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Dead and Expensive: The Resuscitated and Remastered 2010 Sessions

by The Ticket

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1.
Concept Six 04:31
2.
Concept Thirteen 03:04
3.
Concept Fifteen 03:47
4.
Concept Five 03:47
5.
Concept Nineteen 01:33
6.
Concept Two: A Lullaby for Emerson 04:31
7.
Concept Ten 03:18
8.
Concept Twenty-Three 01:24
9.
Concept Twenty-Two 02:35
10.
Concept Twenty-One 02:58
11.
Concept Twelve 01:10
12.
Concept Eight 04:26
13.
Concept Eleven 01:50
14.
Concept Twenty 01:11
15.
Concept Fourteen: Katy 04:02
16.
Concept Eighteen 04:30

about

It's loud, noisy, lo-fi, rambunctious, youthful, angst filled, frustrated, far-from perfect, and over two years old.

For myself, this material predates my earliest official release (an instrumental album called "A Birthday Present For Rachel) by around six months, occurring around a year after my work with Boxy Moron and The Othership while predating my work with Charles Ramsey.

All of these instrumental tracks were initially intended to feature the vocals of a local emcee. Many of the tracks also featured vocal samples ripped from the documentary "Scratch", as I found it highly inspirational at the time. The record's introductory track "6" features a quote from Billy Jam taken from the aforementioned film.

Again, these tracks are (as far as Matt and I are concerned) old as dirt and, moreover, not at all indicative of our current musical direction. While analog modeling synthesizers, raw, snarling bass, granular delays, and loud lo-fi production techniques will always hold a dear place in our hearts, we don't do this anymore; don't expect us to. For well over a year we were convinced none of these tracks would ever even be heard by anyone.

*The remastering took place on September 21st (tracks 5, 13, 15, 18, 22, 23), September 23rd (tracks 1, 2, 10, 11, 12, 14, 19, 20) and September 24th (tracks 6, 8, 21).

Originally released through polo road swag., before being moved to Thin Product Shun following the disbanding of PRS.

credits

released September 25, 2012

The Ticket is James Matthew Diffendal on electric bass and occasional guitars and Grant Wescoat Livesay on drum machines, synths, guitars, occasional vocals, and Ableton Live, unless otherwise indicated.

The cover photograph was conceptualized, taken, and edited by James Matthew Diffendal, and features some of the hardware utilized in the recording of the album (specifically the bass and SM57, which were used on every single track with bass, and the drum machine, which was used on every single track).

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all rights reserved

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Grant Livesay Winston Salem, North Carolina

dogged sonic diary curating hobbyist otherwise doppelgänging as producer, arranger, composer, multi-instrumentalist, lyricist, vocalist, recording engineer, vocal engineer, compiler, mixing engineer, and mastering engineer -





truth is in the shambles of i am - ... more

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