Edit:  I am down to five.

http://musim.bandcamp.com/album/missing-dead-ep

It’s only $1 but I’ve got some download codes for a lucky few.  Stay tuned for further details on obtaining the EP for free.

This remix is the first thing I’ve released to the public in two years.

2.  My insane work schedule has two weeks left, and then it will change to something much more reasonable, but quite contrary to my nature in that I’ll be waking up at five every morning.  However, I’ll be done by one most days.

3.  My gayageum is not getting enough use.  I found a teacher, and next month I should be able to start again.

4.  My AN1x purchase was worth it.  I’ll post my initial impressions soon.

5.  My night was a strange one, indeed.  Good, but strange.

As it is, I don’t have time to work, thus doubling even slight frustrations I may already have.   Time for a whole new computer, I guess.  Perhaps all this overtime will pay off in the end, provided I’m not fucked on taxes and insurance.

Speaking of production, my “Production Notebooks” entries seem to be getting quite a lot of attention from people who I believe are looking for dramaturgy-related materials.

I apologize, but thanks for visiting my site.

This may be the end of updates for a while, but I think I lost most potential fans years ago.

As mentioned previously, the creative stage is going well enough, while the production stage is virtually absent.  There are a lot of songs that reflect a broken heart (and perhaps this is one of many excuses not to work on the album), something I’d always hoped none of my albums would become.  Hence, Hijacking Your Fiction may be more therapy than art.

“Voices” is currently my favorite work-in-progress (with the increasingly frustrating “Ruin” right behind) so I feel the need to get everything just right.  I finally had a few ideas yesterday that might get me a couple steps closer to the production stage.  The lyrics are coming together (indeed, the lyrics for most of the songs are nearly finished) and I’m considering using Lizzie Gask, known around these parts for her work with The Dirty 30s, and who will likely be featured on at least one other song on the album, to help me close the song.

As far as using other people, I’d also like to give a quick mention (there will be longer mentions later, no doubt) to John Beauchamp (a.k.a. MusiM) who is doing an embarrassingly simple guitar riff for me, not because I’m incapable mind you, but because I do not at this time have an electric guitar in Seoul.  I did, but its disappearance is another story.  I’ve turned acoustic guitars into post-production electrics before, but in this case I’m going to need an electric to achieve the tone I’m looking for.  Also, my cousin Zachary Annett will be featured on drums for “Reconnect,” and I’m debating whether to hand him drumming duties for the album version of “Gate 36.”    Finally, a preemptive thanks to Scott Coward who, whether he knows it or not, will become my mixing engineer.  He may also, again unbeknownst to him, contribute some hand drums to “Sweet Victory.”

One final note, I may opt to work on The Recovery Project for a while, a digital noise side-project that I’ve had on the back burner for quite some time and have been hoping to use to vent some frustrations, instead of AllThisIsMeaningless.  I spoke of therapy, and right now I can’t imagine a better therapy than that.

More guitar work:  Worked on the rhythm guitar for “Reconnect” as well as “Where Are You?” (working title “Chimera”).  Also came up with a simple riff for “Electricity,” though part of what I liked about the song was its driving simplicity, so I’m not sure at this point whether or not I will use it.

Also for “Where Are You?” I put another effort toward additional percussion and am much happier with the result.  I may recruit a friend or two to add some good hand percussion, and I will likely make a third attempt.

I don’t want to do anything but sleep.  I feel I’m giving up.

One more week before I have to return to my job.