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Faceless Oasis

by James Vitz-Wong

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    Money from selling music will help me make more music.

    Also, I've included a bonus PDF of the original hand-made, hand-scanned album artwork. It was created pretty much the same way all the music here was created. Or maybe it's the other way around. I'm not sure.
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1.
It was raining, and I wasn't dancing naked in it.
2.
There is no map to finding yourself.
3.
There is no map to finding yourself.
4.
One survivor discovers a Device. Immediately, he contacts his friend, the only other living person he knows. It's been a considerable amount of time since either of them has heard of a working Device, so they doubt it will work. Surprisingly without much effort, the Device powers up! It's green and orange static orbs are ablaze with enough energy to ensure sustenance for at least a year. But something is wrong, and the travelers do not realize it until it's far past the time to save themselves. And the hot, dry ground is very unforgiving.
5.
Over there!
6.
for Grandpa (05/23/1919 - 10/01/2012)

about

All sounds were created and improvised using only bass guitar and contrabass. All looping was done live using Mobius and no additional effects (except for some distortion from lo-fi equipment) and recorded in first takes.

None of the tracks were named before they were recorded - the track titles and consequential stories were conceived after the fact.

credits

released November 21, 2012

James Vitz-Wong, all instruments and sounds and visuals
Mobius (www.circularlabs.com), all looping and effects
Soundleech (www.milosoftware.com/en/index.php?body=soundleech.php), all audio capture
Tascam US-122, interfacing and live mixing for Ducks in a Pond

license

all rights reserved

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about

James Vitz-Wong Los Angeles, California

James Vitz­-Wong is a multi­disciplinary artist and performer from Seattle, WA, currently residing in Southern California. James holds an MFA in Performance and Composition from CalArts and a BM in Classical Bass Performance and TIMARA from Oberlin Conservatory. Current focuses include audience interactivity and immersion, live digital processing, improvisation, installation, and dance. ... more

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