AVAILABLE ON BOTH CDr (via my label EMCD) AND CASSETTE (via Megatape Records)

megataperecords.bandcamp.com/album/revelations
megataperecords.bandcamp.com/album/revelations
megataperecords.bandcamp.com/album/revelations
megataperecords.bandcamp.com/album/revelations

Jesus Christ, this is finally over. This album has been top priority for me since about last August or when I finished the opening track (later to be seen on Megatape's Fuck Breakcore 2 compilation) I got the idea for this album since even before I got the idea or started any work on Loving You Is Copyright Infringement on my visit to Chicago, specifically Six Flags Great America. We had got rained out of the park and had stayed until closing to try to wait it out and by the end of the day, we got this crazy atmosphere where the park was pretty much devoid of people and you could just see the glow of lights reflect upon the puddles of rainwater along with a beautiful sunset. Right then, I got these ideas in my head for this crazy breakcore album themed around the properties of fluorescent lights (hence a lot of the sounds in the opening track, the only track in which I sampled an outside source for fluorescent light sounds). While I was there, I took this picture of the Little Dipper that perfectly captured the aesthetic. After a while of looking, I found a friend of mine savvy enough to photoshop what I wanted for album artwork, Jordan Durst, and here we are. Now of course, the final product turned out quite astray from its original theme, but some of the original breakcore ideas I had in my head can still definitely be heard here. After honing in my skills and learning Ableton for Loving You Is Copyright Infringement, I finally had what it takes to make the perfect album in my eyes.

Another thing worth mentioning is before I had made LYICI, I had gone through multiple iterations of trying to start this album. I had tried to make a fluorescent light type opening track for a while to no avail. Then it was going to be an ambient album that I wanted to sound like Basinski's Watermusic but good like Tim Hecker (hence track 4 which I had already made by then [although it also went through a few slightly different versions and masters] out of samples of me playing vibraphone). I had a couple more tracks I had made from that, but only really one other that I felt was a good enough ambient track. That one still sits on my computer waiting for some sort of use. It also went through a couple separate phases of being some sort of combination of id m theft able x Tim Hecker noise/ambient stuff and I made a couple tracks for that (which also sit on my computer) that to this day I still can't decide if they turned out good or not. None of those made it to this version of the album thankfully.

So this album originally supposed to be centered around fluorescent lights turned much more personal as my own life went on and this album quickly became my baby. After I finished the first track which had arguably become the best track I had ever made at that point, I had already enveloped quite a bit of my personal life into the song, asking some of my friends to provide samples (which actually were used on that track, thanks Sturmp [the melody on track one actually came from a really really terrible tiktok that he had made back in 6th grade or so where he jammed random notes on a piano that happened to sound good enough to want to sample] and Kyle [for playing two notes on a tuba at once and creating some sounds that would be good to drone]), on top of the fact that the lyrics had been some improvised song of mine I happened to catch on voice memos while spending like 20 minutes scrolling through my phone and idly trying to make kazoo sounds out of a piece of cardstock (which is the origin of some of the weirder hum-like sounds on the track). Sidenote: I also got Sturmp to do some funny vocals for track 6. As a side-effect of the album becoming about my personal life, the album quickly became about love and rejection as well (oh the plight of the teenager, woe is me, I know). I don't want to get too far into that, but the absolute best track I've ever made, Let's Pretend This Never Happened, came out of a long period of sadness (and that song is actually perfect, I'm genuinely afraid I will never top it).

For every track (except parts of track one) every sample originated from either my habit of recording interesting sounds on voice memos or a recording one of my friends provided. With that, every time I hear a single sample on this album I'm reminded of the source of where it came from, and every single sound on this thing has a story (but this description would turn into a novel if I explained every one, and trust me, they're not all worth explaining). With that, a lot of the album was me trying to find as much interesting percussive sounds as I could and experimenting with creating my own breaks on my drum set. Track 6 has my favorite sample story as the very first jarring sample you hear is something I recorded before jazz band practice and had simply labeled "BREAKCORE" where I screamed random garble into the microphone while my friend played blast beats on the drums (some other people can be heard warming up in the background of this). That track somehow took me two painstaking months to create. The name originates from a theatre project a friend was working on and I thought it would be funny and have a personal relation to both title it that and combine it with the opening and closing samples (where I had recorded a few minutes of me throwing a balloon at a wall while my mom and my sister's friend's mom talk in the background) that make me seem like an unattractive tool. The album name 'Revelations' comes from what I've learned over the entire year it took to make this thing and the stories I've come to tell with it.

Thanks for reading all of that if you made it this far, I think it'll help understand some of the context of these tracks. With that absolute IKEA Manual of a description, without further ado here is the album: