Reflections on our Shows With Planning For Burial

Four shows. We only played four shows on the West Coast last week, but the shows felt more meaningful and fulfilling than any month long tour I’ve been on. I want to do more.

Part of this was because we were traveling with Thom Wasluck, a human who records music that is relatable, affecting, and genuine; Planning For Burial is “real”. As a person Thom is just like his art: without contrivance. It inspires me to be around a self that knows exactly what it is.

Meaning also came from the impressions I felt at each show. People that had spent time with this record I’d made in my bedroom, this distilled expression of my self, came to speak to me about it. Their connection to my work chipped away at the barriers between our selves. My bandmates worked hard to help this expression come to life and made it sound incredible. In short, these shows felt good.

In life and art I value solitude. My favorite part of this music thing I’ve been engaged with for the past ten or so years is writing and recording, and I like it best when I’m by myself: alone making little sound worlds to better understand my life.

I know that for many people playing shows is the goal, but with Drowse–a self mirror–it has always been an anxiety inducing experience. There are moments of enjoyment, but they are usually coaxed with alcohol and volume. These shows were different. I felt that bedroom feeling, that joyful detachment, the world and self disappearing into the present.




Fog Storm pts. 1-4 — Split With Planning For Burial

We did a split with Planning For Burial! The Drowse side is a collaboration with painter Jesse Keating, “Fog Storm pts. 1-4”, and is the first widely available work to emerge from my residency in Iceland. You can view and listen to our audiovisual collaboration now via Treble. Limited tour edition tapes will be available at our shows with PFB next week.

“Fog Storm pts. 1-4” is some of the most experimental music I have been part of, utilizing found object sculptural instruments and the computer to make musical uncanny valley soundscapes. It’s about real life experiences but I kept thinking about John Carpenter’s The Thing while writing this. The lyrics are mostly concerned with creative self-concealment, and reference specific past works.

Fog Storm Promo Picture


Cold Air Special Edition Shipping

The Cold Air repress is shipping next week–the oxblood in milky clear “wilting flower” vinyl is beautiful and it’s awesome to see this album on black for the first time.
The special edition comes with a copy of the production journal I kept while making the album. Outside of seeing me work it’s probably the closest you could come to knowing my creative process–you can see how my weird manic depressive brain jumps from stuff like obsessive
organization of track sequences to strange repetitive mantra like journal entries and deconstruction of my own song meanings.
I’m pretty sure The Flenser only has a very limited amount left so grab it while you can.
Thanks so much for listening and giving this album life beyond its initial release 🌫🥀🌫

West Coast Shows With Planning for Burial

I can’t wait to play these shows with one of my favorite contemporary bands, Planning For Burial, and get out of Portland for a while. Thom has been incredibly supportive of Drowse since the start of this project and is one of the reasons I’m still doing this. Although I hadn’t heard of PFB until after I’d started Drowse I’m sure that his music has influenced me through the years. Flyer lettering by Maya, collage by my self.

Planning for Burial/Drowse/Amulets/Canadensis @High Water Mark, August 3rd

Flyer for our next Portland show by Maya and myself. I booked this for one of my favorite bands, Planning For Burial as part of our run of West Coast dates together in August. Real excited to see tape loop master AMULETS who I believe recently moved to Portland and my friend David’s band Canadensis (David will be doing a ton of synth/noise stuff in Drowse for a these shows too). This will be real loud and droney–see you there.

Cold Air Repress and Special Edition

The Flenser is repressing Cold Air!
The album will be on black vinyl for the first time as well as a special edition ‘wilting flower’ (oxblood in milky clear) vinyl limited to 100 copies.


The special edition copies include a flower or leaf from the cover art as well as a 50 page replica of the production journal I wrote while recording the album. Technical notes dissolving into ruminations, the production journal offers insight into the making and meaning of the album–from influences to song interpretations–as well as an intimate portrait of the state in which it was made.

We sold out of copies at the release show and I’m excited that this is coming back into print so soon.

We will have copies for our upcoming shows with Planning For Burial.


Iceland Artist Residency Journal


         A collection of moments from my residency in Skagaströnd, Iceland.

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 Iceland residency week one:

The plane landed in a snowstorm. I spent the night in Reykjavik and then took a bus through endless sky and giant mountains to the residency. Skagaströnd is a remote fishing village where I’m living in a large white house with other artists. In front of the house: the ocean and a mysterious triangular church where I took field recordings of a night choir. Behind: more giant mountains. At night I write and record alone in the local music school. I have three song sketches.



Iceland residency week two:

I began building and recording instruments alongside a painter named Jesse Keating. They are made from found materials: burnt wood, an oil drum, bones, metal, hot air. We drone through the night. I went to a river in Blönduós and recorded water and wildlife. My fortune was read from a stone: “don’t scratch the wound”. I have six song sketches.


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Iceland residency week three:

I focused in on my collaboration with Jesse Keating–we recorded our sculptural instruments and I bent the noises into song form with my computer. We created a 14 minute video projection loop using digitally manipulated footage of desolate Northern Iceland to accompany the sound. On Sunday we opened our installation to the public of Skagaströnd and later performed: ‘Fog Storm’.

We have been asked to play in the neighboring city of Blönduós at an art event called Hérna! Núna! on Friday. We play at Gamli Kirkjan, which just means Old Church (the space is actually a decommissioned church, perfect for sound).

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Fog Storm Statement and Performance Information: 

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Iceland residency weeks 4 and 5:

Spákonufell is the mountain that watches over Skagaströnd. Every day as I leave the studio I look up and the mountain tells me that I’m far from home. A little over a week ago I climbed Spákonufell. At the top is a large flat stretch of land enveloped in a thick cloud. The ground is white, iced over. The space up there is alien and separate from the world; while walking around I experienced a strong feeling of detachment.
Jesse and I performed ‘Fog Storm’ in the old church and then he packed up and left a few days later. I’ve spent my final week here working intently, organizing all of my footage and field recordings, and trying to make sense of everything. During this five week residency I wrote and recorded ten song sketches, played two shows, and collaboratively built instruments used to create a 14 minute sound/video art piece. I’m not ready to leave.

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I went to Helvete–something I’ve been wanting to do for about 12 years–and got to explore the infamous basement. The woman working the shop told me some funny anecdotes about buying records from Euronymous as a teenager.
I saw some really intense art at both The National Gallery and Astrup Fearnley.
Oslo reminds me of Portland in a way I can’t place. I haven’t spent enough time here. I head home tomorrow but I definitely plan on coming back.