Here are all the albums I’ve put out over the last few years.  Both Goodbyewave, Sunnydaymassacre and solo stuff is represented on this page.  I’m hoping to have a couple tracks loaded from each album in the near future.  Highlights, if you will.  Anyways, this is what I

Anyways, this is what I’ve been doing since 2006.

Written and recorded between 2002 and 2006, this was the first album under the goodbyewave name. I wrote, arranged, performed and programmed this album on my own. It was recorded using guitar, keys and drum loops.  It was a lot of fun, but a lot of work.  I learned a lot about getting the right ‘sound’ and tinkering until I get what I hear in my head.  There are some songs I’d rather forget, and nothing takes the place of a real drummer, but overall it was a great start.

 

 

The first collaborative Goodbyewave record.  In the summer of 2006 I’d started jamming with my neighbor Jack Long, who just happened to be a longtime drummer. We started jamming down in the studio that summer and by the fall of 2007 we’d completed Bright Lights, Strange Nights. This time around I had Tim Bushong of T. Bush Recording do the mastering, and it shows.  This is still one of my favorite ‘sounding’ records. There are some great songs on here. Some that I still hold in very high regard. It was a great way for Jack and I to learn who we were as musicians and what we were capable of when all we had was a riff, some time and a recorder running.

 

 

 

 

Interiors was Goodbyewave’s magnum opus.  This was us going for it.  There were long, rocking songs..short pop numbers.  Piano ballads and freaked-out noise excursions. It was 15 songs and over an hour of indulgent, rock ‘n roll. And so this began what I like to refer to as my ‘not so lo-fi, not so hi-fi’ style of production. It was my own grey area production. Jack and I recorded from the fall of 2007 through the summer of 2008. When we were done we’d put together the biggest calamity of noise either of us had ever been involved in. Some of my highlights were ‘Long Car Rides’, ‘Face To Face’, Innanoutalove’ and ‘Memorial Day ’78’. Though we’d go on to write better songs and more concise albums, this was the one that defined me as a songwriter. It also got us a few fans.

 

With a monster of a record finished in Interiors, I was ready to just get back to writing songs with no expectations. Just a group of songs someone could sit down and enjoy with a beer, or while they cleaned the house. Sleight of Hand was me just wanting to play my guitar really loud and write songs with sparser arrangements and, ironically, less sleight of hand in the studio.

I feel one of the best songs I’ve ever penned is on this record, the opening track ‘Days of Slumber’. I decided I wanted more cryptic lyrics. Lyrics that would be harder to penetrate, yet musically you’d be drawn in to the pop melody. It’s the closest I’ve ever come to an orchestral pop song, without the orchestra. Another big difference in this record is that I demo’d the majority of these tracks for Jack, drums and all. Our jamming time was dwindling, so it was necessary for me to demo the songs so Jack could learn them. That way, when he did make it over we could get right on the recording process. While this worked well, it proved to ultimately be the downfall of the band.

After Sleight of Hand, I needed a break from the band atmosphere. I had some personal songs I wanted to write but didn’t want to necessarily share. I wanted these songs for myself. So in the summer of 2009 I began writing and recording songs with the intention of recording them all by myself and putting them out under my own name, not Goodbyewave.

It proved to be cathartic.

The songs ran the gamut of sounds, genres and emotions. Finding out my grandmother was dying of terminal cancer played a big role in what I was writing about at the time. Songs like ‘Alls Well That Ends Well’, ‘Alternate Ending’ and ‘If Not For Time’ were a direct result of me thinking about mortality and what it ‘all means’, I suppose. It was therapeutic to write this record, but it’s one I don’t revisit very often. ‘Jainie, Her Brother and Me’, ‘Time To Burn’ and ‘It’s Alright’ are songs I still quite enjoy.  You might, too.

The last Goodbyewave album to be released, this was me getting back to enjoying writing and recording with Jack. Still demo’d in large

part by me and then learned later by Jack, there were  a couple ‘let’s just hit record and see what happens’ moments. Most notably ‘Sunday’s Best’ and ‘Popfly’ were tracks that really retain the live feel on tape(or cd). They are noisy, fun and as rock ‘n roll as we got.

But with this record came the realization that time was not on our side. With kids getting older and responsibilities changing(as well as musical tastes), I’d realized that it was time for me to move on musically. I just didn’t see the point of me continuing to demo songs so someone else could ‘learn’ the parts. I’d been playing drums for so long that I’d gotten to a point where I could pretty much play what I was hearing. And with the time that Jack and I didn’t have to get together, calling it quits seemed like the right thing. Going out on one of our best efforts to date was the way to say ‘goodbye’.  Not that the final nail has been driven into the coffin. But if something does happen again between Jack, I and Goodbyewave, it will be somewhere way off into the future. Discussions regarding an anthology or ‘best of’ compilation have been discussed, complete with unreleased tracks. We’ll see.

In the winter of 2011, I’d decided I wanted to get back to basics. Write a song or two a day.  Start to finish, including lyrics and vocals. Art on the fly. So I thought in order to do it properly I wanted to record to tape. 4-track cassette, as a matter of fact. So I bought an older Tascam 414 Portastudio, some blank cassettes and began what would become Possible Pinch Points, the debut album by my one man garage rock band sunnydaymassacre, or SDM.

I began writing in February of 2011 and finished by July/August of 2011. This was like being 19 and buying my first 4-track all over again. The joy of coming home from work and going downstairs and recording an entire song in 2 hours was amazing. Getting great sounds with a mic running into my guitar pedals for vocal effects. It was lo fi, garage-y, psychedelic pop and rock. I see this project as a continual thing over the next several years.

In July of 2012 I released the second SDM record called Yesterday Dreamers. It’s not all that different from the last record, but I think the songs are a bit tighter and I’ve gotten better at getting a decent sound out of an archaic machine like the Tascam 414. There’s definitely a more psychedelic tinge to the songs. ‘Sunday Lies’, ‘Battle Fix’ and ‘Backwards, Going Forward’ are real highlights.  For me, anyways.

I’m still writing. I’m still playing. There’s more to come.

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