↓ Download all 20 songs I had no intention of compiling such a lengthy retrospective on the music of the naughties, but once I saw that others were doing it, and then combed through my list, I found a bunch of albums that deserved recognition. However small and insignificant my words may be, these 20 songs from my favorite 20 albums of the 2000s meant so much to me.

So here they are, mixed to perfection. Enjoy!

Jamie Lidell · “Yougotmeup” · Multiply · 2005

I bought this album the moment it came out — without bothering to preview it or read the reviews — even though his previous efforts left me scratching my head as often as waggin’ my booty. “Yougotmeup” is completely out of this world, and not only sets the tone for the rest of the album, it set me on a five year journey to see him live as many times as I could. No one else even comes close to the creativity and ingenuity of Jamie Lidell, especially in front of a crowd.

Vampire Weekend · “A-Punk” · Vampire Weekend · 2008

Had my friend Maroney not passed along this album, and had Abby not fallen in love with it, I doubt I would have ever listened to it. I’m not even sure it belongs on this list — I have seen countless arguments for The Strokes over anyone else of their type — but there’s something so pure and simple about Vampire Weekend. On top of that, this album speaks to me much like the Violent Femmes self-titled debut did some 27 years ago. No small feat there.

Clap Your Hands Say Yeah · “The Skin of my Yellow Country Teeth” · Clap Your Hands Say Yeah · 2005

This song and this album (really, everything about CYHSY) just scream New York City for me. I even lost $300 trying to see them play on NYE in NYC (and I always thought I was street-smart) but eventually saw them twice. I credit them with bringing the feel of a dj set to the typical rock show, stringing each and every song together with some sort of whimsical musical transition. Now (almost) everyone does it, but they were the first.

Radiohead · “Bodysnatchers” · In Rainbows · 2007

I was waaay late to the game with Radiohead, so much so that the first album I purchased was Hail to the Thief. Sure, I complained about the 160kbps thing when they first released In Rainbows, but paid for it anyway and then paid again when the cd version came out so I could have higher fidelity copies. I raved about Bodysnatchers in my list of favorites from 2007, so please go read about it there if you care. Chances are you already feel the same way about this song, it’s an absolute masterpiece.

Thom Yorke · “Black Swan” · The Eraser · 2006

As I wrote about The Eraser in general and “Black Swans” in particular in 2007:

It’s quirky and downright weird at times, but songs like this one are so completely infectious that I can’t stop listening to them over and over again. There’s that innocence again, and a rawness that runs counter to the polish of Radiohead. This is a definite favorite of 2006.

I still find myself drawn to this album, and finding new twists and turns with each and every listen. It seems wholly unfair that one man should have such impeccable taste and immense talent, but at least Thom Yorke sees fit to share his gifts with the rest of us.

Plaid · “Masato Shuffle” · Heaven’s Door · 2008

Whereas most of the more traditional bands on this list have an electronic(a) edge, Plaid is the purest expression of that sound. I spent all of 2009 anticipating their still unreleased album entitled Scintilli, and almost slept on Heaven’s Door (the soundtrack for a Japanese film) in the process, but I am eternally grateful I found it. I have no fewer than seven favorites on this album, but “Masato Shuffle” is at the top of my list. It’s the most exquisitely delicate song, so seemingly effortless you might be tempted to ignore it. Take a minute or two and let it pull you in — I can and have listened to this song on repeat for hours on end — you’ll soon go back for more.

Ulrich Schnauss · “Blumenwiese Neben Autobahn” · Far Away Trains Passing By · 2001

Many, many moons ago, I coined a phrase to describe music not at all unlike Ulrich’s: “a motion with emotion.” Far Away Trains Passing By first appeared to me in the form of what seemed to be hundreds of messages on the idm list-serv I once followed, all of which raved about his enchantingly melodic and indelibly rhapsodic sound. Still to this day I remain in awe that so many loops can be so perfectly placed, never crowded, always balanced. “Blumenwiese Neben Autobahn” — roughly translates to “flower meadow beside the freeway” — is the most pristine gem on an album full of them, one I can’t recommend enough.

Animal Collective · “Graze” · Fall Be Kind · 2009

Animal Collective and its many permutations so thoroughly dominated the latter half of my musical decade that I have no choice but to dedicate 20% of these songs to them, and I easily could have added more. Fall Be Kind is the only EP on the list, but more than holds its own, even more so as it comes on the heels of the esteemed Merriweather Post Pavilion (found below). All five songs on FBK are instant classics, and light years beyond anything else out there, including MPP. I don’t know how they do it but I hope they never stop.

Grizzly Bear · “Southern Point” · Veckatimest · 2009

Were it not for two back-to-back Animal Collective shows, including the one in the Big Sur fog with only 299 other lucky souls, Grizzly Bear would have been the show of the year for me, and “Southern Point” its absolute highlight. While the album comes across as soft and even somewhat delicate at times, their presence onstage was anything but and their sound was big, Big, BIG. This was the song they opened with, featuring Daniel Rossen on lead vocals and Ed Droste as his primary backup, and it instantly brought an already revved up Fillmore crowd to a fever pitch. I have a feeling this band is just hitting its stride, and will be back bigger and better than ever with their next album.

Battles · “Atlas” · Mirrored · 2007

Battles delivered one of the most unexpected and absolutely epic albums of the decade, and two of the most spectacular videos too. I still get chills when I think about the show they played in San Francisco, and remember being somewhat disappointed that they looked like such normal guys — I half expected robots. Tortoise, aka TRTS, might be the only other band that can play as tightly through a subtle change in pace and as frenetically for such lengths of time as BTTLS. I always want to call John Stanier, John Stamos. Not even close.

!!! · “Me and Guiliani Down by the School Yard (A True Story)” · Louden Up Now · 2004

Those ungoogleable bastards, !!!, completely won me over with 2004′s brilliant Louden Up Now, and then sealed the deal with their tour in support of 2007′s Myth Takes. Imagine a high school pep rally gone awry, with a bit of Richard Simmons’ Sweatin’ to the Oldies, some New York punk, and late 90′s rave culture thrown in for good measure. Oh, and some killer lyrics too:

People always ask me, “What’s so fucking great about dancing?”
How the fuck should I know? Yeah, even I can barely understand it
But when the music takes over, the music takes control

“Me and Guiliani” was one of my Songs of the Day in 2008, and I’m quite fond of that post if you’re interested in reading more. I love !!! and can’t wait to hear what they do next.

Hudson Mohawke · “No One Could Ever” · Butter · 2009

Thus far, my list feels fairly conventional, even to me. Sure, there’s a handful of outliers, but nothing quite like Butter. In fact, I think it sticks out like a sore thumb, whatever that means, and “No One Could Ever” is the biggest red blister of all, pulsing with an insatiable beat and ridiculously hyperactive drums. I love, love, love everything on this album, and anything else I have heard from HudMo. To be sure, not all of his music sounds like chipmunks on crack, but his best stuff certainly does.

Squarepusher · “Tetra Sync” · Ultravisitor · 2004

I can’t say that I ever really fell for Ultravisitor top to bottom quite like the way I fell for Hello Everything and Just a Souvenir, but every time I come back to it I find another gem. Squarepusher is undoubtedly one of my all-time favorites, top five in fact (on the active list at least), and “Tetra Sync” is one of his finest efforts. Tom Jenkinson has a way of making music that in which everything sounds like a remix of one or more of his earlier tracks, but this one sounds like his entire career rolled up in one. I can barely wrap my mind around what a killer track this is, and more often than not am reduced to dropping f-bombs to describe it — it’s *that* good. I have seven other songs posted if you want more: Love Will Tear Us Apart, Star Time 2, Port Rhombus, Iambic 5 Poetry, Iambic 9 Poetry, A Real Woman, and Star Time 1. All every bit as epic.

Animal Collective · “Daily Routine” · Merriweather Post Pavilion · 2009

As I wrote about “Daily Routine” earlier this year:

Normally, I play a SOTD over and over while I write these posts. Not so with this amazing new song from Animal Collective, in fact I can’t do anything beyond marvel at its absolute perfection: so sparse yet so full, so chaotic yet so incredibly peaceful. And that bass, those drums, the claps, the carnivalesque keys, and that seemingly endless outro, I defy you to find a more spectacular song, at least one that isn’t on the very same album!

I remember this one more than any other song that they played at both of my shows earlier this summer, especially since they extended the doodling at the beginning and let Panda take the outro even further. Merriweather Post Pavilion may very well be the album of the decade, and this song is a big reason why. Is is still sacrilegious to say that Animal Collective is my generation’s Beatles?

o9 · “Terminal Silver” · Church of the Ghetto PC · 2004

Much like Ultravisitor, I initially found a couple of songs I instantly loved, and more or less stopped listening to the rest of Church of the Ghetto PC. I don’t know what prompted another listen in the past year or so, but ever since then I have been hooked on o9. As best I can tell he dropped off the face of the earth, so if you’re out there, Jesse Legg, and still making music, I want to hear it! If nothing else, please see to it that some 45rpm mp3s of No Delay for Days are added, I can’t stand it so slow.

Burial · “Ghost Hardware” · Untrue · 2007

It never really mattered whether it was called dubstep, grime, or wonky, I simply didn’t care for it. The entire genre always felt too contrived, too of the moment without any regard for the one prior or post. Somehow Burial came out of the very same movement, only to rise above all else with an album so perfectly situated not in the present, past, or future, but simultaneously in all three. Abby put it best when she said:

It sounds like Jamie Lidell meets Boyz II Men meets Autechre.

Yep, classic.

Flying Lotus · “Roberta Flack (feat Dolly)” · Los Angeles · 2008

FlyLo burst on the scene as quickly and vividly in 2006 as HudMo did in 2008, and like Butter I could point to any number of songs on Los Angeles that deserve special mention here:

[B]ut for me the one that truly stands above and beyond all others is “RobertaFlack (feat. Dolly).” The sparsely spaced rhythm track shines on its own, but that gives Ellison plenty of room to add Dolly’s beautiful voice for color and depth. And then he tops it off with the most unexpected breakdown at the end, so ridiculously sultry and seductive I could listen to those last 52 seconds on repeat for the rest of my life and die a very happy man

It’s totally and completely unfair to call it easy listening, but whenever I need to find a groove to get something done, I always reach for Los Angeles. The entire album flows so well, and the music itself is neither in my face nor so distant that I don’t notice it. It’s full of songs as eloquent as “Roberta Flack,” one masterpiece after the next.

Panda Bear · “Take Pills” · Person Pitch · 2007

Person Pitch was my first Animal Collective experience, and at the time it seemed like I was the last to find out about it or them, but it didn’t take me long to want much more. From there I jumped into Strawberry Jam and my first show at The Fillmore, then a deep dive into their back catalog. There’s something so raw and immature about this solo effort from Noah Lennox, it’s such a scattered amalgamation of sounds and themes, but there’s a knowing wisdom about it too, like this is the way music is meant to be. I always imagined that the creatures on the cover lent the music its eclecticism, especially that gigantic sea lion. I bet he plays a mean bass.

Avey Tare and Kria Brekkan · “Lay Lay Off Faselam” · Pullhair Rubeye · 2007

Believe it or not, this is the only album on my list that I did not personally pay for, and as far as I know it’s not even commercially available in its reversed form. My brother Kevin sent this to me, and it instantly became one of my most cherished possessions, for lack of a better word. The music is flimsy and gauzy, Kria Brekkan’s voice is dainty and wispy, and the lyrics are dreamy and distant. What it lacks in mass is more than made up in mettle, for this is a deeply heartfelt album, one-of-a-kind, and not likely to be duplicated ever again.

Bjork · “I See Who You Are” · Volta · 2007

Speaking of the heart, I can think of no greater love song than “I See Who You Are” from Bjork and Mark Bell. This is such an intensely beautiful piece — the underlying music itself is perfectly restrained whereas Bjork’s voice is anything but — and each element embodies the message so well:

Let’s celebrate now all this flesh on our bones
Let me push you up against me tightly
And enjoy every bit of you

Do not miss that crescendo at the end with the horns and the pipa (a traditional Chinese string instrument, much like a sitar) played by Min Xiao-Fen. It all adds up to one phenomenal track, and a perfect end to this mix and post.

If you made it this far, I thank you for reading and listening. I am truly honored.

I would love to hear which ones resonated with you, and please let me know about anything I might have missed from your best of the decade list.

I hope you enjoyed this as much as I enjoyed making it. Happy new year!

Words fail to express the love I have for this stretch of the California coast. So many of my happiest moments have their roots here, and I know of no other place that so thoroughly calms my restless soul.

I proposed to Abby in China Cove, a secluded beach in the Point Lobos State Reserve made just for us, but totally unknown to me before we arrived:

And shared the first of many Carmel sunsets that night:

And celebrated her birthday the next day at Nepenthe, perched high above the Pacific Ocean in Big Sur:

And were married in the Carmel Highlands, with our families in attendance, on a day when the fog to burned off just in time to give us our moment in the sun:

And I love the drive from Carmel to Big Sur. If I stopped every time I saw an astonishingly beautiful scene like the one below, the 35 mile drive would take a lifetime:

So you can imagine my delight to find out about the show in Big Sur, and my sheer joy at getting four of the most precious tickets on earth, in my humble opinion of course. Abby, Sawyer, my brother Kevin, and I arrived to find the Library tucked in between towering trees and completely enveloped in the densest fog. The entire scene was magical, and only made more so by the song that plays in the background of this quick video:

I only wish I would have moved the camera more slowly, in spite of the speed it reminds of how time stood still that night. The entire hour plus before Animal Collective played was filled for much of the same ethereal sounds, none of which I recognized, but this one stood above all else.

I spent the better part of tonight with that video looped, trying in vain to decipher the lyrics with the hope of identifying the song, when at last I remembered seeing an app for my iPhone called Shazam. Sure enough, a ten second sample identified it, and after scouring the internet again I finally had my song (it seems to be a live version from SxSW, the album is all but impossible to find). Here it is:

The show itself was almost an afterthought given the majesty of the setting, the crisp and cool air ever so slightly misty from the fog, the history of the land on which we stood, and the band that brought each one of us there. But my most cherished memory is the few hours I was able to share with my family in such a magnificent place, and now I have a song to take me there in an instant.

I first heard The Smiths in my senior year of high school and immediately adopted their music as the soundtrack to my life. I pretty much gained entrance to my fraternity on the strength of my knowledge and collection of The Smiths releases, narrowly escaping disqualification for not knowing about The Stone Roses (more on them soon).

By the time I left Miami University, most of those (now no doubt extremely valuable first edition) releases had disappeared (one of the many prices I paid for living in one of two rooms on the front balcony). Truth be told, I didn’t miss them one bit. I had long since outgrown their sappy sentimentality, and was ready to move on to something decidedly less contrived and much more my own.

As I continue to reconnect (and in some cases have meaningful conversations for the first time) with friends from high school and college on Facebook, it’s both amusing and instructive to look back on the music of that era. I find myself all-too-aware of that same trap of idealism and false hope: wanting to be adored but completely unwilling or unable to return it without strings attached. I suppose that’s part of growing up, learning to give without conditions, love without fear, and be nothing more and nothing less than authentically me.

It’s true that I am a sucker for anything with a vocoder in it, but Dirk Dresselhaus’s much more modern version is an absolute classic (various outfits far more respectable than me have ranked it as one of the finest covers of all time). Most of all, I love the fact that an entirely new generation now has a bit of The Smiths to guide them along their own path of discovery. Truly the circle of life never ends.

Here’s the original:

And the cover:

While your here, have a look at Radiohead’s cover of one of my other all-time favorites, The Smiths’ “The Headmaster Ritual.”

This track starts slow and quietly comes to a crescendo, only to completely unwind in the most peaceful repose. It is positively euphoric and borders on cartoon-like exaggeration, yet it still remains serene and well-composed.

I definitely gravitate toward music with space, which to me means an ample separation of sound that gives room to explore what lies between. And what lies between? Exactly: nothing. Most artists fail to consider that it might be better to not throw everything in all at once, and even fewer can wear that restraint as a badge of courage and push for greater separation. When he chooses to, Jenkinson masterfully toes the line between obvious and subtle, chaos and calm, thick and thin; I can think of no better illustration than “Star Time 2″:

I think it will be an all-Squarepusher week, with a quick look back at how he arrived at this point and that long-promised write-up of my favorite track from Just a Souvenir. But I’m also itching to play you some Plaid too, the Beatles of our electronic era. Perhaps that’s for next week?

I can’t recall how or when I discovered Design Supremo, but I was instantly sold on the limited edition “Love Will Tear Us Apart” poster by Peter Crnokrak. Since there were only 30 available, and given my now notorious issues with currency conversions, I had to buy one. The idea is brilliant: map over 85 versions and covers of the classic Joy Division song by time and artist. The artwork is visually stunning from afar, and so intricately detailed up close, it’s no wonder that even the second version is now sold out too!

At any rate, mine sat safely in its tube for quite some time until Abby had it beautifully framed for my 35th birthday last month. Now it occupies a prime spot in our living room, just outside of Sawyer’s room. I find it difficult to pass without catching the melody in my head, and I realized the other day that it’s Squarepusher’s version, not the original:

I don’t know that this is a fair representation of the Squarepusher sound, but many of his signature elements are present if a bit subdued. I have much more to share from him in the coming days, including my favorite track from his new album, “A Real Woman.” It’s epic, absolutely epic.

I subscribed to Flavorpill’s Earplug many years ago, and even though its relevance and timeliness is negligible, I keep it around for the random gem every now and then. Last week’s issue of Earplug is a perfect example as it had a link to three micromixes from the members of Animal Collective.

I owe a debt of gratitude to my brother Kevin for exposing me to AC, then insisting that I continue to listen to them in spite of not connecting at first. He is the reason I saw and loved them in concert (my pics and video). Needless to say, I saw the link and devoted the next few hours to pouring over their mixes.

For better or worse, I couldn’t get past the second song on Panda’s mix, and a little digging confirmed it was Davy Graham’s “Both Sides Now” from 1969:

I played it for Abby the next morning and she immediately pegged it as a remix of Joni Mitchell’s song by the same name, and one of her all-time favorites too. Mitchell’s lyrics are sublime, a taste:

Tears and fears and feeling proud
To say I love you right out loud
Dreams and schemes and circus crowds
I’ve looked at life that way

But now old friends are acting strange
They shake their heads, and say I’ve changed
Well somethings lost, but somethings gained
From living evry day

Graham’s version is decidedly more up-tempo, of course, and though I know so little about him I have yet to come across anything as spirited in his catalog. I am surprised Wes Anderson hasn’t put it in one of his soundtracks, it is a perfect match for his sound and the story fits with his fondness for life’s, and love’s, mysteries. Perhaps that’s just another reason it resonated so fully with me.

As an aside, I hope to do many more of these SOTD posts, perhaps even daily if all goes well. I don’t expect all of them to be so long-winded, but music has a way of touching so many parts of my life, and to ignore any single one of them paints a much less complete picture.

I know not everyone knows or cares about these or any other blogs, but people just like you and me are doing incredible work to uncover the truths about our recent past and define a more harmonious way forward. As I read them, I always search for the one sentence or couple of paragraphs that really cut to the heart of the matter; and when I blog about them here, I want to share with you something that’s immediate and obvious, easily digestible and eminently repeatable.

I hope to find a better way to simplify and amplify these ideas, but for now I’m more interested in identifying what strikes me as illustrative and meaningful. With that in mind, here are a few gems from this past week:

• Environmentalism: “We’ve also got to toss aside the mindset that the status quo is reasonable.” Imagine What Comes After Green by World Changing.
• Patriotism: “It’s one thing for gluttony to be an individual right, cherished as much as freedom of speech. It’s quite another for it to be a rite of patriotism. And it’s still another for it to put us in direct conflict with other nations that profit from and/or reject the monetary policy that piggishness requires.” Outeat Them Back To the Stone Age by The Cunning Realist.
• Conservatism: “The labor movement is the greatest anti-poverty program in American history, but to the corporate profiteers, it means one less yacht in the harbor.” Sam’s Club Conservatism by dday at Digby’s blog.
• Corporatism: “Do we need razors with ten blades — or a single blade that never dulls?” America’s Addiction and the New Economics of Strategy by Umair Haque. This post truly requires a more complete quote:
  

  Let’s re-examine the house of cards that is the global financial system. Emerging markets seek export-led growth: they undervalue their currencies, so their exports are more competitive purely in terms of price. That’s essentially a subsidy to consumers on the other side of the table — those in the developed world. As emerging markets accumulate surpluses, they recycle them: they lend them back to the US and UK in the form of government and mortgage debt, stabilizing their economies, and amplifying the existing consumption subsidy through leverage.

  Amplifying that artificial cheapness is the simple fact the true costs of production haven’t been factored in — until now: very real costs like pollution, community fragmentation, and abusive labour standards.

  So we’ve been able to consume mercilessly and remorselessly — with no regard for the human, social, or environmental consequences, to us or to others.

  It’s not just cheap oil we’re addicted to: it’s cheap everything. And the world we’re entering isn’t really of Peak Oil as it is one of Peak Consumption.

  But consumption wasn’t the only choice we could have made. We could have chosen, instead, to invest. In what? In anything: anything would have been a more sensible choice than naÏve consumption — education, energy, healthcare, transportation, even a more sensible and rational kind of finance.

  Umair is almost single-handedly moving this entire discussion forward.

• John McCain: “McCain’s primary talent has always been his ability persuade simple-minded people (i.e. his media cheerleading claque) that he is flipping or flopping as a matter of great personal principle and at great possible cost to his political career — even as he has used his various flips and flops to climb the greased pole and become the presidential nominee of his party.” The Great White Hope by Billmon at Daily Kos. Here’s more:
  

  Now, finally, all that hard work and twisting and turning have paid off, and McCain IS the GOP establishment candidate. In April, as Clinton and Obama were tearing into each other (or rather, as she was tearing into him) the McCain campaign clearly saw an advantage in positioning their guy above the fray, as the “kinder, gentler” candidate — the better to pick off supporters of the loser in the Democratic primary race. Thus McCain’s promise to run a “respectful campaign.” (He didn’t explain that what he meant was respect for HIM.)

  But McCain and his new team of Rovian handlers now realize they won’t have a prayer in November unless they can motivate the conservative base and (to use Lee Atwater’s charming phrase) “strip the bark” off Obama. And they have to do it NOW, so McCain can pivot back to a softer, more upbeat message in September.

  So that’s exactly what McCain is doing – instantly, unapologetically, without shame or embarrassment. His enormous cynicism about the political process and his contempt for the voters – not to mention his vast sense of self-entitlement – have led McCain to take exactly the same low road as the Bush family and its various henchmen (Atwater, Rove): Whatever works; whatever it takes.

  Billmon quit blogging at Whiskey Bar a few years ago, but I never unsubscribed — it’s the only dinosaur in my feedreader! Needless to say, I was thrilled to see this new post at the Great Orange Satan. It’s a lengthy post, but well-worth the read, and I guarantee you will never see anything written about McCain that’s as open or brutally honest as this is.

I don’t think it’s a stretch to say that George W. Bush’s Republican party is hell-bent on preserving the political and economical status quo in America with the election of John McCain. Baring that increasingly impossible feat, they will stop at nothing to destroy anyone who attempts to call any of their policies into question. Which is the perfect segue into this:

• Me: “Scepticism is effortful and costly. It is better to be sceptical about matters of large consequences, and be imperfect, foolish and human in the small and the aesthetic.” Rules for Living from Nassim Taleb by Barry Ritholtz.

I have had this inverted for much too long. Even as I railed against the powers that be, my skepticism has always been directed inward. At me. Never willing to trust my instincts. Always questioning the fitness of my ideas and doubting my power to critique, curate, and communicate a more considerate and compelling narrative.

If you read through any of my earlier posts, you’ll see this theme emerge time and time again. Until now, I never realized the barrier was my own relationship to my strengths and the things that make me, well, me.

Truly, finding my voice and using my gifts to bring about a more honest and equitable world is not a matter of large consequence, it’s small and aesthetic. It’s what I do. It’s who I am. And that freedom to be imperfect, foolish, and human is incredibly liberating.

Note the pillow barricades. While merely preventative when sleeping, they were once sufficient to contain him when awake, now they’re nothing more than minor impediments to his progress. He’s growing up so fast.

Though the demands on my time and efforts at work are rapidly increasing, and happily so, there’s nothing I love more than coming home to find my wife and son eagerly awaiting my return. In fact, I can’t think of any other way I’d rather finish my day, and the joy of that moment brings new life to me no matter how tired I might be.

Now if only we could get him to sleep through the night again!

• I wanna see who. (Not really sure how.)
• Building and simultaneously demolishing grids.
• User vs. Designer vs. Developer. And the astonishing difference in my expectations depending on my current position.
• Apathy, decency, and subtlety. Fuck ‘em.
• The future. It’s about time.
• Too many tees. (They’re a walking banner ad.)
• You say you want a revolution. Get up. Stand up. Save your own damn self. Take the time to think.
• Is it feathers on a bird or lotsa different chickens?
• Machines for living.
• Embrace the glitch.
• Fragments. Bridges. Limited editions. 10″ wax presses. Social mixes. Unconventional remixes. Oh, and a Truitt / Brown collaboration known as TruBro. Is that offensive?
• Outside.in in Brooklyn. Warp Records in London. Family in Ohio. Three in San Francisco.

And,

Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma — which is living with the results of other people’s thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.

- Steve Jobs

What was once and always ‘all in my head’ is now ready to see the light of day. Like branches on a tree, some will thrive, while others whither and die. It matters not which is which, merely that they exist.

The rich tapestry of life seems especially so these days. After several years of deep and difficult introspection, I feel whole again, and stronger than ever. I am loved and loving more than I ever thought possible. I (really, we) feed and sustain me.

I am grateful for my lot in life, truly blessed, and finally prepared to share it with the world, not for gain or glory, but for the chance to make new connections, gain new experiences, and maybe just get a little closer to a deeper understanding of the world.

As always, more soon.

After so many years of living almost exclusively in my head — long and lonely commutes, brutal brain-draining work, and little time in between to barely breathe let alone heal — my wife and I gave birth to Sawyer, our bouncing baby boy. Abby was so in tune with her body and our baby during the pregnancy that even I was able to move into my own. It was a time to be, not think, and it worked wonders for me. I have never felt so alive.

Naturally, blogging has taken a backseat here — those first two months are killer — while I do occasionally post on Sawyer’s blog, I have hardly been standing still. I continue to work with this notion of doing from the being place, not the thinking place, and have begun to see an incredible shift in my life. Surprisingly, my dreams and aspirations haven’t changed, but my approach to them has, and now the idea of dwelling in and writing more about a “world of me” now seems wholly uninteresting, even to me!

Long story short, this post marks a turning point, not the first and certainly not the last, but definitely a sea change. What was once a blog all about me will soon become less declarative and more inclusive. I may be the beginning, but the story will no longer end with me — I want to open doors not shut them with my old “here’s how I see it and you should too” attitude.

In that spirit, I would like to close with an excellent new track from Beckett and Taylor, one of whom I have written about before, called “World of Me” — it truly is the perfect bridge between these two worlds:

Come play with me. The more I think about it, that might just be my new tagline…