flocking kf variations: fluf page and boomkat

fluf now has a page on their site for the release here.

boomkat is also distributing the release here. this is what they have to say about the release: “A pleasingly tart and sticky delicacy for the ears, ‘Flocking KF Variations’ approximates the feeling of slipping down MC Escher’s plughole. It’s recommended to listen to these 62 tracks on random shuffle with infinitely amorphous results.”


flocking kf variations review from attn:magazine

hello, the first review of my upcoming cdep is up at attn:magazine and can be viewed here or read below. at some point if i accumulate a handful, i’ll put up a link to an archive of all the reviews for this release. thank you for listening 🙂

62 tracks, none of which breach the 30-second mark, designed for shuffle playing. If a linear album is like a roll of parchment, Flocking KF Variations is a rattling sack: each piece a marble randomly extracted from the bag, inspected briefly for the swirls of colour inside, then tossed over the shoulder to make way for the next. It’d be far too easy to deem these tracks throwaway as if duration was the only vector in the calculation of listening intensity. In fact, each stimulates a piping-hot jolt of concentration, my ears scrambling over the surfaces of the sound like slippery digits on an almost-dropped ceramic plate, driven to a heightened focus by the ever-imminent vanishing.All of the pieces work with the same palette of sonics: synths that rebound and slurp, whistle and writhe. These constructs feel spherical somehow – a sensation perhaps rooted in those electro-caricatures of a ping pong ball plopped onto a glass table, which settles with a stammer and then rolls from left to right (or vice versa), each singing a spiralling error code as it moves. This textural continuity also raises another mode through which to understand Flocking KF Variations. When considered as a continuous 16-minute track, it becomes a shapeshifter whose molecular re-sequencing is triggered by the shuffle button. Track transitions cease to be “transitions” at all; those flashes of silence are instead the strips of Velcro between each splash of matter, ready to be ripped apart and reconnected anew.


old reviews, new again

good morning, last night i was searching through old folders trying to find one of my favorite pictures from a sxsw performance many years ago (2006? 2007?). no luck on that, but stumbled on the html from old site designs with old reviews. so, i posted them in the info page for long term storage, but here they are below if you’re interested:


19.10.30 – leo weekly blurb

hello, the leo weekly, a local newspaper, put together a playlist of halloween songs and i guess since a song of mine called has ‘bones’ in the title, it made the cut. ‘local bones’ is from a cd release that west main development put out a few years ago. read the article here: beasts, blood and bones: 8 haunted local songs.

The most chilling track, “Local Bones” feels like the moment in the nightmare when escape is not an option. A modular synthesizer spins a web of vibrations entangling the listener. The sound waves shift from low to high frequencies with a garble of notes that rattle inside your skull and cause disorientation. Imagine a blinking fluorescent light bulb in a strange hospital ward and the feeling of creep is complete.

julie gross