The albums below can all be downloaded and listened-to entirely free. There's both a link to streaming audio at SoundCloud as well as a direct download link for the MP3s in a zip file. Unless otherwise noted, all the material on these albums is my own work -- penned and recorded.
Dec 2016: I've always wanted to record an instrumental "surf-style" album -- this is it! It's short and sweet and has a twangy, reverby, drenched Fender electric right up-front... backed with snare, uke, and bass. Think of it as a postcard sent to my love of weird, slightly-Hawaiian, off-color, 60s Japanese surf.
Aug 2016: After two years of waiting, I've managed to steal a little time to record this sweet, mellow, late-summer-sounding, acoustic piece. It's made-up of fresh songs I've written over the past couple years about "life and all that stuff" -- and I hope it hits a sweet spot for you, too.
Dec 2014: This is a quick acoustic album to create a bit of gentler water after my other December release, Living in the Future. I wanted to bookend the year with a little bit of something more typical for folks. This contains songs that I actually wrote closer to its release, too... highlighting frustrations and joys of the year's last quarter.
Dec 2014: I wrote the songs for this album (yes, it's a vague near-future "concept" album) over two weekends in Summer while staying at Lake Dunmore on holiday. I guess I hadn't had downtime in a long time because they all poured right out. I then recorded them over the next couple months and finally finished tracking drums much later -- in November. It's a loud, very electric, strange, and sometimes unsettling album to live in. I like. I hope you do, too!
May 2014: This is a mix of much new but some older material I've had clawing for my attention. It's recorded in a fairly straight-up honky-tonk, folky-rock Americana style. What can I say? I was having fun and wanted to stretch my electric legs a bit.
Dec 2013: I kept this album really simple... it's just voice and guitar hooked up to my thumping on double bass as well. Some of these songs are pretty near to me so I just didn't want to clutter them all up. I'd heard an old Doc Watson record or two recorded in the same manner and I was really enamored of it so I figured I'd give it a try. Success? Well -- ain't too shabby I'd say!
Dec 2012: I recorded this after getting immersed in double bass pretty heavily. I think the "acoustic effect" wore off on me once again and came out in this album's Americana tour through various shades of vintage tone. I'm still playing a number of these songs a lot live as I write this in 2015 so I suppose they've seeped into my habits pretty well. What I love about this mix of tracks is that they're a grab-bag of songs fairly old and (at the time of recording) brand new. The tone of this album is pretty true to what I more or less often sound like playing out, too.
Jun 2012: These songs were orphans of scrapped albums from around 2004-2005. I'd been wanting to put them to rest (so they'd stop spooking me while paging through songbooks) and I figured a good way to do that would be to record them as I sort of intended to record them... but cleaner-cut than I was able to at the time. It was a bit curious to record material that I wrote in a very different time for me -- but my head says thank you to my hands -- and my ears, now, too. And, yes, the title is tongue in cheek.
Apr 2012: I recorded this album with my friend Tom Christiano of Ripton, VT as a duo effort. We zapped it over an evening at his house and it's full of mostly traditional material with a couple folkie "covers." It's like Old And in the Way "lite."
Feb 2012: This is sort of a "Valentine's Day Single" release. The first track (Chestnut Moon) was written by my now-wifey Bonnie. We'd sing the two of them together so why not have them recorded together?
Dec 2011: What a big, sprawling, rambling piece of sonic-ness. It's sort of like the 30s sprawling, rambling piece of ranch visual-ness I pinched from some old photos in our possession for the cover. I guess I tried to cover a lot of bases, here, but that's what's in my head so that's what comes out on the digital tape. This is full of invented local folk tales mixed with daily family life mixed with troubles spilling out all over the edges of people I know. Stir in a healthy mix of dusty tone lifted from old LPs. Serve at room temp.
Dec 2010: The title is Button Me Up. What happens when you're listening to a lot of John Prine and Townes van Zandt and have started truly settling down to Vermont life? Oh, something like this album. Time moves a little differently up here and it changed my music, for sure. This is all acoustic save the electric bass that's barely there and this has the wispy sound of a live recording. Not sure why!
Dec 2009: Destroyers of Venus is a concept album about humans having lived on Venus, trashing the place, and moving on to Earth to settle down. It's bizarre, Space Opera in scope, sounds best loud, and should leave a party taste in your mouth despite the poisonous words throughout. Yeah, of course it's about what's going on outside everyone's doors!
Jun 2009: The title is Thanksgiving. This one is pretty mellow and rootsy. I'd been playing a lot of nylon-strung 1890s 5-string banjo at the time and giving my 1880s parlor guitar a good workout every day. It's no surprise that the sound of this album became something like our life when most of the songs were written: kept close in small rooms in the middle of winter. When I got around to recording this in early Summer the sounds were almost alien as we try to spend as much of our free time hiking and frolicking outside when the weather is warm. Alien -- but cozy. It makes a lot more sense again, now, as I write this in January with -12F weather outside.
Feb 2009: The title is The Wood Wives. It's a simply-recorded and short all-acoustic album but it's also a curious bit of "concept" fun. All the songs are written from the perspective of a tree or plant.
Dec 2008: This was my first album after moving to Vermont. I think the slightly slower pacing to the songs and the less theatrical sound of the recording is what rubbed off in our first year up here. I was no longer working fast-paced and super-stressed. Ah, the mountains. My now-wifey supplied the perfect album art for it, too.
Dec 2007: This album wrapped up a year of relentless writing and recording and its distilled, no-extras sound is something I'm still content with. I was perhaps trying to capture on this one a bit of the big open space of the bit of New Mexico mountains my Dad lives in whereas the other albums I recorded in 2007 sound much more, to my ears, like the laid-back but more hassled Providence, Rhode Island we were living in at the time.
Sep 2007: The title is Queen Anne's Lace. These are songs left over from a started-and-stopped garage-y folk rock album that never made it to the finish line. The songs are ones I'd penned a little bit earlier-on and wanted to start compiling into a full length. I decided to switch gears, instead, and like the quick sketch (from my sketchbook) used as the art, this is also a sketch of different ideas.
Aug 2007: The title is Seven Thunders. This is a big, literary-sounding, album. I think this is still one of my better-written efforts and it's certainly its own thing. The tone shifts from the folky side of garage rock to pseudo-Appalachian stompers to fragile spidery acoustic wranglings. I think the sound of this album had a lot to do with our life in Providence, RI at the time. Bonnie Wildwood did the gorgeous artwork for this one!
Jul 2007: The title is Briar Rose. It was recorded at our family friends' seaside house in Brant Rock, MA, and is a mix of plainly-recorded songs styled after trips to New Mexico, Summer oceanside haunting, and a life of cafe-visiting and crepe-eating. It's also full of ruminations on the world of living alongside everyone else.
Dec 2006: This one is a short concept album that was just in time for the Winter Solstice. The idea is: gnomes welcome you to their bonfire dance and sing you songs about all the animals. I know, right? But, seriously, it's fun. I think, despite the acoustic-ness of everything, this has an air of vintage fantasy video game music to it.
Mar 2006: The title is Lady of Constant Sorrow. The songs on here were split between ones written when we still lived in Connecticut and ones written after moving to Providence. It's a very, very simple recording of just voice and accompanying instrument and, thank you thank you, Bonnie made me some wonderful artwork for the cover.
Jan 2005: The title is Pay the Wolf. It's a slice of what my friend Sam Fritzsche and I were doing as a two-piece rock outfit. He did drums, I did guitar and voice. Its fun level is directly related to its playback volume level.