Carrington MacDuffie & Bryan Nall
delve into Dreams on:
MANY THINGS INVISIBLE

An unusual journey into our psyche, using spoken word and music.

Entering into a dream is an artistic exercise. One that is full of possibility, an unusual adventure into our psyche. It is this idea that set Carrington MacDuffie and Bryan Nall in motion, on Many Things Invisible. Finding the right balance in collaboration, MacDuffie and Nall's song synthesis comes in large part from dreams, and the interweaving of their collective imagination. Mixed by Tucker Martine (Bill Frisell, The Decembrists, Mudhoney, Chris Walla,) additional voices were added creating a layered poetic piece. Here is some track info:

Track 1: Tunnel Vision, was one of the first pieces to come together. It found its feet with a simple guitar loop and expanded into the aural space of a wet road and the knowledge that: ""you're on your own."" Bryan's spooky, off key whistling at the end is contrast with the happy-go-lucky feel. Track 2: Phoenicopterus Ruber, has a Brazilian feel, and the title refers to a certain genus of flamingo. The sound of gas going up in flame was made on an outdoor barbeque, and the piece has a dramatic crescendo. Track 3: Opposite Language, is our "musical toy" being wound up. The hushing, which sounded like fish darting, was trailed out beautifully by Tucker in the mix, and the track became electric. Track 4: Wild Life of Sleep, Consists of layered tracks whispering, which paints the subconscious, and the guitar was mixed to sound very far away, contrasting with the intimacy of the whispers. Track 5: Vishnu Schist was named for the Hindu god, and is the metamorphic rock found at the bottom of the Grand Canyon. It's nearly 2 billion years old. This is our tribute to "the rock." Track 8: Fossil is a piece inspired by Lake Champlain in upstate New York. It's an extremely deep lake, and the dark, cold setting in this piece is contrasted at the end, with the positive, reassuring guitar voice, dissolving into sweetness. Track 9: Rex Marinus, We told pianist Bill Gordon that on this one, he would need to play Schubert badly, as the character of this story, the king, progresses from lost to enlightened. The Latin is from Caesar's Conquest of Rome. Track 10: Sauve Qui Peut, uses a French title: "every man for himself" , as this is full of French mermaids. This is immediately followed by Track 11: Mermaid's Prologue, where the mermaids are singing a sort of Gregorian blues. Track 12: The Drowning Mermaid, uses a layering of the voices to imitate the diffraction of light in water, as the sailor and the mermaid (guitar and voice) speak to each other. Track 13: Open Secret goes into dreamtime, and Track 14: Reversal of Order, is a twist on the creation story, full audio clips, it paints the world, unfiltered.

Carrington and Nall first met on the 1980's L.A. punk circuit, and their first live collaboration, a 7-piece poetry-pop band, called: 'Anything She Wants', featured extravagant, goddess themed productions incorporating live painting, body painting, projection, with a dense production of percussion. MacDuffie characterized it as: "artistic mayhem," and it's tribal, surreal, sexy and unpredictable feminine exploration led to the duo's first recording:
"Near the Border."