First web release off the self-titled Daath, out 10/26/10 .

LISTEN:
Daath - Destruction/Restoration

DOWNLOAD:
Destruction_Restoration

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Jeremy on bass:

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Vocals:

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More to come…

angry and nasty

“Some people live paycheck to paycheck. Some people live project to project. I prefer living “adventure to adventure.” I reckon that if you can’t treat what you’re doing like an adventure, it’s not worth doing. You might as well be dead. We all want the feeling of adventure. It’s just about the closest you can get to God while you’re still alive.”

I’ll take it.

im losing my mind, but this is how i feel today exactly

I recently had the pleasure of playing keyboards on the first Levi/Werstler record, Avalanche Of Worms. It was a recording session full of all-nighters and an entire list of reckless behaviors that my team of lawyers have advised against disclosing here. Eyal Levi and Emil Werstler are two of the most talented and complimentary players and writers I have ever heard, and this record is undoubtedly their best work. Sean Reinert of Cynic plays drums… This monster makes the whole thing sound so easy that it’s embarrassing to consider how stressed the rest of us were in making it.

You can listen to a track here: LEVI/WERSTLER MERCH

I’ve actually been playing a ton of music on this trip, although I was worried about being away from my normal practice and studio habits. While in Amsterdam, I played in open mic nights no less that 4 of the 8 nights I was there, usually on other people’s instruments. I was able to make some great friends and some professional contacts with (hopefully) potential for future work.

Paris was nearly as fruitful. I spent an evening playing blues with a fantastic player who taught me some new tricks, and then two days with a career jazz bass player, studio-ing out… Sharing music, production tricks, jamming together on some new riffs, recording, talking shop, and just general dudes-in-the-studio time… It’s pretty awesome how universal music can be; this guy is ~30 years older than me with countless more gigs under his belt (under a different style of music, I might add), and we were still able to relate and talk about all aspects of making music, managing the industry, and jam out.

And then today I get this killer email from them:

Hi!

We at Tweet For A Track wanted to let you know about an exciting announcement and feature for your account:

You can now download the email addresses and twitter usernames of the fans who tweeted for your track!

We are having a 24 hour special, where we are dropping prices 83% for you. It is just $24.99 to enable this download feature for 3 months. (normally this would cost $49.99 per month)

To enable your account, login, and then click the Enable link at the top of your artist page.

Here is the link to login and take advantage of this special today:

http://www.tweetforatrack.com/auth/login

Please let us know if you have any questions, and happy tweeting!

- Team Tweet For A Track

……RIGHT

At least sites like Bandcamp still seem to have artists’ best interests in mind instead of a few bucks… I really wonder how many artists will be paying that money for email addresses. My bet is very few.

I was going for a specific feel with this; rough, nasty, and big. Fun.

You can download an mp3 at my Bandcamp site.