Yo Dan,
Happy holidays. Good things to come.
-NASH
So Dan,
I’ve been lamenting over this homelessness issue like the bastard step child that rears its ugly head amongst boxes and weddings and hot texas nights.
I have only these notes for the week;
-To loose that permanent address is to be homeless?
-Or is it the descent?
-Who is this person we meet on this street corner?
-A david? A michael?
-Do we ever learn their name?
I’m working on it brother. I promise.
XOXO
-NASH!
Hey Dan,
I have grunted sweated swore and tore through this house all weekend in a vain attempt to pack before my wedding day.
I have been suit shopping, llc forming - barely to come back from the brink of madness.
I think back to the rainy days of Vancouver, when I stopped and the question I asked - I have an answer.
My name is Nash Cook.
And I have more packing to do.
BTW “Chaos in Tejas Killed it this Year”
UK Oi! godfathers The Business attracted one of the more colorful crowds to their Saturday performance at Red 7. Both kids and old-timers stuck to traditionalist standards, codified in the 1970s or earlier, demanded by their chosen styles–from the dressed-up mods, sharps and skins (not at all to be confused with racist skinheads—the original UK skin movement was influenced by Jamaican rude boy culture) to the polar opposite raggedness of the gutterpunk crowd, everybody had it nailed. As one festival organizer put it to us, if any two nights could have “gone wrong” during Chaos In Tejas, this was one of them—as a genre, Oi! has had an unfortunate association with violence. Yet personal hostilities remained out of sight, and The Business brought the same raw punk energy they originally delivered in the 1980s. Much like the looks adopted by the assembled crowd, adding thirty years to the band’s lifetime apparently didn’t change much. -Matthew DeWitt (as told by Nash Cook)
http://austinist.com/2009/05/25/chaos_in_tejas_killed_it_this_year.php
Yo Dan,
It is a humid day I have spend sweating over flora and fauna casually sipping iced tea, thinking of the past.
Am afternoon nap takes me to REM rocked caverns where I filleted by goblins, demigods, accountants all in a quest to control tidal movements.
Awake, my lungs turn black.
At night on the machine I look to the future - to screaming starlets spent bent over filled with malicious malcontent, toward our actions - wait…
I feel a smile coming on.
XOXO!
-Nash
Yo Dan,
its all true
On a cloudy day sometime in the near future you may find yourself sipping a latte as your electric car casually moves you toward your destination.
That’s the idea behind Black Moth Super Rainbow’s new ode to the 21st century.
As a concept album, “Eating Us” jars the listener from the present into a reality of their own making, which for a six-piece orchestra is phenomenal; with the unforgettable work of Dave Fridmann not lost easily lost to deaf ears one must then ask - are we machines or humans?
When compared on Bose systems to both Radiohead’s “Kid A,” and Pink Floyd’s “Dark Side of the Moon”, “Eating Us” is a disjointed mess of imperfection however, as this journalist is never one to let his mind decide anything; “Eating Us” was field tested in the 21st century.
Austin - thankfully - is a place of techies, early adopters, programmers, pirates - villains to be sure. Foul folk who’d more likely than not steal anything and everything least they pay money for it.
As techies go, a bowel movement may be perhaps the most perfect thing that takes place in their life, therefore “Eating Us” was reviewed by 100 video game developers in a super secret laboratory we shall - for the sake of naming - dub “the men’s room”.
Unfortunately, techies are an untrustworthy lot - one can press them to really listen to music when business is at hand however, their mind is elsewhere. Always to the future.
That being said - the most common field test review “Eating Us” received was, “who changed the music in the shitter,” which may be all “Eating Us” truly deserves. It is neither good nor bad, neither rich nor poor. As a music photographer, this journalist is more than certain their live performance will be up to par - they will be epic. As a studio album, as a concept album, “Eating Us” can take its rightful place with the Decemberists “The Crane Wife” as nothing short of an exercise in capitalism.
Clearly, it is not wise to fuck with the system.
Yo Dan,
Its 07:00 August 2026 in Ray Bradbury’s “The Martian Chronicles” and the electronic mice are moving about the house. Bells and whistles chime in sync with atomic clocks. From a bathroom a shower erupts, and Black Moth Super Rainbow’s newest studio album “Eating Us” slowly creeps into the soundscape…
working on it.
XOXO-
NASH!
Yo Dan,
Working on a CD review. Spent the whole day gardening/mending destroyed screens with the knowledge I’m getting back my other feline. (that’s two feral male cats I will have in my possession in less than a month’s time)
I’d been thinking all week to write you about how Cassidy so famously screamed at Kerouac on the mad streets of San Francisco between trying to catch as much jazz as humanly possible and ensuring their girls were mildly happy, “there’s just not enough time,” but you already knew that.
I know its only a small amount, but Mars’ days are 2.7% longer than Earth days. And the years are nearly doubled in length. Lighter gravity, etc… it might be the key to passive cash and a whole slew of other tenacious joys if we can just convince people there’s a green need to colonize Mars.
Especially in these rough financial times.
Don’t look into the Martian Chronicles to discuss the implications of colonizing another planet. Lets just go to Mars.
XOXO
-Nash
