Shoot-outs, Prints and Multiples

So for some reason I almost began this missive with “Hello me, meet the real me” – and then I re-listened to said song by the deth of mega’s and realized that was in fact a terrible way to begin. So instead, I’ve wasted three lines telling you how I wasn’t going to do that. Because such is the circuitous method of my speaking. That said, I’m fresh back from a fairly killer class after a fairly tumultuous week that involved a bunch of time on a ladder, two art openings, some diplomatic stuff (as in diplomats, not being diplomatic), a trip to the emergency room and that one day I slept in until almost 9… for the first time since like 2007 – not including that once day in 2011 when we were out until 5 am.

Anyways. Have to say, I’m really enjoying the professor life, especially with regard to the general feeling of fulfillment it brings – admittedly, it took a second to get my sea-legs i the classroom – especially since my first class is a 2.5 hour long 200 level, but at this point, I’m sad that there’s only two more weeks left. Here’s hoping I can entice some institution into bringing me aboard as full-time faculty. Somehow, some way, some day. Truth be told, I think I enjoy it even more than building – with the added incentive of less direct exposure to toxic chemicals.

Gushing notwithstanding, here’s whats up: a quick report on two things Vaux outside of the usual spheres and spectrums.

Thing 1: My good friends at sPLeeNcoFFiN just put out a tape of my stuff – mainly some of my first Baltimore-era synth improvisations. I think I maybe had like 5 modules and a Dark Energy a this point, so it’s fairly sparse compared to my usual walls of sound – to which my dear friend and electronics mentor John Talbert’s mentioned that I should see if the current administration would be interested in playing my music at the border as a cost-effective alternative to an actual wall – my response being that you’d be surprised how heavy Mexico is into noise music. But yeah, sparse. But kind of cool in a 1960’s mono-space boogie kind of way. Celebratory even. I think in some instances, I was trying to go a little too Subotnick, but hey, gotta start somewhere – why not the beginning? Anyways, here’s the link in form of an embedded photo that sends you to their page of wonders. 17522736_10155302070311042_3448981453734306034_n-2

I should mention that I seem to be playing under the name of True French these days. Not that my solo project needs a new name, but considering I’m using all-analog gear while vsls was all about a laptop, i figure I can differentiate for a while a reconcile later. Not to mention that a Salvadorian street gang has appropriated “vsls” as one of their things, and while I technically have the trademark, I doubt any of my colleagues a the law school would want to take up the argument with a potential legal wing of their aforementioned operation. So it goes. As long as some euro-supremacist group doesn’t take “True French,” I think I should be ok for a second. Speaking of, the name is in reference to my bike – a true French Motobecane from the ’70’s. With the exception of an obscure bottom bracket that needs the occasional alignment, dear lord that thing is fast.

Thing 2: pedals. Yeah, I still make those. Maybe not as prolifically as other times, but it has been known to happen when not wrangling 400 feet of wire and photoresistors into a gallery setting. More on that later. In the meantime, I sent a God Standard to LA to participate in a fuzz shootout. Here’s how we did:

So yeah, that’s what’s up. More on the art world in a second. Crashing hard at the moment. 8 hours at the day-gig, 2.5 hours teaching, 4 miles on the bike, no sleep for most of the weekend and a good 12 hours on a ladder between Thurs and Sun – on top of home and family, music, friendship and being woken by the cat at least twice a night. I’ve never been so exhausted, but somehow it all feels good. I sleep now. More in a ticky-boo.


~ by vauxflores on April 25, 2017.