This message is a way to garner a fan base. A way to communicate to the would-be supporters of PATCH and all of the brother/sister bands and artists that work with us. We have a lot to offer at the moment, but it's difficult to send messages out to individuals. Mainly, it's time consuming. I'd love to be able to do that, speaking directly to each of you, but it's not practical, unfortunately.
The next best thing is to have an email list. One where I can send out info on exclusive live shows, free giveaways, new products, essays on what everything means in the allegorical world of the lyrics and performances, news on future happenings. It's been my wish from the get-go that PATCH would be a very rewarding experience for fans. I'm a very appreciative person, and the rest of my bandmates are as well. We'd like to give you gifts as much as possible. We're always changing the sets of our live shows to keep you people thirsty for more. Eras of songs will come and go, new versions of past songs are already being cooked up. There's too much!!
That being said, if you would like to join the PATCH mailing list, you only have to put your email in the box below this message and fill out information that goes to ME through a service called Nimbit, which is a "direct-to-fan" internet platform that I've been using to get PATCH off the ground. No other third party will have that info.
Once you fill out the info, you'll be able to download the FREE Promo copy of Schematics.
If you don't wish to be on the list or would like us to stop hounding you, let me know.
This is the beginning . . .
Peter K
Tuesday, January 4, 2011
Sunday, December 19, 2010
Chapter 1 . . .
CD RELEASE SHOW SET (12/17/10) @ 1419:
1. Preclusion
2. Acknowledgments
3. L.C.D.
4. Whisper a Scream
5. Silent Cache
6. An Act of 3
7. Here Again
8. The Private Collective
I've done it.
I've reached every goal I've had at the beginning of the year.
1. Make PATCH go live
2. Finish and release Schematics
Just two, but they were huge undertakings.
December 17th, the two culminated in an event that harbored promise and reward. The reward mainly being relief. Promise in terms of "Well, I think this whole Patch thing might take off. People seem to like it."
It sparked the end of Trifectic preparation (we've learned everything I had written for the initial three piece line up back in July and August). And we played a track from Schematics, something I didn't really intend to do initially with the three piece lineup. Schematics is its own entity, a glimpse into future projects. L.C.D. is actually a song from an album I've written called Karmath. The rest of the songs are from three other projects I hope to complete: Sound. Of. Static., I Source, and Hue.
Playing the show, I felt where the energy was high and where attention spans waned with the audience. At this point, I'd like to keep energy high throughout a show. The next step is to take the three piece lineup and give it one more round of songs, an entirely new set from what we've been playing thus far. It will be fun to mix and match Trifectic with the next project, too.
The next project's storyline will deal with the concept of three again. It will focus on the notion of polygamy and lovers trying to come to terms with "others" in their relationship. It's a commentary on modern sexuality, suppressed sexual inhibitions within animals, and a way for me to deal with some of my anxiety when it comes to my love life. There's a 90's indie feel for one song, plus the storyline will incorporate electronics. The first time we'll be doing so in the live setup.
We'll also expand on the drum line alongside the new storyline. I'd like to have a show where we're able to use our bodies to express the songs. Being stuck behind a plethora of instruments in Trifectic, I feel somewhat suppressed in expression onstage. The drum line is about instrument performance, the other material will be about intense body expression. I want to have a realm where one style of performance can really shine and have the option to have the other style shine in another setting. This will also create more variety in our shows, something I've always wanted in PATCH. If we have four shows booked in a two week span, each show will be different, thus providing people the opportunity to keep coming back for more and not seeing the same show they saw two nights prior.
After these two projects (Drum Line Expansion and New Set), it'll be time to bring in the four piece version of PATCH with "On Veins and Nothing" and "Omiss" and "Karmath". The next recording is up in the air . . . I'm not sure what I want to do in that department quite yet. Perhaps the new set will shed some light on that matter.
1. Preclusion
2. Acknowledgments
3. L.C.D.
4. Whisper a Scream
5. Silent Cache
6. An Act of 3
7. Here Again
8. The Private Collective
I've done it.
I've reached every goal I've had at the beginning of the year.
1. Make PATCH go live
2. Finish and release Schematics
Just two, but they were huge undertakings.
December 17th, the two culminated in an event that harbored promise and reward. The reward mainly being relief. Promise in terms of "Well, I think this whole Patch thing might take off. People seem to like it."
It sparked the end of Trifectic preparation (we've learned everything I had written for the initial three piece line up back in July and August). And we played a track from Schematics, something I didn't really intend to do initially with the three piece lineup. Schematics is its own entity, a glimpse into future projects. L.C.D. is actually a song from an album I've written called Karmath. The rest of the songs are from three other projects I hope to complete: Sound. Of. Static., I Source, and Hue.
Playing the show, I felt where the energy was high and where attention spans waned with the audience. At this point, I'd like to keep energy high throughout a show. The next step is to take the three piece lineup and give it one more round of songs, an entirely new set from what we've been playing thus far. It will be fun to mix and match Trifectic with the next project, too.
The next project's storyline will deal with the concept of three again. It will focus on the notion of polygamy and lovers trying to come to terms with "others" in their relationship. It's a commentary on modern sexuality, suppressed sexual inhibitions within animals, and a way for me to deal with some of my anxiety when it comes to my love life. There's a 90's indie feel for one song, plus the storyline will incorporate electronics. The first time we'll be doing so in the live setup.
We'll also expand on the drum line alongside the new storyline. I'd like to have a show where we're able to use our bodies to express the songs. Being stuck behind a plethora of instruments in Trifectic, I feel somewhat suppressed in expression onstage. The drum line is about instrument performance, the other material will be about intense body expression. I want to have a realm where one style of performance can really shine and have the option to have the other style shine in another setting. This will also create more variety in our shows, something I've always wanted in PATCH. If we have four shows booked in a two week span, each show will be different, thus providing people the opportunity to keep coming back for more and not seeing the same show they saw two nights prior.
After these two projects (Drum Line Expansion and New Set), it'll be time to bring in the four piece version of PATCH with "On Veins and Nothing" and "Omiss" and "Karmath". The next recording is up in the air . . . I'm not sure what I want to do in that department quite yet. Perhaps the new set will shed some light on that matter.
Saturday, November 20, 2010
Closing the Year
After 2010 ends, I'm kind of stumped as to the next direction that we'll be taking in PATCH. Meaning I've got a lot of ideas (too many) but I haven't nailed one down for our undertaking in January.
What we've done so far is Trifectic. Approximately 55 minutes' worth of material. Seven songs:
1. Preclusion
2. Acknowledgments
3. Whisper a Scream
4. Silent Cache
5. An Act of 3
6. Here Again
7. The Private Collective
All of the material is based off of the hardship of realizing one's dream, and the people and situations that try to strip you of your goals. Preclusion and Acknowledgments have felt the most respectable to me. Whisper, Silent, Act of 3 have felt a little "put on". I love those songs, but they're very theatrical, using a form of music that's mainly for show and not the most personal. They're also telling about another character, not me. I'm not alluding to the fact that we're going to discard anything. I just know what my heart's pining for: more personal, PATCH-y sort of music, rather than just straight up blues and drum lines.
That being said, the next step in Trifectic will be a story relating to my current love life. On Veins and Nothing is a reflection on that aspect of my life, but I'd like to delve into a short story first before we get into that grand era. I've got intense ideas for intense music. I want to continue the angry energy we create with Preclusion and Acknowledgements and let it ride throughout the entire show. Louder, more in your face. More sexual. More uncomfortable for an audience.
December 1st will be the first time we'll be playing the original Trifectic set in its entirety to a live audience. December 17th, our Schematics CD release show, we will play a track from Schematics and Karmath: LCD. After that, expect both the personal songs to be fleshed out, and an expansion on the Whisper, Silent, Act of 3 storyline and performance.
What we've done so far is Trifectic. Approximately 55 minutes' worth of material. Seven songs:
1. Preclusion
2. Acknowledgments
3. Whisper a Scream
4. Silent Cache
5. An Act of 3
6. Here Again
7. The Private Collective
All of the material is based off of the hardship of realizing one's dream, and the people and situations that try to strip you of your goals. Preclusion and Acknowledgments have felt the most respectable to me. Whisper, Silent, Act of 3 have felt a little "put on". I love those songs, but they're very theatrical, using a form of music that's mainly for show and not the most personal. They're also telling about another character, not me. I'm not alluding to the fact that we're going to discard anything. I just know what my heart's pining for: more personal, PATCH-y sort of music, rather than just straight up blues and drum lines.
That being said, the next step in Trifectic will be a story relating to my current love life. On Veins and Nothing is a reflection on that aspect of my life, but I'd like to delve into a short story first before we get into that grand era. I've got intense ideas for intense music. I want to continue the angry energy we create with Preclusion and Acknowledgements and let it ride throughout the entire show. Louder, more in your face. More sexual. More uncomfortable for an audience.
December 1st will be the first time we'll be playing the original Trifectic set in its entirety to a live audience. December 17th, our Schematics CD release show, we will play a track from Schematics and Karmath: LCD. After that, expect both the personal songs to be fleshed out, and an expansion on the Whisper, Silent, Act of 3 storyline and performance.
Monday, November 1, 2010
For November 2nd, 2010
My stance for this Election Day:
"I developed an alternative agenda
A way to keep the peace within a world of strangers
Their colors all blended contradiction
So I took just one and created an eviction
You all say you’re looking for a way out
You all stay in by looking for a way out
The loudest voice is a whisper, not a shout
And that’s why, that’s why you’ll never get out . . .
. . . On the hill of Red, White, and Blue
The trusted providers of molasses and glue
Flooded the West, we’re stuck and contained
There will be no change, it’s too thick to drain
Ay oh, it’s too thick to drain
Entered the hearing with a song and a praise
Grabbed the trophied weapon laid out for display
Took the podium and gave a speech
Said what they liked: “Teach, Preach, Impeach.
With this weapon it’s either loaded or free
Locked and hidden where you can find the key.
There’s no compromise, no in between, just war.
Nobody even has a voice on this floor.”
And with a gesture I was sure they’d understand
I put a bullet into 535 heads
Policies all tranquilized my potential
To be strong, be the boss, be essential
Get a 4.0 and you’ll be behind
Blood and Duty is politics defined
You don’t hold me anymore
You don’t hold me anymore
You don’t hold me anymore
You don’t hold me anymore"
------- Selection from PATCH: An Act of 3
"I developed an alternative agenda
A way to keep the peace within a world of strangers
Their colors all blended contradiction
So I took just one and created an eviction
You all say you’re looking for a way out
You all stay in by looking for a way out
The loudest voice is a whisper, not a shout
And that’s why, that’s why you’ll never get out . . .
. . . On the hill of Red, White, and Blue
The trusted providers of molasses and glue
Flooded the West, we’re stuck and contained
There will be no change, it’s too thick to drain
Ay oh, it’s too thick to drain
Entered the hearing with a song and a praise
Grabbed the trophied weapon laid out for display
Took the podium and gave a speech
Said what they liked: “Teach, Preach, Impeach.
With this weapon it’s either loaded or free
Locked and hidden where you can find the key.
There’s no compromise, no in between, just war.
Nobody even has a voice on this floor.”
And with a gesture I was sure they’d understand
I put a bullet into 535 heads
Policies all tranquilized my potential
To be strong, be the boss, be essential
Get a 4.0 and you’ll be behind
Blood and Duty is politics defined
You don’t hold me anymore
You don’t hold me anymore
You don’t hold me anymore
You don’t hold me anymore"
------- Selection from PATCH: An Act of 3
Show 3
Fine Line Music Cafe, Minneapolis, MN
10/26/10
1. Preclusion
2. Acknowledgments
3. Whisper a Scream
4. An Act of 3
5. Here Again
6. The Private Collective
Whisper a Scream and Private Collective were the strong ones here. Here Again was completely botched, however. Greg's bass was out of tune on one string, and I realized this as the song progressed. I started fearing "Shit, my own guitar's going to be completely whacked due to the bass!" Sure enough, it sounded like complete ass when I went to my first solo. I basically took the guitar off for the big solo, stopped the song, told everyone to point a middle finger at the guitar, kicked some pots/pans around, half-finished the song. We ended strong with Private Collective. People forgot all about the awkwardness just before (I even heard someone say on our video of the show "Well, THAT was awkward" after we stopped Here Again). Paul was nuts, jumping, swinging his guitar around, screaming and headbanging. I hope he continues to stay at that magnitude from now on. Greg was more calm. We'll just forget about the Here Again incident and tune before we go into it in the future. They can't all be zingers . . .
10/26/10
1. Preclusion
2. Acknowledgments
3. Whisper a Scream
4. An Act of 3
5. Here Again
6. The Private Collective
Whisper a Scream and Private Collective were the strong ones here. Here Again was completely botched, however. Greg's bass was out of tune on one string, and I realized this as the song progressed. I started fearing "Shit, my own guitar's going to be completely whacked due to the bass!" Sure enough, it sounded like complete ass when I went to my first solo. I basically took the guitar off for the big solo, stopped the song, told everyone to point a middle finger at the guitar, kicked some pots/pans around, half-finished the song. We ended strong with Private Collective. People forgot all about the awkwardness just before (I even heard someone say on our video of the show "Well, THAT was awkward" after we stopped Here Again). Paul was nuts, jumping, swinging his guitar around, screaming and headbanging. I hope he continues to stay at that magnitude from now on. Greg was more calm. We'll just forget about the Here Again incident and tune before we go into it in the future. They can't all be zingers . . .
Sunday, October 17, 2010
Show 2
Show 2: Big V's Saloon, St. Paul
10/16/10
1. Preclusion
2. Acknowledgments
3. Here Again
4. The Private Collective
Another exhausting set. However, the audience hasn't been privy to that. They've said the shows have been uber intense and energetic throughout. Greg was on fire, moving around, head banging. Paul was a little more calm. Thank god for the adapter and daisy chain I purchased this past week, because now all our pedals are in working order!
I was worried about Here Again. It's really easy to screw up that song, since it's actually melodic and relies on written tabs, rather than things we threw together off of melodies I sang to Paul and Greg to figure out on their own. It turned out great. Best song of the night, actually, for me at least.
10/16/10
1. Preclusion
2. Acknowledgments
3. Here Again
4. The Private Collective
Another exhausting set. However, the audience hasn't been privy to that. They've said the shows have been uber intense and energetic throughout. Greg was on fire, moving around, head banging. Paul was a little more calm. Thank god for the adapter and daisy chain I purchased this past week, because now all our pedals are in working order!
I was worried about Here Again. It's really easy to screw up that song, since it's actually melodic and relies on written tabs, rather than things we threw together off of melodies I sang to Paul and Greg to figure out on their own. It turned out great. Best song of the night, actually, for me at least.
Tuesday, September 14, 2010
Magnetic Lines of Sight
Having spent pretty much 3/4 of the year sans blog, I can say that I don't miss blogging every single day of the year. I get the random urge to type about this or that, but frankly I don't have the time to write that stuff down anymore. Nor would you care. How many people actually looked at the Karmath Blog each day? Maybe six at most? To those six, I commend you and thank you for your interest in my life, I'm interested in yours as well. But it makes you think . . .
Why do I want people to know what I'm thinking? Is it because I'm a polite narcissist, putting myself out there in the hopes that people care enough to look me up the way I want to be looked up? Yeah, actually. I don't crave attention. Well, scratch that, I do. Sometimes. Other times I do like to hide away in a cave and do my own thing. But usually, c'mon, you know me! I'm your fucking clown, I'll shit in my own mouth, I'll fondle a blowup doll and fuck its eye if it makes you happy. At least, I thought the spectacle of that sort of performance would have been interesting to see about five years ago. Now, that act has to have a reason behind it. I can't justify fondling a blowup doll ever, since it's hokey. But to fuck something in the eye . . . I have an idea behind that one . . . trust me, it's all good and gravy, and it's a doozie of an idea. It deals with PATCH, on the topic of fetishes and obsessive compulsion, to which I have both. BOOM, I just found reason to muse on sticking a phallic object into the empty eye socket of some personified object, living or dead.
Jesus . . .
I'm scared. Seriously. I've just made PATCH go live. I've now reached that strange frontier where I have to garner enough attention on me and my musings in order to justify keeping PATCH alive. My job is to be a somewhat impolite narcissist in order to make my dream fully realized. After this, you'll hopefully turn me into an object where I don't have to ask for you to look at me, you'll do it on your own. And then when I want enough, you won't let up, you'll still lust for more, and I'll sink into a spiral of self-loathing and irritation that I'll regret ever having wanted to start PATCH in the first place. Do I still want to do this?
Hell yeah. I'm a born narcissist. I love theatre. If you're in theatre, you're a narcissist. People love watching stories, hearing sounds. Who's going to do that? Narcissists. Who'd rather be an audience? I come from a world of performers, so I don't really know the answer to that. My friends are all attention seekers. Drama queens. We've fucked this many people, we've been screwed over this many times, we've been in this many bands, our hair truly is in touch with our individuality (which is a mirror of another individual which is a mirror of another and another . . .). I want those people to stop thinking about themselves and look at me. I want those who are not narcissists to look at me. I want everyone to look at me.
Why won't you look at me?
I'll just have to think of another way to make you look at me. Or keep doing what I'm doing. We all have magnets glued to the sides of our eyes. The object is for me to put enough attractive force into my own magnets so that yours feel me pulling you in, if only for a brief glance. I pine for a double take. Hell, I pray for stares.
This is what they should teach in art school programs. How to get stares. Instead they teach expression, how to get a feeling out. Valiant effort on putting a sugar coating on narcissism, but I'm not buying it. You're really trying to steer people inward, keeping your own performance as a teacher on top, getting more attention. You teach how to get people to maintain eye contact with you and your art, those pupils become successful. How to extrovert the introvert.
I've seen that before, this person's not saying anything new, it's not daring enough, this artist looks like an asshole, they seem quiet, they're not interesting. I've seen people sticking their dicks into a blowup doll's eye socket. It's not that original. It's not that interesting. Anybody can do it.
But can you turn that idea into a one minute section of a song? Can you get rid of the basal act? Can you turn it into an emotionally charged act that people can empathize with (and not just people who have also fucked a blowup doll or who are thinking about maybe branching off and embarking on that act in the future at some point)? How about something that won't get old? They'll keep staring at it for years and years.
I've got this shit. I can do this whoring of my art. I'll keep my integrity, I'll keep my good nature. I know who I am, I know my motivations. My motivations regard talking about my motivations, most of the time. It's all meta-self-analyzing.
Time to compose some emails . . .
Why do I want people to know what I'm thinking? Is it because I'm a polite narcissist, putting myself out there in the hopes that people care enough to look me up the way I want to be looked up? Yeah, actually. I don't crave attention. Well, scratch that, I do. Sometimes. Other times I do like to hide away in a cave and do my own thing. But usually, c'mon, you know me! I'm your fucking clown, I'll shit in my own mouth, I'll fondle a blowup doll and fuck its eye if it makes you happy. At least, I thought the spectacle of that sort of performance would have been interesting to see about five years ago. Now, that act has to have a reason behind it. I can't justify fondling a blowup doll ever, since it's hokey. But to fuck something in the eye . . . I have an idea behind that one . . . trust me, it's all good and gravy, and it's a doozie of an idea. It deals with PATCH, on the topic of fetishes and obsessive compulsion, to which I have both. BOOM, I just found reason to muse on sticking a phallic object into the empty eye socket of some personified object, living or dead.
Jesus . . .
I'm scared. Seriously. I've just made PATCH go live. I've now reached that strange frontier where I have to garner enough attention on me and my musings in order to justify keeping PATCH alive. My job is to be a somewhat impolite narcissist in order to make my dream fully realized. After this, you'll hopefully turn me into an object where I don't have to ask for you to look at me, you'll do it on your own. And then when I want enough, you won't let up, you'll still lust for more, and I'll sink into a spiral of self-loathing and irritation that I'll regret ever having wanted to start PATCH in the first place. Do I still want to do this?
Hell yeah. I'm a born narcissist. I love theatre. If you're in theatre, you're a narcissist. People love watching stories, hearing sounds. Who's going to do that? Narcissists. Who'd rather be an audience? I come from a world of performers, so I don't really know the answer to that. My friends are all attention seekers. Drama queens. We've fucked this many people, we've been screwed over this many times, we've been in this many bands, our hair truly is in touch with our individuality (which is a mirror of another individual which is a mirror of another and another . . .). I want those people to stop thinking about themselves and look at me. I want those who are not narcissists to look at me. I want everyone to look at me.
Why won't you look at me?
I'll just have to think of another way to make you look at me. Or keep doing what I'm doing. We all have magnets glued to the sides of our eyes. The object is for me to put enough attractive force into my own magnets so that yours feel me pulling you in, if only for a brief glance. I pine for a double take. Hell, I pray for stares.
This is what they should teach in art school programs. How to get stares. Instead they teach expression, how to get a feeling out. Valiant effort on putting a sugar coating on narcissism, but I'm not buying it. You're really trying to steer people inward, keeping your own performance as a teacher on top, getting more attention. You teach how to get people to maintain eye contact with you and your art, those pupils become successful. How to extrovert the introvert.
I've seen that before, this person's not saying anything new, it's not daring enough, this artist looks like an asshole, they seem quiet, they're not interesting. I've seen people sticking their dicks into a blowup doll's eye socket. It's not that original. It's not that interesting. Anybody can do it.
But can you turn that idea into a one minute section of a song? Can you get rid of the basal act? Can you turn it into an emotionally charged act that people can empathize with (and not just people who have also fucked a blowup doll or who are thinking about maybe branching off and embarking on that act in the future at some point)? How about something that won't get old? They'll keep staring at it for years and years.
I've got this shit. I can do this whoring of my art. I'll keep my integrity, I'll keep my good nature. I know who I am, I know my motivations. My motivations regard talking about my motivations, most of the time. It's all meta-self-analyzing.
Time to compose some emails . . .
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