7 Albums by Peter B

Oh Dessy 1997
Mysterious Overture 1998
Tofu Alpha 1999
A' D' Lake 2000
BSides 2001
Din Datin Dudero 2002
SupaSounds 2008
bean1.mp3 01Introduction.mp3 cohee.mp3 01Iamwalkingdowndstairs.mp3 01AVDOG.mp3 01DonSallo.mp3 bonzai.mp3
bean2.mp3 02Detecitive1.mp3 frank.mp3 02Wedance.mp3 02WYRM.mp3 02Boss.mp3 dynamohornus.mp3
dewdrop1.mp3 03Flute1.mp3 milk.mp3 03Thewindow.mp3 03SUCKA.mp3 03Glasses.mp3 hollis.mp3
dewdrop2.mp3 04Detect2.mp3 speedbump.mp3 04atthelake.mp3 04ALONELEYGLASSFISH.mp3 04Agua.mp3 horsekick.mp3
dewdrop3.mp3 05Flute2.mp3 squirrel.mp3 05hehadalazer.mp3 05AUJUSGRAVY.mp3 05Prestige.mp3 incantgriot.mp3
oinopleges1.mp3 06Lounge.mp3 steaknife1.mp3 06soundslikebirds.mp3 06INTERLUDEI.mp3 06ShantScent.mp3 kingshead.mp3
patina.mp3 07Cowboy.mp3 steaknife2.mp3 07thedogstory.mp3 07BIRDHOUSEBOP.mp3 07Omm.mp3 symposium.mp3
sketch1.mp3 08Niles.mp3 steaknife3.mp3 08sheiswide.mp3 08WINDOWS.mp3 08SineShperntIV.mp3 zitherous.mp3
sketch2.mp3 09Gangsta.mp3 tofualpha1.mp3 09snakesong.mp3 09THING.mp3 09Diddle.mp3
sketch3.mp3 10Tromb.mp3 tofualpha2.mp3 10thesun.mp3 10RUDDYNIPER.mp3 10ShBobo.mp3
squirtgun1.mp3 11Waltz.mp3 tofualpha3.mp3 11sand.mp3 11LONELYGLASSFISHLIVEATYOP.mp3 11DinDatinDudero.mp3
squirtgun2.mp3 tico.mp3 tofualpha4.mp3 12wire.mp3 12VENTILATIONFAN.mp3 12SysterRainian.mp3

13master.mp3 13THEMONO.mp3


14sharkpoem.mp3 14HELLO.mp3


15goodbye.mp3 15LONGHOUSEDANCE.mp3












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Some biographical notes about the albums

Well oh my god, what a revu!  Some of these are really embarassing to me and I'm sure you'll have a lot of fun trying to figure out why.  The first five were made at Oberlin, and are roughly spaced one per year there.  They reflect the winter time scenery, the post-steel reconfiguration of the lake, and also some summertime jams from Virginia are in there too.  My father died in 1999, and that's kinda a turning point for the music, although there is quite mellow material from before that point.  In general I learned a lot those years, and here is some documentation of that.

Oh, Dessy

This album is set against the backdrop of Oberlin Conservatory and my first experiences there.  I was enrolled in the Classics department for I had shown skills in Greek and Latin.  But I was heavily involved with the TIMARA department from the beginning; it was an interest to me because I had been composing MIDI files in high school, and making tapes and such.  The TIMARA department is located in the basement of the Conservatory (designed by IM PEI, also of Nat'l Gall'y of Art, WTC) and was remodeled in the eighties based loosely on the aesthetic that became ST:TNG, heavy influence on the beige bezels, tightly carpeted and climate controlled.   A certain Professor Povall took me under his wing from the beginning, inviting me to move up from the College Intro class to the Con Intro class.  This is around that time, when I believed heavily in this new Pop music, emblazoned by Beck.  But I also had other influences, including CDROMs about the ancient world, which I sampled here.  I wanted to make pop music that came from Ancient Greece.

I had an argument with a certain Ezra Buchla, whom I never had met in person.  The argument was on email listserve, and it was about Pop music vs. State sponsored music.  I was on the "Beck" side of the argument, basically competition has brought out these hyper-vibrant artists, but they still have beat-oriented music in order to get consumers' ears.   Ezra was on the "NPR" side of the argument, that these radio institutions exist to fund experimental art in order to progress our music, and break out of the Beck Ape Mode.  What a funny argument, now that I look back on it.  Since then Ezra and I had switched sides several times.  He is a great friend and I love him.  This CD is all about that argument tho, and you can hear my most blatant Beck-Raps and Beats here.

Mysterious Overture

In Oberlin they had a wonderful co-op system, that I stumbled upon while I was still eating Mariott at Stevensen.  Behind Stevensen is Keep Co-op, which is a huge cottage structure, containing a student run stainless industrial kitchen as well as student-cleaned dorms.  Neo-hippy lifestyle sometimes, although most of my friends came to be closs-cropped intellectuals, mycologists, neuro-science majors.  Smart people.  And there was a bike co-op in the basement.  We made bagels, pizza, had good old consensus arguments after dinner.  Any joke in the music about food is sure to come from the co-op.  Harkness had a tofu maker!  I was a breakfast cook of "Tofu McBitches", basically a tofu imitation of McDonalds egg biscuit.  I also was bagel maker and food buyer.  Some special meals included a slightly drunk and very bad one where ethiopian food was thrown by naked men wrapped in saran wrap.  Very bad night, I cut my finger while trying to knife myself out of saran wrap, went to the hospital, headache.  I learned that I fainted when seeing blood that year. 

A good friend from the co-op, Aaron Birk, is a dramtist, writer.  He was interested in directing a Sam Shepherd play, "Suicide in Bb", and he asked me to make the music.  It is a psychological play about a musician, Niles, who, IMHO, found a new tuning that took him 4D.  The play is about 2 detectives, materialists, on Niles' trail, they think he killed himself, who become buffoons by the end, the final blow being their own fears as they enter 4D with Niles.  On a totally different perspective, I will now quote Drunvalo Melchezedek "when this happens you will see four dimensional objects all around you, they will just appear around you.  Do not be disturbed.  They will manifest your thoughts.  People that want guns will get them, but this will be their undoing. [they will get guns pointed all ways including getting shot in the face. (PB)] You must control your thoughts with the Mer-Ka-Ba".  The Lounge track is especially about this, known in Twin Peaks as "entering the black lodge".  The play was set in Asia House, a wood paneled room, lit noir.  These tracks were transferred to tape, then i created a simple setup: guitar amplifier, long long long speaker wire to the piano on stage, on top I put a found radio case (1940s) on top, gutted the radio, hooked up to the old speaker.  So I could play these tracks from the stage at any time on cue.  The waltz was a special cue for the actors, because they danced to it.  Cowboy was about Niles reliving a childhood dream, and then keeping the character as he entered 4D.  Tico.mp3 is the "hit single" for after party, it's karaoke lyrics are:
The grass is green my legs are moving, I'm falling down into the ground
Tico, my friend, let's have some hot-sauce, I want to discuss this now.
The moon is out, I want to shout, I want to go out of the house a ditch
Tico, my friend, let's have some hot-sauce, I'm sure you know about this, oh alright.

Tofu Alpha

Whew. This one's more related to OH DESSY.  Lot's of rap, but fair amount of experiments too.  I was into this idea of "series songs", with the same rap but different backgrounds.  Tofu Alpha 1 is narrated by my high school friend George.  He was funny in a whiskey dick sorta way, and I totally resonated with that.  Another high school friend, ben kohler, was a big influence, with the weirdo crew, one guy with a mohawk.  Totally goofballs. 

We would iron on letters make t-shirts that said "Mel: like a two dollar whore".  I didn't know what a dildo was and I was saying dildo jokes outloud in front of the teachers. 

Dark times are obfuscated by... obfuscating lyrics!  These lyrics were transferred into cagean meta-material, mashed up in Cakewalk pro audio.


This one goes along with Elyria Lights.  It is about Ohio, the mysts of Lake Erie, steel-town emptiness.  There were waterfalls in Elyria, near Oberlin, that you could walk under.  Totally enchanting.  I cought a fish down there with friend Adam Barr, a carp in a cave-pool.  Fish was a big thing, I would bring them back to the co-op and preserve them like totems.  "the fish rides on the waves" is metaphor for digital audio processing.  wind in the mic was a big thing, totally personal sound of being cold and ghostal. 

Some of the birds you hear here were made in CSound, put on casette tape, then brought to a cave or alleyway or a rock-cave at the lake.  So I re-recorded them with HIFI DAT in situ, and played them in a TIMARA concert as "gull in rock cave" "bat in cave" "warbler in la Sotano alleyway".  I wasn't at the concert but Prof Tom Lopez told me later that some of his students were like "why did he do this, this is an ornithology project" as if they didn't realize they were not CSound birds.  I hadn't put it in the program that they were maded in CSound, and in fact I did write program notes as if it were an ornithology project, as if they were real birds.

Third Animal is "Dog", as metaphor I guess for the bestiality in humans, but our faithful humility in the end.  When we make the dog look for chips, we mean "circuit chips that come across the lake from canada".  They float like driftwood, which in general I was interested in in that time.  Prof Tom Lopez will vouch, I was making a lot of primitive electronic instruments embedded in driftwood.  One was in a huge eroded railroad tye, totally improbable and impractical.  Chips were found in Northern Ohio on Broadway St Cleveland, near the steel pits, Electronic Surplus Incorporated.  Lots of old dusty stuff.  Made some magical circuits from their stuff.  Remember whenever you are looking for chips, its not for "Lays"!!!  It's circuit chips not potatoe chips.


BSides is besides, and also "B-Sides".  It is a compilation of all the odd tracks of those years.  Too much to explain each piece separately, I will let the compilation speak for itself in surprising mashups of diversity.  A lot of the original demos from Elyria Lights are hear, and I think they are better than the final versions!

Din Datin Dudero

Ya now we're out of college!  This was made in Chicago, in a brief stint there doing various things.  One was touring.  I made the Din Datin Dudero in Chicago to take on tour.  It was a sort of thesis instrument about the concept of nodes, which kindof is foreshadowed by chaos theory and.... chaos magic!


Are recent supercollider sounds, backing tracks for various vocals/actions.