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More Ghost Than Man: A Spark in the Dark

June 2, 2022 · Leave a Comment

Terry Grant is a painter, a filmmaker, a guitarist, a tinkerer, a voice-over actor, and who knows what else. He’s also More Ghost Than Man, producing music on the knife’s edge of dystopia, meaning his songs seem like they were recorded a few minutes into the future. It’s the sound of NOW while paradoxically vibing out a step or two ahead of the present time. And the path foretold through Terry’s music — and nearly all his work, really — is a dark one, wrapped in inescapable surveillance, technological near-collapse, societal ennui, and lots of shiny, black wires. Yet, despite this potential downer, remember that the act of such creative ambition is inherently optimistic. After all, the artist must assume someone will be around to process and perhaps enjoy all the work. That’s part of the spark that keeps Terry rolling, even though it’s not necessarily a light at the end of the tunnel. 

The Worlds We Made There is the latest long-player from More Ghost Than Man, initially recorded just before COVID-times. The pandemic and its ensuing uncertainty, along with deadly tornados and a strange Christmas Day explosion in Terry’s home base of Nashville, forced the producer to rethink his album. Thus the final result may be darker, angrier, and dense with complaints — I’m sure Terry will tell you it is — but the songs are eerily euphoric. It’s not quite catharsis, but a sort of hesitant reassurance bubbles underneath. Terry’s vocals, especially on “Demons For The Void” and “A Penny Sitter,”can’t help their warm invitation. And the album begins with a ‘mission control’ countdown that initially accompanied a rocket launch. That’s obvious, but my interpretation is it’s counting us to the end of what came before and to the dividing line that sits just before the next age. For better or worse, right?

The newest More Ghost Than Man single reveals a colorful trip of a video for that countdown song and the unreleased b-side “Christianblood.” On the heels of that, I (virtually) sat down with Terry for a deep chat. We talked about our creative processes and how we philosophically approach making albums. Terry also describes how he grabs the spark I alluded to above and why images significantly influence his audio experiments. 

I’ve transcribed a highlight from our conversation, and you can listen to the whole 25-minute chat in the handy audio player. Enjoy.

❋-❋-❋-❋-❋-❋-❋-❋

MD: Have you seen After Yang yet?

TG: No. I’m dying to, though.

MD: There’s some great world-building. One thing that’s done in the movie, which I love, is there’s a lot of stuff happening that’s not explained. For example, the cars. There are a lot of scenes inside cars. You don’t see the actual car, like in the movie Her where you don’t see any cars because they don’t want to imagine what a car will look like in the future and be wrong.

But inside the cars, there are plants and moss. It’s not very explicit — I missed it at first. It’s like, what is that doing there? And it’s never explained. And then you start noticing other things like there’s a lot of greenery everywhere,

This world they live in maybe had an ecological disaster and they’re trying to move back to this greener world. And it’s little things like that which are left unexplained. That’s one of my favorite things — when any form of art does that, where there’s context beyond the obvious.

So, sometimes when I’m working on songs, I like to come up with a concept in almost a pretentious way. Like it’s a concept album and this is what all these songs are about as a whole. But the difference between me and, say, Yes is I don’t tell anyone the concept. It’s for me only to know. The concept serves only as a thread that ties it all together. Do you do anything like that?

TG: If anything, I might have my own set of emotional goals at the outset if I know I’m going to sit down and make a record, as opposed to just making music. I don’t think I’ve ever made an album where I just record twelve songs and then I’m like, “Oops, I guess I have a record.”

I basically sit down and say, “Okay, I’m embarking on an album-oriented project.” It’s like the Hobbit trying to get back to the mountain and throw the ring in the fire. But for me, I think as complicated as it ever gets I have a set of emotional goals that I’m looking for.

For example, here’s how I’m feeling about the world around me. Right. I’m a little angrier than I was last time I did this. Everything is basically like a touchstone in relation to where I was the last time I put a pin on the map in that respect, compared to the last album. I’m a little angrier and frustrated, maybe a little colder about this, maybe a little warmer towards this. And so I think the music does reflect that in the end. And the album should reflect that if I have been honest with myself all the way through the process, But while making it, I try not to worry about it too much.

I think as long as you’re honest with yourself from the beginning to the end, all the shit in the middle works itself out. But in terms of an overall concept, I don’t know that I’ve done that yet. Although now that you mention that I might try it because I am a big fan of not spelling things out for people and letting them bring their own interpretation to the table.

I mean, not only does art not belong to the artists, but I don’t know that it even really counts as art until someone has looked at it and says, “This is what I think this is.” That’s the moment where it actually becomes art because that’s the moment where it becomes useful.

MD: There are two things that art needs: intention and reaction. I don’t think you can have art without either of those.

TG: And the process of creating is the only part that ever really belongs to us. I’ve been trying to learn to find the majority of my enjoyment of creating art in the process and not from the final result. And then be willing to accept whatever the reaction is because I can’t control that part.

So try to get your purpose and your happiness out of it from purely the creation of it. And then at some point, just let it off into the world where it becomes everybody’s.

More Ghost Than Man - All The Time In The World

MD: I guess the reason why got on a tangent about hidden threads is that your album [The Worlds We Made There], especially after sequencing it, does sound like world-building.

There’s something about it when listening to it as a full album from song to song. One can kind of imagine the world this album is taking place in rather than imagining different tiny worlds where each individual song is taking place.

TG: The whole thing, like when you’re making an album, when you’re in the process of it, it’s like this fever dream. Once you snap out of it, you have a hard time remembering what it was like to be inside the process.

That headspace while making it — you have to channel some other version of yourself or some other energy during the process of making an album. And so it’s hard to think back to what I was really going through emotionally, or analytically when I was making [The Worlds We Made There]. I suppose there is always an element of world-building — you’re trying to tell a cohesive story. Right. An album should be more than just a collection of songs.

MD: But I do think you can get bogged down if you have the mindset of, “I’m recording an album and the album has to be this.” I agree with a strategy of just recording songs and the songs that belong together will find each other. Keep recording until you have those songs. Choose the songs that come together as a concept.

Returning to what you were saying about your music reflecting how you’re feeling at the time or the goings-on in the world, I almost feel like that’s a thread that’s even invisible to you. And a lot of the time it does create something cohesive. This is why we have a Prince vault. He was obsessed with this.

TG: I don’t know about you, but every time I cut a record, if it ends up with 12 songs on the album, that means I had 30 ideas in the demo stage. And then I probably had 20 almost finished songs three-fourths of the way through. Eventually, I choose the 12 that are the most cohesive together when everything’s 75% or 80% done. It’s fully formed enough that you can say, okay, I’ve got an idea what this is going to be like when it’s finished, That’s how I get 12 finished songs. I started with 30 and whittled it down. And so I can absolutely see how someone is obsessive about that as Prince would have endless days’ worth of music hiding out somewhere because I would like to think he probably worked that way, too.

MD: I remember reading an interview with Prince’s engineer Susan Rogers where she said he’d record a song and she would just be like, “This is the best song you’ve ever written.” And then he’d be like, “Nope, not going on the album.” He knows it doesn’t fit. And that’s how these songs appear out of the vault that are amazing. Why did he never release this? It was just because he was obsessed with songs that went together, that fit together.

TG: It honestly has nothing to do with the quality of the idea or how well the production clicked. It’s just if, for whatever reason, you knew that the song was the odd man out, It’s just like when I went back and found “Christianblood” which came out on the single last month. I cut that song not because I didn’t like it, but because it was already too similar to a couple of the things that I knew I wanted to have on the album. Putting that on there, too, would have been like three shades of gray when I only needed the two that were already there. And so I had to set aside.

It’s not like I’m saying I’m going to cut the head off the chicken and it’s going to bleed out. I’m just setting it aside for a little while and maybe I’ll come back to it later and everything will be fine. And it may be even in a different context. And at that point, the only thing that’s really changed is me or what I’m feeling in my approach. So what I was doing when I made that song, you can see something in a whole different light, even though nothing literally has changed about that piece of work.

→ Be sure to explore More Ghost Than Man’s discography on Bandcamp.

Filed Under: Featured, Interviews + Profiles Tagged With: Interview, More Ghost Than Man, Nashville, Prince, Susan Rogers, world-building

What Am I Doing Now? (New Year Edition)

January 14, 2020 · 1 Comment

This month seems like the beginning of a year of transition but, when you think about it, every new year is a year of transition. The flick-of-a-switch from one numbered timeline to the next is arbitrary, but the anticipation of flicking does inspire reflection and taking of stock. This one’s more potent as it’s the start of a new decade. The self-examination was particularly intense this time.

2019 felt like an ‘in-between’ year — like I spent it preparing for something. There were accomplishments and significant moments (like marriage!), but looking back, I see a lot of things getting set up for the future.

What am I setting up? Well, this is the year of 8DSync and going all-in on music publishing and licensing. It’s an area I’ve worked in for two decades but as a side-gig to other endeavors. Now with the help of my colleagues Miguel Bustamante and Craig Snyder, I have brought 8DSync to the forefront. The move makes sense — I am more knowledgable in music publishing than any other music business field, and it’s what I do best. Time to lean in.

Beginning the year, I’m in the process of redesigning the 8DSync website from scratch. Not understanding what I was getting into, I decided to do this redesign myself. The site is looking great, but it’s a work in progress as well as a time-consuming one. I’m adding many artist and release pages over the next few months.

Some of those artists represent new signings to the 8DSync roster. We start the year with these exciting additions: Kingston, New York’s psychedelic Shana Falana, the UK roots-rock act Swampmeat Family Band, Jonathan Brodeur and his power-poptastic Bird Streets project, and a lovely downtempo label out of Ireland called WeGrowWax. There’s also a new album from Scotland’s The Little Kicks on the horizon. That’s a lot of fantastic music to look forward to straight away.

Another of my projects due for a refresh is the 8D Industries label. We took a hiatus as the artists concocted releases, but now it seems likely we’ll have new music from Monta At Odds, San Mateo, and More Ghost Than Man before next summer.

But what about Q-Burns Abstract Message, you ask? I’m working on a new batch of songs, too. It’s all quite different, and I debate even using the Q-BAM moniker, though I probably will. I’d like to have a consistent slate of releases this year — perhaps a series or 3 or 4 song EPs — which will be a challenge. I must remind myself that we make the time, we don’t find the time.

And there’s a ton of writing in my future. The 8sided blog is an integral part of my life, and I enjoy working on it. I’m meeting cool new people through it, too (drop me a line anytime). I have internal debates over what this blog is exactly — is it a place for music industry commentary, or reviews and notes on the culture, or can I get personal, or can I get silly? I’m leaning towards it being all these things. But one thing I plan to examine repeatedly is how we’ve grown to rely on the biggest corporations in history for the dissemination of our art. How do we maintain our independence as the tech-giants chip it away? That’s the theme of the blog if there is one.

For over a year, I’ve been threatening to start a newsletter. All the cool kids are doing it, and I want to hang with the cool kids. Well, it’s ready to launch, and it has a name: Ringo Dreams of Lawn Care. What’s that about, right? Just bear with me. The newsletter will be different than the blog though I’m not sure how yet. The first few ideas for issues are more personal, more story-oriented. I’ll base it on my experiences juggling all these things — the publishing company, the label, Q-BAM — and the trials of working in the music industry from outside of the music industry. I’m sure I’ll also write about interesting things I’m reading and watching and hearing, too. It will be good, and I’m setting the first issue free in a few weeks. Please sign up here.

What am I looking for in 2020? Well, besides the replacement of some of our world leaders (omg plz), I’d like more excuses to travel. I already have flights booked for returns to SXSW and MusicBiz, but would enjoy several more chances to ride on airplanes. I’d also like to pick up a couple more consultancy clients this year, whether artists or labels needing help with branding, positioning, and release strategies or companies looking for assistance with music publishing and rights management. And I’d love to advise and collaborate with a cool outsider artist, band, or label — one dedicated to a musical niche with no mainstream aspiration and struggling with being seen in 2020’s ephemeral information whirlpool. If that’s you and you’re willing to do the work, then feel free to get in touch.

One last tidbit: I mentioned SXSW above. I’m thrilled to announce that there will be an 8DSync showcase at the festival this March, featuring many of the artists mentioned above. I’ll have the details soon. I played SXSW a few times as Q-BAM in the past, but I’ve never been on the organizing side of a showcase. So that’s exciting.

OK, you didn’t ask for it, but now you’re up to date on my activities. And, as a byproduct of this ramble, I have a clearer idea of what I’d like to do over the next few months. 2020 is the year when all that table-setting in 2019 pays off. Now I’d like to hear from you. What are your big plans? Is there an opportunity for us to work together, or bounce around some ideas? I’m game. I have the feeling this could be our year.

Filed Under: From The Notebook Tagged With: 8D Industries, 8DSync, Bird Streets, Consultancy, Craig Snyder, Email Newsletters, Miguel Bustamante, Monta At Odds, More Ghost Than Man, MusicBiz, now, Q-Burns Abstract Message, Ringo Dreams of Lawn Care, San Mateo, Shana Falana, Swampmeat Family Band, SXSW, The Little Kicks, WeGrowWax

What Am I Doing Now? (September 2019 Recap)

September 18, 2019 · 1 Comment

Sunrise on Lake Holden

It’s been an eventful summer. First of all, I got married. I’ve been with Caroline for 15 years, so it doesn’t seem like that big of a deal but, okay, it’s a big deal. But we did the courthouse rather than any sort of ceremony. And then we threw a party for 20 of our closest friends and family and surprised them with the news. That was fun.

I’m asked, “does it feel different now that you’re married?” and I say, “yes, it does.”

“Really? What’s changed?”

“Now, everyone asks if things feel different.”

I’ve also moved away from consulting though I’m still open to help out artists and projects that inspire me. I’m updating my ‘About Me’ page to help explain this. I’ve decided that I can be more helpful through this blog, so I’m redirecting my focus here. The goal will be 3-5 pieces posted a week, eventually increasing the frequency to daily. I’m also plotting the long-promised newsletter. Cool things are afoot.

My friend Craig Snyder has come on board with 8DSync to help expand the roster. Craig’s knowledge of the industry is vast, and he’s already helped us make huge gains. Through Craig, we’ve added John Brodeur (check out Bird Streets, his latest project) and Swampmeat Family Band to our publishing posse. And I also brought on the full catalog of Scotland’s The Little Kicks, a terrific band I’ve known for a while. All three of these acts will have new albums at the beginning of 2020, and I’ll drop an exciting announcement related to all of this soon.

The 8D Industries label took the summer off but is revving up for the end of the year. More Ghost Than Man follows up last year’s release with So Soon The Dark. This mini-album is a soundtrack to a wild sci-fi short film which MGTM’s Terry Grant wrote, directed, starred in, did set design, voice-overs … okay, he did everything. It’s ambitious, and the film is crazy. And crazy good. Expect all of that to appear right before Halloween. And in early 2020 we’re expecting new music from Monta At Odds, San Mateo, and (hopefully) Q-Burns Abstract Message.

Last week I returned from Americanafest in Nashville. Technically, I didn’t go to the conference, but that didn’t stop me from meeting some wonderful people who were also in town. And it’s always a joy to spend some time in Nashville. In October, I’ll be in New York City for a couple of days of MondoNYC. Reach out if you’ll be there.

Daniel Johnston died. I love to root for underdogs, and he was a champion underdog. I briefly wrote about him last January. Please read some more articles about him here.

I forgot something, I know it. But I plan to shorten the time between these /now updates, so I’ll get to it next time. Surely.

Quick recommendations:

  • Long Day’s Journey Into Night
  • Tade Thompson’s Rosewater
  • Jenny Odell’s How To Do Nothing
  • Tim Maughan’s Infinite Detail
  • Seth Godin and Brian Koppleman have another amazing chat
  • Succession (I’m late to this but boy am I enjoying it)
  • a 6-hour+ (!) reissue of The Solid Doctor’s How About Some More Ether
  • Jogging House
  • Unexplained Sounds Group
  • all the music in my #Worktones series

Filed Under: From The Notebook Tagged With: 8D Industries, Americanafest, Burd Streets, Caroline, Craig Snyder, Daniel Johnston, John Brodeur, MondoNYC, More Ghost Than Man, now, Swampmeat Family Band, The Little Kicks

An 8D Industries Update

January 8, 2019 · Leave a Comment

There’s been a bunch of activity in the label realm, so I thought I’d give a quick update on my 8D Industries imprint.

Terry Grant AKA More Ghost Than Man participated in Big Shot Magazine’s 2018 Rewind, answering a few questions about the past year and the present one. In response to a new year’s resolution, Terry quotes Gustave Flaubert:

“Be regular and orderly in your life, so that you may be violent and original in your work.”

More Ghost Than Man

(I also submitted to the 2018 Rewind if you’d like to check it out.)

More Ghost Than Man’s Everything Impossible Is Far Away album continues to fascinate, providing evocative instrumental soundscapes for your mind-movies. In 2019 Terry will release a long-gestating short sci-fi film using the album’s songs. Terry’s been dropping clues on Instagram — he’s built a city in his garage and created some sort of space-age sickbay.

We’ll be releasing the follow-up to Everything Impossible Is Far Away later this year.

Monta At Odds have been busy, building on the deserved hype for last year’s Argentum Dreams album and they just performed a bunch of New Order songs (as ‘Blue Monta’) at a special end-of-the-year concert. To keep the momentum going, we’re reissuing Monta’s 2005 debut album Unsuspecting. It’s currently out of print, and it shouldn’t be — it’s a terrific ride, and, though more on the ‘downtempo’ tip, isn’t that far off from the sound of Argentum Dreams. Two stand-out songs you can listen to now: “Disappointment” and “A Nick A Scratch A Scuff.”

View this post on Instagram

A post shared by 8D Industries (@8dindustries) on Jan 7, 2019 at 2:02pm PST

Our reissue of Unsuspecting will be out on January 18. If you’re a Bandcamp user, follow 8D Industries there to receive a message once the album is available. Like all of our releases, it will be ‘name your price’ on the Bandcamp platform.

San Mateo delivered his just-completed album this week, and it’s fantastic. The cover art is stunning as well. I can’t wait to send this out into the world. Mid-April, perhaps? It’s the early stages of release planning — once Unsuspecting is out, I’ll have a better idea. In the meantime, dive into San Mateo’s previous work if you’re new to this expressive audio artist.

And an upcoming Q-Burns Abstract Message release? Stay tuned.

Filed Under: From The Notebook Tagged With: 8D Industries, Monta At Odds, More Ghost Than Man, San Mateo

What Am I Doing Now? (March 2018 Recap)

April 1, 2018 · Leave a Comment

  • I started testing a new music marketing consultancy package that I plan to unveil next month. The process in a nutshell: I interview the client and audit his or her online assets and overall presentation. I create a report with my initial insights and recommendations, and we get on a call to discuss and brainstorm. I follow this conversation with an expanded, final version of the report containing actionable tasks that the client can immediately implement. We then have a limited email exchange to go over any questions about my recommendations, and I’ll follow-up a month later to check on progress. The client is also welcome to schedule regular brainstorm sessions and audits to keep the process going. The goal is to set the client up for the next stage in his or her music career, whether it’s for an upcoming release, a tour, or just a professional ‘polish’ to become more attractive to the likes of record labels, promoters, or managers. I can work this magic for recording artists or labels — or both, as was the case with the first client to go through this procedure, the talented techno producer Deepak Sharma of Hidden Recordings. I’m excited for what this will bring and the people I’ll be meeting and advising.
  • Two new releases I’m assisting with that you should check out: Arthur’s Landing – Spring Collection EP on Buddhist Army; and More Ghost Than Man – The Courage To Lie To A Dying Man on Westerns With The Sound Off. Also, we’ve received vinyl copies of Nirosta Steel’s The Dry Ice Remixes (featuring remixes by Sleazy McQueen), and these should be hitting the cool record stores at the very beginning of May.
  • I’m always testing new systems to improve daily productivity. This month I’m trying out Cal Newport’s Daily and Weekly time-blocking scheme. In the past, I attempted time-blocking using a calendar app but found this to be too rigid. For example, there was no room to extend a task ‘on-the-fly’ for a few more minutes when nearly finished, and it was difficult to change a schedule if confronted with the unexpected. These issues, combined with nagging calendar alerts, stressed me out more than increasing effectiveness. Newport’s system allows some ‘float,’ is refreshingly paper-based, and it’s easy to rearrange the calendar if things get out of whack. I also like the idea of a Weekly Plan reminder in my email inbox. It’s become a game to have that reminder email be the only thing in the inbox at the end of the day. The early results are encouraging and, if it continues to work, I’ll do a blog post about this and the rest of my productivity system.
  • Great discovery: Kanopy. If you’ve got a local library card (and you should), then chances are you will be able to access this streaming movie service for free. You’re limited to five movies a month, and the selection is strong, including more than a few Criterion classics (French New Wave, Italian Neorealism, those samurai movies I love …) and recent independent offerings.
  • What I Read This Month:

    Genghis Khan and the Making of the Modern World
    Steal Like an Artist: 10 Things Nobody Told You About Being Creative
    Wait But Why: The Elon Musk Post Series (which is basically a book)

  • What I Watched This Month:

    Kim Dotcom: Caught in the Web
    Wild Wild Country
    SHOT! The Psycho-Spiritual Mantra of Rock
    Journey To Italy
    and @garydvisualz took me to my first 3D blockbuster, Ready Player One

  • What I Listened To This Month:

    Gwenno – Le Kov
    Ryuichi Sakamoto & Alva Noto – Glass
    Mariah – Utakata No Hibi
    Kenneth James Gibson – In The Fields Of Nothing
    The wonderful ‘long’ versinon of Wire’s “Outdoor Miner”

  • A Few Other Things I Enjoyed This Month:

    Anil Dash on what it’s like to be a ‘non-celebrity’ with 500,000+ Twitter followers
    An interview with the mayor of the curious, Orwerllian town of Scarfolk, UK
    Planet Earth as described in the 116 photos aboard the Voyager spacecraft
    This video of Brian Eno getting giddy over his Ultra-Harmonizer in 1994
    Ten moments in the history of Cocteau Twins … some which were new to this longtime fan
    That time Sterling Morrison left the Velvet Underground for an academic life in Texas

Filed Under: From The Notebook Tagged With: Book Recommendations, Buddhist Army, More Ghost Than Man, Movie Recommendations, Music Recommendations, now, Productivity

What Am I Doing Now? (February 2018 Recap)

March 1, 2018 · Leave a Comment

  • I’ve brought on a couple of new clients for publishing representation: San Francisco’s Sleight Of Hands (check out their excellent cover of “I’m Not In Love”) and Nathan Maners. There are others in the works. Exciting times here at 8DSync.
  • I’m also working on two new projects in an advisory role: an upcoming EP from Arthur’s Landing titled Spring Collection; and a single from Terry Grant’s More Ghost Than Man project, taken from his stunning 2016 self-titled album.
  • A major project this month was the launch of Snax’s PledgeMusic campaign for the vinyl version of his excellent Shady Lights album. I was closely involved in putting this together and enjoyed collaborating with Snax and the PledgeMusic team. This company has a great crew working behind the scenes. If you are a fan of limited edition vinyl in a deluxe package or solid electronic funk music in general, then I implore you to check out Snax’s Shady Lights campaign.
  • Eagle eyes may notice that I’ve removed the Services tab from this site. I’ve decided to do fewer label services projects and focus more on music publishing, licensing, and consultancy. I’ll be revamping things here over the following weeks, and will be offering a new way that I can help independent labels and self-released artists determine and implement innovative strategies. Stay tuned.
  • The weather is warming up in Florida. We’ve already hit the mid-80s a few times, and we’re not yet out of February. I’m torn between being worried and overjoyed. Regardless, I’m resuming my Lake Holden paddle board sessions, a highlight of my day and the preferred way to meditate and think.
  • What I Read This Month:

    The Founder’s Dilemmas
    Finish

  • What I Watched This Month:

    The Square
    Hiroshima, Mon Amour
    BPM (Beats Per Minute) (my favorite 2017 movie, I think)
    Phantom Thread

  • What I Listened To This Month:

    Deutsche Elektronische Musik 3: Experimental German Rock and Electronic Music 1970-82
    Palta – Universel
    Pendant – Make Me Know You Sweet
    Patrick Cowley – Afternooners
    San Mateo – Breather
    The House In The Woods – Bucolica
    Kuniyuki Takahashi – Early Tape Works (1986 – 1993)

  • A Few Other Things I Enjoyed This Month:

    Seth Godin has a fantastic new weekly podcast titled Akimbo
    If you make true crime documentaries then act quickly to acquire the rights to this tale of the Worst Roomate Ever
    I like the writer Steven Johnson, and I’ve been wrapping my head around blockchain, so I found this article fascinating: Beyond The Bitcoin Bubble
    Artist Winston Smith designed all those Dead Kennedys album covers I loved as a teenager. It’s a pleasure to find out he’s a pretty cool dude, too.

Filed Under: From The Notebook Tagged With: 8DSync, Book Recommendations, Buddhist Army, Lake Holden, More Ghost Than Man, Movie Recommendations, Music Recommendations, now, Snax

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8sided.blog is a digital zine about sound, culture, and what Andrew Weatherall once referred to as 'the punk rock dream'.

It's also the online home of Michael Donaldson, a slightly jaded but surprisingly optimistic fellow who's haunted the music industry for longer than he cares to admit. A former Q-Burns Abstract Message.

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