by Greg Connors & Catherine Swan
“Greg Connors is back with the release of is his new EP Holographic Static Proportion; it’s rough around the edges, jarring at times, (occasionally even skull-rattling). This album has all the earmarks Connors has become known for, brutally capricious lyrics and a quick dark wit. As a writer, he continues to mine the rubble of human relationships for nuggets of understanding and tenderness amongst the fury and confusion. A versatile storyteller, Connors will draw you in, hit you hard where it hurts and probably give you a good laugh as well.
Where were you when that tree fell in the forest? Check out Holographic Static Proportion and see what you hear…”
Listen to the EP while reading the text.
Holographic Static Proportion is an EP designed with the understanding that our greatest strengths ARE our greatest liabilities and vice versa. And part of THAT is forgetting this sometimes. And to forgive ourselves for THAT (and the rest) is a process. Presently, for me:
This was made quickly and with intent to be completed by a self-imposed deadline of a Full Mooned, Good Friday about five days before a tour is beginning with my musician friend, Greg Jacquin.
Files were lost in the recording process and I had to keep going. It’s how it’s meant to be. This is not a mainstream album. It’s roughly made with great care. It was recorded on a Tascam DR 40 digital 4-track record mainly with an Electro-Voice RE 320 microphone. A BOSS VE-8 provided me with some sound blends.
At one point in mixing, I had no WiFi at home. I had to go to the local shop, First Village Coffee in Ossining, NY and use theirs. My laptop has a broken headphone jack so I would download on to my phone, step outside and listen to it then go back in and correct it while drinking a magical latte, barista, Kate had prepared and then do that again a few more times. It was reminiscent of the days when you would record multi-track on to a cassette, mix it, listen on your boom box, then a nice home stereo and if it passed that test, you would chamber the car with pot smoke and listen to the music you made on someone’s Kenwood car stereo. More decisions would be made. That process was slightly before my time. I don’t smoke pot or drive these days, but I walked around town listening to these songs I created in two different locations. Stopping occasionally and smelling early spring.
The writing, recording, and mixing was fast. It was completed in about 5 days total. I usually have some great people working with me, but not with this. I thought at certain points it would sound better if I had asked Fletcher Leigerot to play drums, or have Secret Caves (check them out) take it into their golden Sonic assaults, but I just fumbled along until I liked what I heard. I thought a lot about the word “better”. I let my understanding of “better” disintegrate in my guts.
My current life is rich with some good people. Some of them encouraged this on a personal level like John Leon (The Royal Arctic Institute (check them out also!), Gretchen Pellaton, and my brother Mike. I mostly kept it to myself and rather than my usual cast of characters, who would influence choices, I found myself considering, “What would Garrett DeVoe, Patti Smith, Laurie Anderson, or Will Fratesi and his wife, Lisa think of this?” They kind of looked over my shoulder and winked at me and argued occasionally. That they were not around (or have no idea who I am) was irrelevant until I write about Holographic Static Proportion at this late hour tonight realizing I actually did this again. I made history. Or maybe my lucky 13th studio album? Either way, we win.
It’s one of kind but there is nothing terribly precious about it. It’s raw af. This process had no punching in. No easy tweaks or corrections were made. It is simply so. When I would hit record I was in it for the duration of the piece.
I hope you enjoy its duration as much as I actually still do.
Thank you for listening and reading and thank you to mySoundposter for having me again.