Heroin and Other Stories

Stories That Happened
"Heroin and Other Stories" - the new album from driftlikeclouds

1. i was by the fireplace
2. the huron river flows
3. times shoulder
4. memories are like rubber bands
5. bumblebee
6. flower confetti
7. freely blown snow
8. my insecurities tapped down like rain
9. this place
10. everything was normal
11. the river howled like the moon
12. if only you could hear my heart
13. my favorite bandsaw
14. friedrich nietzsche
15. film grain memories
16. søren kierkegaard
17. your love danced like the wind
18. then something happened

"I started orchestra at eleven, guitar at thirteen, compositions at fourteen, piano at sixteen, and recording at eighteen. I played viola and violin from 6th grade until dropping out of school sophomore year. Orchestra engraved me a love of classical music. With electric guitar, I grew long hair, dyed it black, played black metal and aspired to replicate early Theatre of Tragedy, Dimmu Borgir and My Dying Bride. My compositions were orchestral pieces, done in MIDI, totaling about 500 works, with six thought-out albums. Maybe the closest analogue is Erik Satie? They experiment with repetition, layering and orchestration. At sixteen I learned piano from a composition doctorate, Mike Petersen. He exposed me to Alban Berg, Arnold Schoenberg and Claude Debussy. I loved John Cage and how he challenged ordinary definitions of music. I cried to Mike, "My audience doesn't like my music" and he responded "Then you're targeting the wrong audience." With new inspiration, the orchestral pieces evolved in new directions. I wrote dodecaphonic works and abstract piano solos. Once I used a fractal algorithm to generate a piece. I balanced dissonant creation with repetitive, tonal, droning works. Steve Reich helped me here. "

"At eighteen, my dad introduced me to a digital recording system. I bought a Martin guitar, grew long fingernails, and pretended to be Nick Drake. I starting singing into a KSM44. I wrote little songs about life. I estimate spending thousands of hours in front of that microphone. I'd play the recordings back and frown -- they always sounded terrible! But it was me. I liked me. I took me out into the world and played open mics. Those were humbling times, nothing landed with audiences, the music wasn't mature or cultivated. I went back to the bedroom and wrote electronic pieces. I mic'd a drum-set out of mom's pots and pans like I was a toddler, played the electric guitar with a telephone, recorded spanish TV at 2am, and sampled a glitchy Wayne Dyer self-help talk over Tony Scott's eastern-flute "Is All Not One" at 33% speed. I recorded myself shaking a handful of coins and used it as a drum track. I enjoyed pushing the boundaries of creativity."

"I found other musicians to play with in my early twenties. I formed a duet with a stand-up bass player. We improvised bizarre jazz. I met a cute girl who played flute in native american style who accompanied my electric songs in an unusual fuzzy/ethnic fusion. I played acoustic guitar with a down-on-his-luck clarinet player, and formed a duet with a female singer songwriter who wrote about cosmology and eco-friendliness. I listened to Blind Willie McTell and started busking the streets of Boulder, CO, playing at bus stops and under the pedestrian tunnel by Iris and Euclid. I looked back at the orchestral pieces I wrote as a teenager and re-imagined them. This whole time, I tried and failed again and again to release an album. I could never get anybody interested in me."

"From 26 to 29, I disappeared from music. Slipped into the complexities of a modern career. At 30, I looked at my musical history and saw something staring back at me. It was the album I always wanted to release. I was a man now, I did not need anybody to push me, I could push me myself. So I filtered 220 gigabytes of music down to 45 minutes. I sampled some of my fuzzy electric guitar, my improvisational piano, and centered them around my acoustic fingerstyle foundation. I sent the eighteen tracks to Wind Over the Earth for professional mastering. I hired an artist, "Dramatic-Expressions", to draw the cover art. I picked up the drawing in Bath, MI this year (2018) and thought, "Holy shit I'm still alive." My music is still alive. Me is still alive. With the red book master from Wind Over the Earth and the artwork from "Dramatic-Expressions", I commissioned 500 copies of "Stories That Happened."

"That is how this album came to be. After so many years of looking backwards to salvage "What Could've Been", now I release this album and that burden, and turn my attention towards the future, towards "What Could Be."

Buy the album here: