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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

Music Biz Recap: Non-Stop Shop Talk Recovery

May 13, 2019 · Leave a Comment

Vintage Nashville Postcard

After a miserable travel day (storms over Charlotte) I made it to Nashville and participated in what is perhaps my favorite music industry conference, Music Biz. I like Music Biz because all the attendees are laser-focused on making the music industry better — though like in politics, our definitions of ‘better’ might wildly diverge. There aren’t people hanging out wanting to see their favorite bands, and there isn’t a film, tech, and gaming festival running in tandem. It’s just music industry folks meeting music industry folks and talking about the music industry,

Music Biz is a barometer for how people are thinking about the industry. In retrospect, only a week later, the conference seems like a snapshot of the state of the business of music in 2019. And this year, more than any other year I attended, that state seems pretty good. Attendance was supposedly at a record level, and buzz about the future overshadowed complaints about the present.

Last year the Music Modernization Act was a ‘fingers crossed’ topic, and this year there were multiple panels on how to prepare and utilize it for increased royalty. There was much talk about how smart speakers will influence and aid discovery, something I was bearish on before but now I’m sufficiently intrigued. New technologies I sampled involved enhanced streaming fidelity and improving a fan’s immersion through interactive ‘liner notes’ functions, both fan-centric efforts. The IFPI gave an optimistic presentation showing dramatically rising music revenues across the globe. And, though there was still talk of playlists, the conversation was mostly about how a band’s overall presentation across channels — digital and IRL — is key, rather than tips on gaming an algorithm.

Sunday was the first day of Music Biz, which is new as all the years I’ve gone things started on Monday. This change threw things off a little, starting with my first breakfast meeting turning out to be a brunch meeting. Sunday also included presentations from almost all of the significant DSPs — Spotify, Amazon, Apple, SoundCloud, and YouTube. There wasn’t much new in the actual presentations, but I did find the Q&A portions informative in the recurring themes of the questions (though not all the DSPs included Q&A). Spotify’s Q&A theme reflected frustration with playlists, showing how an emphasis on this aspect makes it the primary concern of Spotify’s music creators. And then Apple Music’s Q&A embodied a different frustration: artists wanting access to more data and customization of their profiles. Paraphrasing one artist’s comment to the Apple team, “I’d love to push my Apple Music profile but, as an independent artist, Spotify allows me to add so much more of my information.” This complaint is understandable as Apple Music is positioning themselves as the artist-friendly DSP but don’t seem to be walking the talk. I hope the team picked up on this and quickly implements helpful new tools for the artists using the platform.

And with that, another Music Biz sealed and delivered. I’ll be returning next year, no doubt. In the meantime, some things I learned:

• Get in early the day before. My Airbnb check-in was 3 PM so I should have taken advantage of that and gotten in at that time and just chilled out. Or I could’ve done fun non-business Nashville stuff (like the Country Music Hall of Fame and Museum, which I still haven’t visited). Instead, I opted to fly in the early evening and, because of flight delays, I didn’t get into bed until nearly 1 AM, and I couldn’t sleep from all the leftover travel stress. It took me almost 48 hours to feel normal again.
• Writing on business cards is a pro move. At SXSW, as I chatted with a new contact, he pulled out a pen and started writing about our conversation on my business card. That stuck with me, and I copied this tactic at Music Biz. Now I have a stack of business cards with scrawled notes about how I met each person, what we talked about, and if there’s anything, in particular,-requiring follow-up. A game-changer.
• Another pro move: getting back to the hotel/Airbnb by 10 PM. Conferences are exhausting, especially for introverts (raises hand) who require precious time alone after a day of networking and non-stop chat. There are VIP parties and drinks with friends and pop-up industry hangs at seedy bars to create temptation. Don’t give in. I only made it back to my accommodations by 10 AM on the Monday night — and Tuesday at the conference was my most clear-headed and productive day. That wasn’t a coincidence.

Filed Under: From The Notebook Tagged With: Apple Music, IFPI, Muisc Modernization Act, MusicBiz, Nashville, Playlists, Smart Speakers, Spotify, SXSW

On My Way to Music Biz 2019

May 3, 2019 · Leave a Comment

Tomorrow I’m heading to Nashville for the Music Biz 2019 conference. This is my third year in a row and it’s by far the conference I look forward to the most. Everyone attending is laser-focused on working toward a better music industry and the vibe is buzzing and inspirational. It doesn’t hurt that it’s in Nashville, either — a fun city that I love visiting.

If you’ll be at Music Biz and would like to meet up then drop me a line. And here’s my Music Biz profile page with my tentative schedule.

Filed Under: From The Notebook Tagged With: Conferences, MusicBiz, Nashville, Travel

What Am I Doing Now? (May 2019 Recap)

May 1, 2019 · Leave a Comment

  • I’m gearing up for a few days at MusicBiz 2019 in Nashville, starting on May 5. I’m expecting terrific panels, productive meetings, new contacts, seeing some old friends, and perhaps an announcement or two from my camp. If you are in Nashville for this conference, then feel free to drop me a line and let’s meet up.
  • The first Q-Burns Abstract Message release since 2011’s “Balearic Chainsaw” is out now on 8D Industries and it’s called AUDIOTOTEMPOLE. This is a special release, and it closes a loop of sorts. These are songs spanning the years. The one with ‘1997’ in the title is that old, and I completed the newest track three months ago. I think that I can now move on to new pastures, new sounds, new — and more frequent — Q-BAM releases.
  • Additionally, on the Q-Burns Abstract Message front, I’m breaking my DJ retirement for one night to play at the Phat N’ Jazzy 25th anniversary party. There are only a few things that would get me to DJ again and this party qualifies. Twenty-five years ago I had a weekly gig playing spacey trip hop records in the backroom of Phat N’ Jazzy at The Beach Club. It was my first residency, and it’s where I honed my DJ craft. I’d probably be in a different place today if the P’n’J crew didn’t trust me to command the backroom vibe. For the May 11 anniversary party I’ll be playing the tunes from that classic era, or at least the ones I still have on vinyl.
  • Consultancy: I’m currently working with Reza of Vexillary, Deepak of Hidden Recordings, and I’ll be advising Snax once again starting next week. A big thanks to my clients for being on board and receptive to some crazy (but effective!) ideas. I’m expanding the consultancy into special one-on-one workshops over the next couple months.
  • Soon you’ll hear me blabbing about music industry stuff on the This Is Orlando and Scotch and Good Conversation podcasts. I also did a long interview with the site MyMusicMoments that I feel good about. I’ll post links to all of these in the blog once they’re online.

Listening (music):

• Simon Scott – Below Sea Level
• Khotin – Beautiful You
• Mary Lattimore & Mac McCaughan – New Rain Duets
• Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
• Helado Negro – This Is How You Smile
• The 180 Gs – Commercial Album
• Revisited Sonic Youth’s Sister and Mission of Burma’s Vs. in a big way.

Listening (podcasts):

• Cherie Hu’s relatively new Water & Music podcast is great. Stellar music industry commentary. Check out the episode with Amber Horsburgh for starters.
• On Russell Brand’s Under The Skin, I enjoyed the conversations with Douglas Rushkoff and Derren Brown.
• Bob Lefsetz’s podcast is back, and the episode with Billy Bragg is a lot of fun. I especially enjoyed the history lesson on skiffle.
• John Livesay’s appearance on Big Questions With Cal Fussman was super-insightful on the topics of marketing and developing stories.

Watching:

• Cold War
• Free Solo (inspirational)
• Silent Light
• We finished The Americans. I was unsure for the first couple of seasons but we hung in there which paid off … the show got really good (as I’m sure you’ve heard).
• And, sure, we’re watching Game of Thrones. And Gay of Thrones.

Reading:

• Finished Bobby Fischer Goes To War which was fantastic, though it did wind down a bit mid-match (and 3/4 into the book) once it became apparent that Fischer would win. I wholeheartedly recommend it, though. One big complaint: the book mentions throughout that Bobby Fischer often listened to ‘rock n’ roll’ while preparing and practicing, but there’s no mention or clue as to the records of bands he liked. I want to know!
• I’m now halfway through Neal Stephenson’s Snow Crash after multiple people coincidentally recommended it to me over the same few weeks. Confession: this is the first fiction book I’ve read since 2001. No idea why I gave up on fiction, but I’ve meant to get back into it. So far so good — I’m enjoying Snow Crash, though I still am not sure what it is about the book (or me) that inspired various friends to point me to it.

Misc:

• I started using Focusmate over the past few weeks. I’m using it right now. It’s a game-changer — expect a blog post about this soon. In the meantime, here’s the article that convinced me to give Focusmate a try.
• Civic Minded 5, my favorite concert promoters, hosted the trio of Nels Cline/Larry Ochs/Gerald Cleaver a couple of weeks back. A mind-blowing show. There were two sets — the second half of set one was explosive and set two was at times drone-y and Krautrock-y. So good. Again, I’ve never been disappointed by a Civic Minded 5 show and am grateful they are here in Orlando. Your city should be jealous.

Filed Under: From The Notebook Tagged With: 8D Industries, Bob Lefsetz, Book Recommendations, Cherie Hu, Civic Minded 5, DJ, Douglas Rushkoff, Focusmate, Hidden Recordings, Movie Recommendations, Music Recommendations, MusicBiz, Nashville, now, Orlando, Phat N Jazzy, Podcast, Q-Burns Abstract Message, Snax, Vexilliary

What Am I Doing Now? (May 2018 Recap)

June 1, 2018 · Leave a Comment

  • Continuing the story from last month, I spent the early part of May nursing my wounded eyeballs and anticipating a new pair of contacts to help correct my keratoconus. For the past several years I’ve used hybrid lenses for my special vision needs, which were prescribed early in their development. My new eye doctor (who is fantastic btw) recommended a more recent contacts tech, these intimidating scleral lenses. I say intimidating as they are much larger than my hybrids, and they are hard enough to tap on (while the hybrids were mainly floppy, only hard in the center). The first few days with the scleral lenses were hell as my right eye was still somewhat injured and not happy about this unfamiliar lens. Lots of pain in the first 48 hours or so. And removing the contacts with a mini-plunger was a whole new thing for me — I could use my fingers to take out the old contacts — and that took a bit of getting used to. But I am pleased to say that after a few weeks of trial and (lots of) error I am on board with the sclerals. They are comfortable, and I believe I’m getting better, clearer vision than before. The eye saga continues.
  • Good thing I got the eye issues worked out as in the second week of the month I was off to the MusicBiz 2018 conference in Nashville. This is probably my favorite industry conference, partly because it’s amicable and casual, and partly as it’s in the always fun city of Nashville. I took in a lot of panels, with Monday’s offerings being the highlights — the ‘Legal Summit’ panels were all educational, and the new ‘Podcasting Summit’ panels, hosted by Jim Griffin (my favorite panel moderator), were excellent. The issues of music licensing in podcasts were covered in depth, and I appreciated the dive into the weeds. I hung out a bit with Craig from ReverbNation and Mike D. from Chicken Ranch Records (who I’ve known since my stint in college radio when I was like 19) and caught up with longtime friends/Nashville residents Jamie Blaine and Terry Grant. I also floated around some new ideas as to where I’m taking 8D Industries, and everyone I used as a sounding board was receptive and encouraging. Stay tuned.
  • As I’m getting ready to leave for the airport Mike D. asks, “do you have time for a drink with Tyler Mahon Coe?” Thus, on my way out of Nashville, we stop at a local dive bar and have a great conversation with Tyler, who hosts the brilliant Cocaine & Rhinestones podcast (as well as the hilarious Your Favorite Band Sucks podcast). I wrote about Cocaine & Rhinestones in last month’s entry, and Tyler’s show helped me get through the worst days and nights of eye trauma. It was cool to be able to let Tyler know this in person and to relate my podcast-inspired experience listening to Neil Young’s On The Beach for the first time. Tyler was as knowledgeable and cool to talk to in person as you might imagine. I’ll continue to follow his work, and he’s planning some exciting things.
  • I’m only home from Nashville for three days, and then I’m off to Scotland. This was a long-planned vacation with my spouse and my mother, to be tourists and explore the history of the Scottish east coast. My mother has ancestors from the region (and, of course, so do I), so she was interested in seeing it all. We had a fantastic time — I recommend Rosslyn Chapel and Sir Walter Scott’s house if you’re visiting and want some history. I also had time to find my old friends Jaco (Jaco & Co) and Iain (Funky Transport). It’s been too many years since I’ve spent time in Scotland, and this vacation inspired me to plan regular visits once again. My favorite home away from home.
  • What I Read This Month:

    Thinking Fast and Slow

  • What I Watched This Month:

    Nostalghia
    A Man Escaped
    The Wages of Fear
    Borg Vs McEnroe
    The Farthest: Voyager In Space
    Dying To Know: Ram Das & Timothy Leary
    Magnus

  • What I Listened To This Month:

    Cluster – Qua
    Brian Eno – Music For Installations
    Mary Lattimore – Hundreds of Days
    Deutsche Elektronische Musik

  • A Few Other Things I Enjoyed This Month:

    Questlove’s “Creative Quest” talk at Google
    When America’s Hottest Jazz Stars Were Sent To Cool Cold-War Tensions
    Pirate Radio Stations Explode on YouTube
    How The Kent State Massacre Helped Give Birth To Punk Rock
    Ornette Coleman – The Atlantic Years
    My Dad Painted The Iconic Cover For Jethro Tull’s ‘Aqualung,’ And It’s Haunted Him Ever Since
    Yuri Suzuki’s Musical Appliances Are Designed To Enhance Your Mood
    Glenn Branca: Punk Composer Who Turned Minimalism Maximal
    Elliott Sharp Remembers Glenn Branca

Filed Under: From The Notebook Tagged With: Book Recommendations, Keratoconus, Movie Recommendations, Music Recommendations, MusicBiz, Nashville, now, Podcast, Scotland

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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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