down terribly.

I coped by taking long drives into the mountains. I missed Mendocino (and still do) terribly. We may not have had many friends, but at least they weren’t even there, anywhere to be found. In Nevada City there were so many people we could know, but the roller coaster always swooped back down.

Things rolled here and there. I recorded with some of the amazing musicians in this town. Truly there is real artistry coming out of this place, be it an after effect of the previous generation, the bonding of small town shared stories, the air, the river, the trees, I don’t know, but it is unique, thoughtful, intelligent, anti cool, refreshing. I know that it is because I play an instrument that is in demand, but that’s fine, I loved the opportunity to create with people.

Aaron Ross and Cody Coyote are so amazingly dear to me. Aaron is the most talented songwriter I have known personally, Cody is sweet, cool, and has such an amazing voice. Alela was kind and courteous for her recording session, Mariee a sweetheart and so modest. Joanna Newsom dancing to the Moore Brothers on a random Saturday night at Cooper’s. Dana kept calling me for recording sessions, hopefully he still will! Dan Elkin, so driven, talented, and passionate. David Torch a humble, incredible person. Jonathan Hischke, truly gifted, Neil Morgan, a person who I felt great affinity for in only 30 minutes of conversation. In other words… such an incredible group of people!

I was able to finish my album here. And when I did, Eric Dickerson helped me really cull it down, and inspired me in the process. I wanted to play. And I have, a little. I got a new job. Things feel better now.

And yet, last night, I just wanted you to know that I am so enamored with you, but feel that I will never truly know you Nevada City. Casual Fog encompasses everything I love about the town, a band of not just really talented people, but a group of some of the nicest people you’ll meet. I want it all to shine, I want something magical to come of this place, but dammit I want to be a part of it somehow. I want to FEEL like I belong.

There are so many blessings, I got to meet, thanks to Laura Brown, Gary Snyder! A life long dream. Just to meet him. And one day I’m up at his table in the house he built while he pours me coffee he brewed. Amazing.

There just is no permanence here. I don’t know what I’m missing. But I either want it all to come together in a hurry or I’ve got to get out. I feel like I’ve been courting you, Nevada City, for two years. And I’m waiting for something to happen, a sign. A glimmer.

I have a good job, I love it in fact. And yet it is not music. I have so many wonderful blessings all around me. I just wanted to write this. A sort of plea for connection. For things to make sense somehow. I want to in writing this snap out of the hazy in between that you’ve held me in. I feel like I’m inside a washing machine, being cleansed, abused, and spun around all at once. I want to either love you or hate you, either way, to take more chances, feel more alive.

So that’s that. I don’t know why exactly I wrote this. I just felt like I needed to. Thank you for everything, thank you for last night, and how beautiful it was. I almost don’t feel like a spectator sometimes in moments like that. People are coming together. They are hopeful and alive. They are creating amazing things. And that’s how it is.

This is a track from way back. This is one of my first shows where I used the cello for half my set. I had my beatbox, and was playing at the Medicine Hat, this beautiful underground type spot on NE Alberta St., in Portland. It was a quiet night, like a Wednesday or so, but I remember that several of my friends were there. We probably ate at the Vita Cafe. I know that I had left my cello pickup back at my apartment on SE Hawthorne, and was frantic to make it all happen for this show.

So it was the beginnings of making the cello and beats thing work. This recording was done nicely by the sound engineer. Its an old song too, one off of “Still Dream” I believe.

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