Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

krisis

Krisis has been creating Crushing Krisis since 2000, writing songs since 1996, and reading comics since 1991. He is a Customer Success and Digital Brand Strategy executive, serial organizer, parent, and feminist, among other things. Based in Philly through 2017, he now resides in Wellington, NZ.

run ragged and happy

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This is a meandering post about life and stuff. Content that’s all focused like a laser mounted on a deadly shark may or may not resume tomorrow.

This weekend E headed up the NNJ/NYC to play a show and help with some solstice cleaning along with the sibs at her mother’s house. I wanted to tag along to see her concert and reap the sib-time, but my life was in need of some cleaning up as well.

When I woke up on Saturday I felt like my to-do list was a litany of random drudgery. Organize this, scrub that, upload stuff to here. Even as I was crossing things off it didn’t feel very big picture. Typical: artist-, writer-, marketer-me trapped under a Sisyphisian list of uncreative to-dos. The only thing keeping me sane was my Twitter pipeline to the outside world.

As the day wore on I kept feeling like I was behind the boulder until I caught a social network update from my dear musical friend Vicky Spaeth, which read:

Simplify, simplify, simplify! I think we over-complicate our lives way too much.

I read that, then took another look at my list, and realized there was a big picture. It was all “simplify.” Organizing shelves and wires so my creative space is less cluttered, so I can create. Clean out the house so I don’t have a worry of other things to do nagging me when I want to create. Upload what I’ve created to as many places as will have it, so people can actually hear it.

I finally have the simplicity that provides one big picture. I have focus. Finally everything I’m doing points in the same direction.

I look back at the 2000 me. Within a two month span I started a blog, shot digital video of myself, and was the only songwriter on the whole internet uploading a concert every week. And it all came easy. But it was over-complicated. The technology was a tangle. The life was a tangle – pulling As and paying for my first apartment and squeezing in music beside theatre.

Maybe I was on the verge of conquering the world, but it wasn’t simple. There was no picture to focus on. Which was fine – I was in college! But that’s why we grow up. And hopefully get less complicated, instead of more.

It took the weekend and the twenty-seven years before it, but I am really almost there. Almost to the point that I can just flip a switch and empty my thoughts and songs directly onto the internet without a fussy mess of wires and files and wasted time.

And be worth watching.

It feels cool and satisfying, and I’m happy – happy sweating my ass off and mopping the floor, or putting away the umpteenth load of laundry, passing out on the couch while I wait for my wife to get home. Happy without any descriptors or mitigators, because there’s a point to it.

Just happy.

Play at playing with The Beatles. Or, just play with The Beatles.

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The pair of surviving Beatles recently appeared at E3 to hype the impending The Beatles: Rock Band, out on September 9. It represents a remarkable milestone – mass licensing of Beatles songs to a third party, cooperation of all four Beatles estates on new intellectual property, release of new studio chatter from the band, and creating multi-tracked masters of songs originally recorded live in mono or stereo. (see the full fact sheet)

In the game, you and your friends can take the Beatles from the Cavern Club days all the way to the rooftop in your own living room, not mention traipsing through their imagined acid trips. You’ll start out with 45 Beatles songs in-game, but many more will available as downloadable content – starting with the complete Abbey Road.

Assuming you already have a plethora of plastic video game instruments lying around the house, the a la carte game will cost you $100. If you need all of the plastic instruments to go with it, you’ll be dropping $250 for the full kit.

Seems like a bargain to play along with 45 of your favorite Beatles tunes, right?

Not really. Because, if you have an actual instrument lying around the house, you can buy The Beatles: Complete Scores hardcover tome for half the price of the a la carte game and learn how to play the actual music to every single Beatles song.

If you need an actual instrument to go with it, you can pick up a starter guitar or bass package plus the book for about $250 – yes, even including a replica Hoffner bass! (The scores plus drums will run you a bit more – $300-$500).

Herein lies your dilemma. Do you want to have a primary experience with the music you love, or a secondary experience?

If you’re a non-musician, you might argue, “I don’t really have a choice,” but I think you do.

You might argue, “I don’t read music,” yet you’re willing to learn an arcane method of notation in Rock Band that’s not too different from reading guitar tab, which is included in the score book.

You might argue, “I don’t have nimble fingers, a sense of pitch or rhythm, or a decent voice,” yet if you expect to surpass even easy mode on Rock Band you’ll need to hone some or all of those skills just as you would playing actual music. In fact, Rock Band is much less forgiving of mistakes with drumming and vocals than a jam with friends would be.

You might argue, “I don’t have time to practice music enough for it to be worthwhile,” yet you have time to play Rock Band two or three hours a week. That same time would serve you equally well training on an actual instrument. You could probably learn how to play “I Want To Hold You Hand” on guitar in the same time it takes you to reach your first save point.

Convinced yet?

Other Rock Band titles offer the allure of collecting disparate, virtuosically-difficult music into a video game – much of which is impossible to track down as printed music. None of that is true this time around – the music comes from a single source, the virtuouosity is in the ease of playing, and it’s all collected in a single, relatively cheap book. It’s a completely level playing field for anyone – novice to expert.

You can’t say that about any other Rock Band game or for any other artist in the history of music.

Essentially, you have no argument to buy The Beatles: Rock Band other than perhaps, “I already know how to play all 213 originally released Beatles songs, and now I’m bored.”

The game does have some redeeming features in the areas of drumming and singing – the two bits of Beatles that are the hardest to master on your own. Designers worked closely with Ringo to make the game a tutorial for his unique drumming style. Also, the game features a harmony training mode, which will allow you to voice any part in the band’s remarkable multi-part harmonies.

Based on that, if you’re a Beatles-loving singer or drummer starting from scratch I can appreciate wanting to purchase the game for some guidance. If only the game also allowed you to plug in an actual midi-guitar in to test your chops against the recordings … then I’d buy it in an insant!

Otherwise, if you’re a Beatles-lover who wants to experience playing their music yourself, my advice would be to actually play it yourself.

the corners of my mind

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I have a habit of dozing off on the 57 bus in the afternoon on the way home from work. I don’t think it’s because I am so tired. There’s just something about the rhythm of motion and the droning of the motor humming through my body while I listen to my headphones.

The nap is only ever about ten minutes long. It’s not even a nap, really. I’ve never slept through my stop. It’s just an extended hang right on the line between awake and asleep.

I love that line, especially when traveling in that direction rather than the opposite – being tortured by an alarm clock. Heading in to sleep is different. Your brain will rationalize outside stimuli however it sees fit. The world outside of your body takes on an arbitrary – almost hallucinatory – quality.

On the bus my favorite thing to do is turn on my own music – new demos or an Arcati Crisis rehearsal – and then drift off. My brain finds things in the songs I’ve never heard before. Sometimes I have a momentary synesthesia and my own words are painted in color. Others I am enraptured by Gina narrating an epic story, only to realize I’m not listening to her towering “Brother John” but just twenty seconds of refrain of “What’ll I Say.”

Last night when my body was finally ready to settle down my brain refused to go gently into that good night. It was raining hard, a symphony of individual droplets pattering against the roof above my head, and my mind wanted to examine every one.

I hate those nights. I’ve hated them since high school, when every night brought the possibility of seeing the subsequent dawn from the wrong side.

Last night I slipped in my earbuds and suddenly “Small & Lonely and “Gone Baby Gone” were rendered in plastic yellow totems, a wry stop-motion tribute to Yellow Submarine, awash in the white noise of the storm.

It took all of four minutes to fall asleep.

…and there was life

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My body is convinced that there are 27 hours in the day.

It will gladly absorb a requisite eight of sleep, but then it wants to stay up and about for a too-long 18 hours, plus a bonus hour to wind down to sleep.

I’ve long since been used to tricking myself into being tired, but I cannot always trick my brain into making a to-do list that can be completed before midnight.

Tonight was an epic amount of exercise, mixing for a top-secret freelance project, uploading brand new Arcati Crisis videos, chipping away at some freelance writing, and beginning the massive late-spring cleaning required to accommodate the hulking new digital audio workstation Gina and I lugged from her car on Saturday before a completely exhausting/exhaustive drumming rehearsal with Chas.

BTW, Arcati Crisis with drums is awesome. Just you wait.

If you have been wondering where the spiffy PM demos have gone, they are far from over. It’s just that I realized somewhere around 9:30 p.m. on June 7th that I haven’t had to contain many more than a dozen well-rehearsed, original, solo songs in my body all at once for several years – let alone contain them on top of my AC repertoire – and so it would be a stretch to assume there were another 46 good ones ready to tumble out daily for the rest of the month.

Also, there was the little matter of having completely worn through my dozen-years-in-the-making guitar calluses, a feat I’ve only accomplished a handful of times previously. Merrily, my vocals stayed strong throughout – more points towards the value of good voice instruction. Old-school me would have been croaking like a frog by day four.

(Also also, I was primed to miss out on some actual life in order to keep recording – including seeing good friends (and clients) play big shows, supporting local open mics, and communicating with my wife, amongst other things. Oh, and maybe a Buffy the Vampire Slayer marathon.)

(Don’t judge.)

Point being, I’ll be back with another run of of demos as soon as I have the time to rehearse them a bit, because scrabbling through a daily duo of tunes so barely-rehearsed that they hardly hang together sortof defeats the entire point of the project (i.e., to rehearse for my impending studio album and definitively/digitally put to rest some older tunes).

In the meantime, I am insanely happy with the results of the first seven days, particularly Saving Grace and Colorblind, both of which are intricate and in alternate tunings. Not ones I thought you’d hear in the first week.

Knowing my body and its various to-dos, I’m thinking sleepiness will arrive circa 1:50 a.m.

Held My Tongue (2009 Demos) – 7/30

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This is post 7 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

This pair of songs have always been as easy to play as they were to write. I wish I could say the same for the remaining 46 songs I have to capture.

Also, the fingers on my left-hand are completed shredded, which – given my decade-plus of guitar calluses – is a pretty impressive feat.

Song #174: Granted (live demo)
Last recorded the night it was written in October of 2003.

Granted was perhaps the first time a song woke me up from a dead sleep. I’ve been listening to its original early a.m. demo for so many years that I didn’t realize the subtle changes in how I perform it. Today it is for Sandra.

Song #141: So Hard (live demo)
Last recorded for Trio in February of 2003

This song began in an AIM window in January of 2002. I was talking to someone who was perpetually at odds with life, trying to explain that he should anticipate what he’d think about some of his decisions in hindsight. The rest of the song emerged in short order. Since he’s long since been forgotten, I tend to perform this as if it’s about myself. It’s a particular favorite of E’s and mine.

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.