Music is where I go when I wish to step out of current time and space.
There is no Control mechanism in there playing on my conscious or unconscious mind telling me I must, should or am obliged to be doing something or other.
It is my place of Zen or a form of meditation if you prefer.
It’s the only place where everything external stops other than the immediate Now and I feel at peace in my own world.
I like to put sounds together to see what will happen. Often with words, sometimes not. The way they synthesise is an endless source of enjoyment and wonder to me. I never know where it’s going to end up and that is the main joy.
The debut single of my music project Euphemia Rise is also the story of two collaborations. The first between me and Mel Benedichuk, who provided the extra vocals for this track. And secondly the collaboration with visual artist Itzel Bernal for the official video of the single.
My short 4 track EP, “2020”, first took form before the year it’s named after before all of this insanity took over. I often think it’s best to leave a song’s meaning up to the interpretation of the listener. But, if there were an outlet to air out my thoughts of my songs, it would be here. So I’ll go through each track in the lineage of which they’re recorded and break them down.
We would say it’s great to hear you enjoyed our unique blend of genres, but we hear that every day baby! I’m a Gypsy Dub Rockstaaa sugar!
We invented the genre of Viber and we ain’t done there, next we’re gonna invent portable lean fat grilling machines…. sign up for updates on this project by texting “update me hoe” to 0800-GRILL-ME-NICELY. Continue reading →
The Terminally Well are an independent American rock band conceived of and formed by Rob Runkle – who has previously released several album’s worth of music as Intense “The Bohemian Pimp” from Philadelphia hip-hop group Schoolz of Thought (having worked with Questlove of The Roots, 88-Keys, Pink, Scratch, Zap Mama and Illmind, among others).
To the best of my recollection, I can’t recall ever being tear-gassed.
My first instinct should probably have been to turn around and run away from the plaza, just like everyone else who went scampering, screaming and covering their mouths. The old, indigenous woman, with the multiple petticoats and black pork pie hat, sitting at her usual location half-way up the block, from whom I usually bought a daily newspaper, suddenly bent over and vomited. Moments before, I had heard a “pop-pop” and saw white, billowing clouds of smoke. A young Ecuatoriano adult, running in a hooded sweatshirt, gave a sudden yelp and stumbled, after getting hit in the leg with one of the tear gas canisters.
It is Free!! It costs nothing!! Stated the elderly anesthesiologist to the boy’s family. To put your son to sleep for his surgery costs absolutely nothing!! It is Free!! Free!! But to wake him up??………very very expensive!!
Moments earlier, in the same pre-operative area in this public hospital in a large Central American city, I witnessed another local medical doctor, drill a metal rod horizontally and completely through an indegenous patient’s femur, with the patient wide awake, and only after injecting numbing medicine, not much deeper than the skin, on the entry site of the thigh.
Such is the plight of the poor and marginalized, of which I have witnessed as an anesthesiologist, in over 30 international surgical missions, and which dominate the lyrical content of Ojos Feos’ original psychedelic Afro-Latin rock compositions.