A Bit Of The Past And A Bit Of The Present: When Clarinette first album "Haze" was released in 2002, it was quite well received by those who heard it (even charting in the Village Voice critics poll). What was unique about that album (as opposed to all of mine that followed) is that it was largely conceived of and recorded, in the early-mid-1980's. Much of it had found its only prior outlet on Ray Farrell's "Assassinatin' Rhythm" show on KPFA in Berkeley. I had long shelved those tapes before Clarinette began. I no longer recall the year she died, but in around 1982 I lost my friend Lisa to a drug overdose. I had only seen her sporadically in the couple of months leading up to her death, but prior to that we were very close. She had fallen in with some messed up people and had dragged me out to a number of sketchy-as-hell places before I felt the need to extracate myself from that scene. We grew apart quickly and it was sadly clear that she quite quickly became more and more messed up in those final months. In the end she was gone. I was in college at the time and I processed her death by writing a fairly abstract long form poem/free verse piece that addressed my sadness, anger, all of the feelings a young person has to come to grips with when someone they care deeply about is taken away so young. I decided to use those writings to do a sort of formless opera, a noise opera (that seemed like the best term at the time), maybe more a funereal piece of torture. It began musically with a piece that years later was edited down to become "Dry Leaf Echo", which made up the second side of "Haze". I was taking a Music For Dance class at university which had a huge impact on my thinking. My Music For Dance professor, Denis de Coteau, was the Musical Director and conductor of The San Francisco Ballet Symphony and he was surprisingly supportive of my unconventional music, he suggested that the piece might be better served as a dance piece or on its own, rather than trying to force words upon it, he was right. The words ended up being used as part of a I-never-got-around-to-publishing-it book after Lydia Lunch read it and suggested we work on it together. Lydia wrote some more bits, did some edits and designed an extremely difficult to fabricate book cover (it involved lots of fire), but the book remains unpublished to this day. I'm uncertain whether or not it would look like the ramblings of a messed up kid, I'm afraid to dig it and find out at this point. In 1999 I pulled out a cassette from those old early/mid-80's tapes and was listening to it in the car. Shannon (who is not hugely in to experimental music) asked who I was playing and told me she loved it, When I told her it was me, she suggested I give away some copies of the recordings and let people hear the music. I'd known Byron Coley since the early 80's (Rhino Records/Take It! magazine days) and Thurston Moore since around the time of Sonic Youth's EVOL album; we three crossed paths on most of Shannon's and my trips to NYC (mostly at the WFMU Record Fair). I gave each of them copies of the recordings and eventually Thurston approached me asking if he and Byron could release the music on their Ecstatic Peace/Father Yod co-op label Ecstatic Yod. After they released "Haze" in 2002, it seemed clear that "Dry Leaf Echo" appealed to a fair number of people, the combination of the trumpet and the clattering, slightly exotic percussive sound went over quite well. When I followed "Haze" with the trumpetless (and lighter on the clatter) "Transmuting Fall" album in 2004, I got the sense that it disappointed some. I still quite love "Transmuting Fall", but I also still think that that LP side-long "Dry Leaf Echo" that ends "Haze" works quite well. So today, 18 years after my first album and probably 38 years after "Dry Leaf Echo" was recorded (using a Radio Shack microphone and, 3 cassette decks with scotch tape covering the erase head…repetitively torturing the tape into a chaotic din) here is some more trumpet and tribal-ish clatter… warped, dirging, defeated trumpet and rhythmic racket. Enjoy it if you like. Some of it was sourced from ancient tapes and some from more recent recordings. It is 22 tracks of layered trumpet, percussion, drones, bass, bouzouki, piano and triangular sound waves. "Isolation 11" is kind of "Dry Leaf Echo"'s child. I didn't really plan on doing something in that vein, and it is quite different, but once done it was clearly of the same family. The link below offers the whole Isolation project as a free download. At the time of Isolation 11, the project now totals about 88 minutes and is still growing. Please do not pay for the album, when Bandcamp asks how much, enter 0.00. https://clarinette.bandcamp.com/album/isolation