I recently met Alys Arden, a native New Orleanian and writer of witchy vampire fiction. We got along famously, in part because both of us have fantastically colored hair and share interests in witchery and being irreverent and witty. Alys is smart and great and when she asked me to make music for her book trailers I said YES! because… Yes!

Her book “The Casquette Girls” comes out today! You can order here on AMAZON.

A Renewal of Excitement

I started recording my next album last week. I wasn’t sure I was ready. Maybe I needed more time? Maybe I was investing too much money too early? Maybe I wouldn’t be able to play my instruments? Maybe my songs suck?

But I put down my deposit and I kept the studio days. Just two of them to start. Two days for two songs.

I’m so glad I kept those days, believed in myself, in my new drummer, in the recording process.

I am excited again. So excited. More excited than I have been for years. Probably since recording my last album.

Creation is exhilarating. I feel so good. I keep listening to the songs on repeat. They’re the best.

These two songs have renewed my faith in art. My art.

My joy to create and play and share is my most precious commodity. That joy gets lost when I spend too much time promoting (an unfortunately necessary process if I want to fund my art) but it’s worth it, for this, for these songs. Yes.

If you also lose your joy when you promote, know you aren’t alone. Art sustains us, advertising drains us. Well… some of us. Others love the inverse.

But those of us who just want to make and make and make and share and share and share — we get lost in the *job* aspects of the independent artist’s life.

Don’t get lost.

Make art.


New Energy

We took the stage, excited, nervous. We’d never played together before. I’d been rehearsing with the drummer, Nick, once or twice a week for a month, and had rehearsed once with Sand, the bass player, but this was our first show together. Nick and Sand shook hands. We set up, we soundchecked, we played.

We rocked.

We really did. It was loud and fun and energetic and amazing. We sounded tight and together and … like a real band.

my band

I love them.

Jim was doing his live projections. The audience, small as it was, went wild.

For our last song – my newest song – I got down off the stage, away from the glaring lights, to dance in the audience and I could see people’s beaming faces.

This energy is what makes my life worthwhile. To play live, to cast the spell, to communicate this ephemeral magic with whoever is in the room. This is the essence of why I do what I do.

After our set the promoter came to hug me – he’s seen me before, backed my Kickstarters, he already loves what I do, but this time he was ecstatic. “Congratulations!” he said “I’m so excited for your new band! You sounded amazing!”

A young man in the audience approached me, “I think your music makes people horny. I made out with two people during your set and saw other people making out,” he thought for a moment and added, “that’s something the indie scene is really missing.”

People of Earth, I am so happy to fill this niche.

My job is to make you feel. Any feels. And if turned-on is what you are missing in your music scene, then I am here for you.

Come to my shows, fall under the spell, make out!

Electronic Music is Folk Music


Electronic music is folk music.

Before the term “folk music” crystallized into a genre evoking strumming acoustic guitars and sing-a-longs, it meant the music made by the folk, the people, for their own enjoyment, and most often without having studied music.

These days, what we call “folk music,” with the lovely clean vocals and the clear-ringing strums of guitars is quite expensive to produce. Sure, you can buy a decent guitar for a few hundred dollars (less if you get lucky) and singing is free, but recording is not free, and recording acoustic sounds at the world-class, radio-ready levels that we’ve all become accustomed to, requires perfectly matched microphone pairs, absolutely silent sound-proofed rooms, vocal microphones, engineers, and time. Lots of time.

As a genre, “folk music” is quite anachronistic, it’s lovely, but it’s been done.  Which is not to say that it isn’t worth doing more. I love what we call folk music and I’ll be strumming my guitar until you pry it from my cold hands. It’s just that what we call folk music isn’t current. But folk are current and I think whatever we call folk music should be current — very current, very now.

Strumming guitars? Not so now. Computer music? Very now.

Electronic music is the music made by the masses, for their own enjoyment. Electronic music is the cheapest music to make, record, and distribute in our current culture.

Billions of people in our world have access to computers and anyone with a smart phone or computer can make, record, and distribute their own music, for free, right now. All day, every day. No studio, no rehearsing, no help. With electronic music there is no need to buy a specialized tool (a guitar, or even a keyboard). The only thing you need is what you already have — your multi-tool (computer) and your creativity (abundant).

Folk is current, folk is urgent, folk is free.

Not that I’m actually calling for a re-interpretation of a genre. Lordy would that be a pointless battle. I just like to think about things. I also like to make music, lots of it.

So I’ll grab my guitar or my computer and make some folk music.

The Infinite Minute is Complete

The Infinite Minute

Last week I wrote song #169 on The Infinite Minute Album. This has been a great process. It’s been done for a week and I still wake up every morning thinking, I have to write more one-minute songs today! And while I’m happy to be done, I’m also missing the process. Luckily I have many more projects to work on.

You can listen for free here:

The album can be downloaded on bandcamp – free for those who backed the Kickstarter – $169 for everyone else.

At some point the album will disappear from the internet. Ephemera is an important part of my process. Some things are made to last and some things are made to come and go, to fade away. So listen now, and keep your download safe.

And now I’m on to the next project!


Girl in The Strikezone

On Wednesday October 16th I will be presenting my new project “Girl in The Strikezone” at the #Artstech Demo Day in NYC.

Click here to get tickets:

GIRL IN THE STRIKEZONE: a hallucination by writer Warren Ellis and musician Kim Boekbinder, tells of a near future in which every citizen is the subject of a drone’s devotions.

Warren Ellis is providing original narrative. Kim Boekbinder is composing songs and instrumentals using data-bent text and images relating to drone warfare and surveillance.


Text by Warren Ellis

Music by Kim Boekbinder

I Have Your Heart

Ladies and gentlemen! The animation we have been working on for over 2 years is done and gorgeous! Be sure to watch it full screen in HD and then share, share, share!


I’m very proud and happy and thankful to have worked with the incredibly talented Molly Crabapple and Jim Batt.

It got premiered on yesterday – head over there for some behind the scenes photos. And check out the website here: and if you want some wonderful merchandise related to the film go here:

My First Comic!



Download it now. It is free (or pay what you want.) And it is really really really really good.

Collaborations unfold in surprising ways. I’ve always been interested in comics. When I was a teenager I wrote and drew several and if I ever dig them out of storage I will share them with you. My main character was called Super Vague, she was a punk goth bad ass who did, you know… stuff. I’ve read many comics and befriended several (very talented) comics makers though I don’t call myself a comics nerd because I don’t have a collection of my own or follow any comics or creators in particular. But last year Jim Batt pointed me towards The Secret Knots which is a really wonderful webcomic by Chilean author/artist named Juan Santapau.

In June I wrote to Juan. I told him how much I enjoyed his work and that if he ever needed music for a story he was working on I’d be happy to write something for his story. Juan thought that was pretty interesting and wrote me back the next day saying that he liked my album and we should stay in touch. Later that day he sent me the outline of the story which was to become “Music for Stray Days.”

When I originally contacted him I thought I might write some instrumental music, something that went along in the background. I never expected him to write a story about a song but I loved the story and set to work on the song right away. The challenge was to write something catchy, something that would get stuck the heads of an entire population. But also something beautiful, ethereal, and compelling. And catchy is not always all of those things.

I finished writing the song on September 16th and began the recording process a few weeks later. The guitar and voice tracks were laid down in October. I then asked Meredith Yayanos, a wonderful violin and theremin player (and editor of COILHOUSE Blog and Magazine) to add a violin part. Meredith added 17 violin parts! Creating a breathtaking symphony of strings that swell and break like a tide of sound.  She recorded her parts in New Zealand and sent the files through the magical internet.

I also put out the call for people to sing along to the chorus of a secret project and released a 15 second clip of the song for people to sing along to. 16 people sent their parts in.

Chorus voices by:

Alex Marteen, Andrea Kaplan, Carl Salbacka, Caroline “Dirty Carrie” Willis, Daryl Davis, Helen Perris, Holly Caldwell, Ian Gazzoti, Lisa Waters, Lisa Scrivner, Lizzie Westbrook, Myrrh Larsen, Nate Chambers, Serpa Sas, Viki Ostrovsky, and  Wayne Watrach.

As the song unfolded and I became involved and enraptured by the Occupy Wall Street movement I began to feel that the song, written one day before OWS began, was a wonderful soundtrack – not to the movement, but to the feeling of compassion and awakening that I was seeing in the world. This feeling ebbs and flows now in the difficult times, but I still feel hope.

In November I finished mixing and mastering the song as Juan was finishing up the final art for the comic.

I love this collaboration. Meredith did such a fantastic job making the song cinematic and extra magicalicious. Juan’s work is really inspiring, be sure to read his other stories:

The title to this blog is “My FIRST Webcomic” because now I want to make more. This is just the first. I love storytelling and I want to keep doing it with pictures and words and music and drawings and well, any way I can. Forever.

New York City with Molly Crabapple

Limited Edition art print by Molly Crabapple here

I came to New York for a show and a visit in January 2010. While hanging out with Molly Crabapple she suggested I move into her apartment in Williamsburg as her roommate was leaving and she had a few months to go on the lease. Since we were doing a webcast while she asked me she put it to an internet vote. NYC came out favorably. The rent was cheap. I was feeling adventurous. I said yes. I was in New York from mid March to June of 2010 and made a conscious decision to be in  a “YES” mind frame. I kept myself open to possibilities, stretched myself to go out more, and talked to strangers – two of whom became a life changing friends.

New York is amazing. It is the best city. Rather, it is the best at being a city. I love a lot of places and none so far has been able to keep me for long. But New York is a singular place. A gigantic maelstrom of an organism that eats itself daily. And being in that crazy maw, being consumed by the energy of the city is a feeling like no other. The motion, the grind, the ever present culture, art, music, madness. Whatever you want you can have in New York. And you can have it delivered any time of day or night. The speed of the city is intense, too intense for many, but it was the first place I’d ever been where my ambition, my drive to be constantly DOING, was not out of place. In New York I didn’t have to convince people to do things, or explain why, or pull teeth, or leave people behind as I moved on to do things. New York was ready and willing to DO and make and see and dance and play.

The best of the best come to New York, whether to live or to visit/work for a short time. Every room contains at least one genius, one person pushing their field. Someone who will blow your mind in a simple conversation. I’ve met rockstars, actors, famous authors, ground breaking engineers, nuclear physicists, and amazing artists in the smallest, most unassuming places.

New York pushes people to be their best. And it breaks people too. There is only one speed and if you can’t keep up then you risk being ground into dust. All the glittering lights are run on the blood, sweat, and tears of a population who will never bask in their glow. And the ornate facades are likely to crumble or fade if inspected too closely.

And it’s expensive. New York will suck all of the money out of your wallet. There are certainly cheap things, ways to live inexpensively, but if you want to partake of the best New York has to offer – which is EVERYTHING – then even $3 a pop it will add up quickly.

In New York I learned that I could be happy. I was not in a relationship, I didn’t have any money, my career was at a standstill while I was recording my album. But I was happy. And most importantly I was happy independently of being in love, being financially stable, or having career success. I am not always happy, but remembering the time when I was helps lead me back to that place. I’m not sure how much the city had to do with my small enlightenment but that’s where it happened.

So I started to write a love song for New York City and Molly wanted me to finish it and I didn’t for a long time because I was daunted by writing a song for such a grand place. But Molly is very good at getting what she wants, and poking me, and pushing me to do more and more and more. So I finally finished the song and finally recorded it. Someday I’d like to do a big band version. But I like this stripped down simple version too, because it’s a more honest reflection of my grit and glitter existence in the city of cities. Diamonds and champagne at night, cockroaches and broken glass for breakfast.

In the time that I’ve known Molly Crabapple we have collaborated a lot and I have watched her push herself and watched her art get better and better. She inspires me all the time. Just as this song is a love letter to New York it is a love letter to Molly. One of many I’m sure. She’s a fucking legend and I’m so lucky to know her and work with her.

In addition to that gorgeous print there is a limited edition t-shirt available. Gold ink on a black shirt in men’s and women’s styles. I would LOVE to sell everything by the end of the year. That would help me release the next song.



New York City

I want to live in a shoebox,
at the top of the world,
at the top of the food chain,
with all the beautiful girls.
I want to live in the city,
that never stops,
even when I’m at the bottom,
I’ll be at the top of,
New York, New York City.

It’s big and it’s dirty,
it runs too hot, too cold,
it’ll grind you down so hard
that even the young are old.
If you’ve got the ambition,
you can join the race,
but for every opportunity,
there’s one million others crowding for space in
New York, New York City.

You’ve got myths, you’ve got legends,
you’ve got the Chelsea Hotel,
if you ring the right bell boy,
he might even ring your bell.
When you’re feeling down and out,
and you can’t pay the rent,
there’s nothing a $58 martini,
won’t help you forget in
New York, New York City.

I want to live at Ground Zero,
of culture and fame,
I want everything that glitters,
and I want it to spell out my name.
I want to live in the city,
that never sleeps,
where even the shallows are
drowning deep.
New York, New York City.

New York, New York City.



I’m not in New York right now though. I’m in Australia. Sneaking up on wombats.

I’ll tell you all about  my Australia plans soon.