Some Kind of Birthday Party (Playing catch up part 4)

Party animals rejoice, it's Some Kind of Birthday Party! There is indeed good reason to celebrate; this is my favorite album we've released this year, and probably a new high water mark for The Brown Christmas. You know you're in for something truly special as Al Santillo introduces the album with the words; "Every slice got something different on it..." Each track is a different experience, with different flavors of synth patches spread across the whole album.

Seamlessly we slip from the electronica infused melodies and shattering grooves of "Neon Glass," to the gritty lo-fi sizzle of "Crystal Shards," and  the silly chaotic panic of "Hyper Train Rail Workers." Dreamy guitar ambiences and soothing synth sax playing on "Lunar March," contrast the harsh walls of noise on "Storms of Jupiter." Deep rumbles of feedback attempt to smother the listener; occasionally allowing a pensive breath of fresh air before attempting to suffocate you again. There are absolutely no lulls on this album, it constantly pushes forward with the purposeful energy of a charging rhinoceros.

What really sets this album apart however, is that it rocks. It rocks earnestly, it rocks hard, and it rocks the full way through. The shredding solo on "Hard Nights, Harder Dreams" has no business being so hard hitting and emotionally charged. Revel in Joemazings ability to take his synth from sounding like it's on it's last breath short circuiting, to then emerge with a victorious crisp lead line. Feel the high energy orchestra hits of "Get Fucked or Die Frying" and prepare for a head to head battle in a cloud of synth drones. Wrap things up with the forceful growls of "The Last White Rhino" with it's weeping marimba-like solo, and you've got an album that's good to the last slice.

The art work on this album is also my favorite of everything we've released this year. A fun combination of several techniques that have been used on previous covers. Bright and welcoming, while also surreal and disconcerting; Michael Burke knocks it out of the park again.

This album is also available on KRXMA Records, be sure to check it out there as well. https://krxmarecords.bandcamp.com/album/some-kind-of-birthday-party

The Brown Christmas Vs. The Bored of Education (Playing Catch up part 3)

The Brown Christmas is the perfect cure for your boredom; with ten tracks covering everything from ambient, synth-pop, to sludge rock, you're sure to be entertained. Enjoy the loosely held together chaos that you've come to expect from The Brown Christmas. You'll find plenty of composed build ups and steep energetic slopes on this short rollercoaster ride.

The opening track "Raven's Talons" grabs the listener with piercing synthy claws, cascades through hazy drones, and drops you into a nest where you're devoured by abrasive chattering. As the anxiety of the first track fades away the tone shifts on "Leisure Speed" to a kind of triumphant yearning. This track is one of those catchy, almost pop tunes that seems to occasionally emerge from out murky slurry. A simple melody punctuated by a bouncy bass line, and gently fading away with a piano solo.

This leads to probably the highlight of this album; a slow droning version of "Cataract Jack" that is both ghostly and beautiful. What is normal a frantic, zany jig has been stretched out and melted. Deep percussive tones echo the main melody at a snails pace, while breathy textures create a sense of unease.

"Cataract Jack" is a delicate veil gently blowing in a dusty window; contrast this with bellowing heavy presence of "T-Boned Semi." Lumbering along powerfully, this track's defining feature is the sludgy distorted bass playing by Joemazing. I set a steady pace with the drums and then simply enjoy the ride as Joemazing pushes his mixer to the limit, turning it into a crunchy fuzz pedal.

From here things get kicked into high gear with the feverish "Scarab Outrun." We're skidding along barely maintaining control, kicking up plumes of dust, and quickly approaching a summit. With the toll of a bell we fall apart and gradually float to the ground with the track "Course Winds Blow Brittle Reeds."

The album ends with a short duet between the Roland D50 and it's modern recreation the D05. It's merry, light hearted, and the perfect silly goodbye.

Walter Westinghouse (Playing catch up part 1)

I have fallen quite behind on these album write ups, but I suppose that's what happens when releasing new alums monthly, while also working on other projects, working a day job, and moving. So now let's see if I can get caught up.

With the recent passing of Hardy Fox from The Residents, it seems fitting to be starting with our  "Walter Westinghouse' cover album. The Residents have always been a favorite band of ours, they're probably the reason we started playing music together in the first place. So we jumped at a chance to be a part of their "I am A Resident" compilation contest.

We wanted to choose a song that was more of a deep cut, rather than going for something well known like 'Hello Skinny.' Walter Westinghouse was the perfect choice since the original is fairly long with a very simple skeleton that we were able to jam out on. The back and forth dialog of the original also gave both Joemazing and myself a chance to do funny voices.

As with most instances where we've tried to do something deliberate and constricted to a theme or time limit, it spiraled out of our control and out of bounds of the set parameters. What was suppose to be a recording session for one song quickly turned into a +30 minute jam session. Unfortunately we did not make the cut to the compilation album, so we took our submission and the additional jams and turned them into this short EP.

Hash Not Hash

This recording session comes after a five month unintentional break, but I often find the best way to improve is by not practicing. All our creative energy gets backed up, until the floodgates are finally opened and then the desire is to make up for lost time. Hash Not Hash is a clear example of this, being a huge leap forward from Tropical Fruits, and covering fresh sonic ground.

The album starts with the sullen, down tempo ballad "Blue City Rain Storm." This track's mixture of synthpop-esque melodies and harsh textures of noise exemplify a new direction our sound has been branching into lately. While not entirely new (we've certainly done catchy pretty sounding stuff with noisy elements previously) this is a juxtaposition that we've been delving into more deeply.

You can hear something similar on display in the track "Sleep Paralysis;" which concludes a mostly continuous, dream themed section of the album. Instead of synthpop elements we have a very delicate ambient soundscape drifting on an deep abrasive undercurrent. This combination is perfection to my ears, and definitely my top track for this release. A close second would be the closing track, which is an extremely cinematic interpretation of our classic "Cataract Jack."

For those with a discerning ear for synthesizers you'll also notice some textures previously unheard for The Brown Christmas. This was around the time I started acquiring some vintage digital synthesizers. This album marks the introduction of the Korg Wavestation and the Casio CZ101 to my set up.

Three things

Here we go, catching up on the most recent three releases. I'm going to talk about them out of order since two of our recent albums have a very similar premise. I'll start with Tropical Fruits of All Kinds, released this past February; it's The Brown Christmas' taste sensation sweeping the nation and causing constipation. I believe this was one of those times Joe and I met with the intention of rehearsing for a live performance, only to end up recording completely new stuff instead.

Often times before I even have everything set correctly to record Joe plugs in and starts pumping out synth melodies. I'm certainly not going to leave a good melody hanging, so I quickly get the recording going and start jamming along. Before long an hour has passed and we have a fresh fruit bowl of new material.

When I listen to these recordings it conjures up images of late night adventures, wondering around quiet streets under lamp lights, and being convinced there's something magical or nefarious lurking just out of sight in the shadows. Highlights of this album include the whimsically upbeat "Out Drinking with a Friendly Moth" and the blissfully cosmic, "Asleep in the Stars" The former sweeps merrily up and down, riding a sultry evening breeze in search of sources of light. While the latter is a more stationary, sedated trip within and beyond punctuated by a deep sweeping bass drone.



The albums for January and March are both practice session of live sets. These are composed of new versions of previously released material. Volume one draws tracks from New Jersey Sound Machine and Go Ahead ...Call the Cops, as well as a new version of 'Nobody Knows what it's like to Eat My Dick Tonight." All this practicing and preparation and I somehow forgot to record the actual live performance. This is the next best thing to live.


Volume two is a large chunk from the album How to Make an Egg Cream. There are two takes included on this album, the first is Joe simply winging it and me messing a few things up. The second take is closer to what our actual performance end up sounding like. This time I remember to record it. It can be viewed here. www.youtube.com/watch?v=i3KHFw_VeV0

Both of the takes had their interesting aspects and since the only songs we have multiple versions of are "Nobody knows..." and "Cataract Jack" I figured I might as well include both versions of everything.

Christmas 2017

Although our name is The Brown Christmas we are not, nor have we ever been, a 'Christmas' band. That said I always look forward to putting out a new Christmas album. There's such a wealth of material to draw from, and it's always fun to 'get in the spirit' with some mangled Christmas merriment.

I have noticed that on every Christmas album we put out there's always an exceptionally abrasive song, usually with me screaming over a wall of sound. This time it's a cover of "Hey Santa," which is my personal favorite on this release. I was trying to pull up the lyrics for the Carnie and Wendy Wilson "Hey Santa," but instead got the Straight No Chaser "Hey Santa." Shortly after I started screaming I realized my error, but there was nothing to do but to continue belting out lyrics to a song I've never heard before.

The title comes from an event several years ago when I was working retail. Christmas was over, all our holiday merchandise went on sale at increasingly large discounts. Eventually items were 90% off and everything was gone; everything except a 4ft X 5ft X 18in display of candy canes. We just couldn't sell these, so I was told to throw them out.

Now my memory is a little fuzzy, but these were the typical boxes of candy canes you see for sale, I think there are a dozen or so canes in a box. I put these into larger cardboard boxes which might have fit 24 boxes of candy canes. I filled up about six boxes, put them out by the dumpster, then loaded them into my car when my shift was over. So using those numbers that's around 1728 candy canes. For the album title we used Thirty-six since in seemed like a funny, yet still plausible number.

Only a few days into having these at home did I realize that neither my family nor myself particularly enjoyed candy canes. However I think you will enjoy this album.

Haulin' Oats

Whether you're a Quaker or a baker, if you've got oats you need hauled The Brown Christmas can get it done in no time flat. Around the holidays more than ever we get tons of oats that need hauling; and if you're speeding across state lines with a truck load of legally questionable oats, you need some good cruising tunes.

As with our previous album, guitar is featured prominently on Haulin' Oats. The opening track begins with Joemazing chugging away, before messing around with his guitar's faulty wiring to make it scream like a hawk. The synths and drums create a slow moving, lightly textured framework for Jomazing guitar to gradually melt over top. This destruction continues on "Mass of Choronzon," as I play some dramatic string samples and Joemazing screams and distorts things into an unrecognizable mess of feedback.

The tempo takes a more upbeat turn as a circus melody emerges from the ashes of the previous track. A deep bellowing synth line bounces us along drunkenly before building to a growling drone, as silly melodies dance around. The ferris wheel is rusted, the bumper cars are short circuiting, and the carnival barker is in a radiation induced rage.

Overall this album has an aggressive, lo-fi, abrasiveness that is best exemplified with my favorite track, "Missa pro Defunctis." This melancholic march sounds like it was ripped from a withered VHS tape; a simple but effective melody punctuated by drums, is made all the more epic when complimented by the thick analog drone that emerges about halfway through the song.

The closing track is another high point, and possibly the best version of "Nobody Knows what it's like..." we've recorded to date. We take turns belting out the lyrics as over the top as possible, and I do my best emulation of the drums from "In the Air Tonight."

That's about all I have time for, these oats aren't going to haul themselves! We've got deadlines to meet, and the oat hauling business is very competitive. This album is a great example of our grittier, lo-fi, noise sound. Give it a listen.

Books Suck

Books suck, plain and simple! You can't listen too a book (unless it's an audiobook, but that's just a book pretending it's a recording) they don't fit in tape decks and they're the wrong shape for record players or CD players. Music came first, music rules, books are just a bad sequel.

This album is the perfect example of the inferiority of books; there is no possible way for books to capture the essence of these songs. The driving kick on the first track calls the listener to adventure, an arpeggiated bass line adds a sense of urgency, and Joemazing's drones and melodies add an element of uncertainty and danger.

Things get a little hectic, but there is an opportunity to relax within the cosmic swirling synth tones of the second track. The stars are not entirely welcoming however, and the listener must avoid their supernova bursts. This moment of rest is short lived and the kick drums soon become jittery from all the delicious juice.

Joemazing's guitar work takes center stage, while I stack synth textures and feedback noise on our 10 minute post-rock opus "The Asteroid is Here." If you thought The Brown Christmas couldn't rock sick riffs and kick ass drums, this track will prove you wrong. This leads into our hard rocking closing track; "Sludge Cruiser." Who needs a distortion pedal when you can just crank your mixer up way to hot?

This album is the first release in a long while that hasn't been a single day jam session, and it takes us almost into the present year. There is one more album that was recorded in 2016 that's set to be released, but it's a christmas album so we had to release it out of order. The last 2 tracks of Books Suck are from November 2016; part of our Christmas album jam session. Since there's really nothing Christmasy about them, it was decided they would need to be a separate release. They were too short to be put out as their own album, but luckily we had another short jam session from January 2017 of almost the same length. These tracks were from a brief warm up jam before a very different upcoming secret project.

...But why are you hear reading this? It's so long it's almost a book, and books suck!

Listen to our album.

Chair Club for Men

Enjoy the most luxurious sitting experience of your life! The Brown Christmas is proud to introduce our latest business endeavor; the Chair Club for Men. We provide only the finest chairs in a wide variety of styles, both modern and classical. All of our applicants are screened very strictly, so you will be guaranteed an environment of only fellow chair enthusiasts.

While you're having a relaxing sit in one of our award winning chairs you can listen to our newest album. You'll find that one technique we often employ when recording is to take a simple theme or melody and turn it into an epic wall of textures. We open the album in this manner, with the gradual swelling of "Edge of the Void" which blooms into the monolithic second track "The Colossi of Memnon." The track ascends with the massiveness of an ancient giant emerging from it's slumber in the sand. Deep bellows from Joemazing's synth are punctuated with a more pizzicato string-like swirling melody. Crashing drum samples propel the song forward in a lurching motion as the otamatone breaks through with a screech of victory.

You'll find this same technique again on "The Serpent Swallows," which begins with a pensive drone and driving drum machine pattern, before building tension with increasing layers of atonal drones and seesaw arpeggios. The heavy breathing of Joemazing's synth adds to the anxiety as I dance around with a playful yet eerie melody.

On the track "Rain Dance Brings New Life" we have a slightly different style of building intensity. This time we work more with percussive textures, stacking them haphazardly on top of one another generating a chaotic down pour. These slowly change and disperse, opening up space for playful bird-like melodies. These simplistic chirps soothe the listener into the enigmatic final song "Puzzle in the Dark."

After this we get a short reminder from Joemazing about the importance of proper chair maintenance for both quality sitting and quality tone. So send in your applications today, we have a limited amount of openings for this most exclusive club.

Stogie Fest

Vape enthusiasts need not apply, it's Stogie Fest 2017!!! In addition to improvising music, we also have a tendency to improvise dialog. This is usually limited to a few remarks at the end of a track, but occasionally we'll do slightly longer 'skits'. Aside from Brown 'til Dawn all our recent releases have hardly any talking segments, but I felt as if Joemazing and myself had some entertaining exchanges that deserved to be included.

Let's not forget however, that there is also music on this album! It seems we stayed pretty consistently laid back and upbeat with these songs. Our usual detours into abrasive clusters of synth noise are absent, and while we do get spacey we never quite get spooky. Things get a little dark on "Cold Ghost Wanderer" and our cover of ZZ Top's "Tush," but for the most part we keep things chill and silly.

What else would you expect to hear while attending Stogie Fest? The audience demands mellow tunes for relaxing under clouds of acrid tobacco smoke. Wether it's "Sunset Hay Ride's" uplifting, melodic build up; "Picnic by Comet Light" with it's cosmic ambience over inquisitive arpeggiated bass; or "Swimmer in the Night Sky's" driving, forward flowing rhythm, this is the ideal album for wrapping up the end of summer.

Besides the afore mentioned "Tush" we also cover the Primus song "Mr. Krinkle," and do another cover of Funkadelic's "Maggot Brain." You can also hear new versions of our own songs including; "Love Young Brown" and possibly my favorite version to date of "Cataract Jack."

So light up your stogies, catch a screening of Wall Blart, and get one more relaxing weekend in before your brick arrives for Wall Day.

Honey I Crunk'd the Kids

Presenting part 3 of The Brown Christmas' crunk TRILLogy; Honey I Crunk'd the Kids! Recorded in May of 2016, this is the only recent album to include all three members of The Brown Christmas. The excitement of this reunion comes through in the grandiose variety of sounds layered on this album.

Our sonic territory ranges from eerie ambience on tracks like "The Chemist's Ergot Wine" and "The Mother Sphere Rises"; the manic insanity of "Folie à Trois" and "Daily Exercise Regimen"; to the unmitigated abrasiveness of "Shark Toothed Horn." Where I think our progression as a band really shines through however, is on tracks like "Murmuration Amongst the Clouds," "There's a Home for Me Somewhere," and "Ravages of Time." It is on tracks like these where we direct our sounds into more harmonious, concise, synth-pop-esque directions while still remaining completely improvisational that truly show our growth and exploration of new terrains.

Everyone was operating at 110% when recording this session, there were no lulls in the music or confused meandering in our improvisation. Everything has it's place and nothing is lost in the mix, a real feat considering there were five synths, a drum machine, a sampler, as well as various pedals being operated by three people at any given time.

A few more highlights from this album include our noisy rendition of Funkadelic's "Maggot Brain" on which Todd's synth sound like 1940's news radio static, and "Joemazing's House of Pain," which is sure to be the party anthem of the summer. The album closes with a craig's list track, "Load Ranger." Normally I would save this for another volume of Dicks Pics, but I don't when that might happen and it seemed like the perfect closer for a rock solid album.

I would also like to mention that the cover art was again done by Michael Burke, who continues to create extraordinary visual compliments for our sounds.

How to Make an Egg Cream

The Brown Christmas is equally skilled in the culinary arts as well as the art of love, our latest cookbook/erotic novella perfectly exemplifies this. These tunes are perfect whether you're in the kitchen or in the bedroom.

We are now in the final stretch of our unreleased catalog, all recordings from here onward are only about a year old. We entered 2016 with a auditory exploration that begins light hearted and innocent, leads to the triumphant sounding "A Thousand Risen Suns", then slows to a crawl. At this point we gradually enter darker and dark territories, reaching a peak with the punishing electrical sizzles of "The Crushing Weight of Nothingness." Eventually we emerge from it unscathed and can breathy easy again with the cheery, round-a-about melodies of "Scattered Rolling Beads of Light." Finally we wrap up our adventure with "Hundred Foot Strut," a hard grooving tune with a squealing synth solo.

A solid chunk of this album is tethered together with a deep, pulsing kick drum; keeping a slow steady pace while melodies and textures are exchanged. Joemazing's knack for creating interesting textures really shines through on this release. He lays down a nice skin of sound ranging from subtle spooky drones, piercing shimmers, to thick walls of synthy distortion.

It's not an easy task to make an egg cream, but with our new album anyone can learn!

Xanax Madam

Here's something short and sweet; Xanax Madam. This was from a practice session where we were supposed to be figuring out what we would be playing for a live set. It's hard to get down to business right away, so we figured we'd do a short improvisation to loosen up and get things flowing. I think we may have even had a set list planned, but we liked what we came up with on the spot better.

The album starts with our rather grim and droney interpretation of Sun Ra's "Rocket Number 9" (which we didn't play live) before shifting into the anxiety-ridden "Unique Panique." This track and "Nuclear Winter Solstice" were actually tightened to one song for the live performance, but now that there's no time restriction, I've allowed them the time necessary to breathe and evolved more gradually.

We wrap things up with two tracks which originally appeared on the album; Big Bad Bill Weinstein's Big Beautiful Women Barbecue BYOB (Dicks Pics Volume 5), which you can check out HERE!
Joemazing's crooning is far more aggressive on this rendition of "Love Young Brown" and we managed not to burst into laughter while playing this time.

It is also worth noting that this is our last jam session from 2015. We are on the final stretch of unreleased recordings, and everything coming out over the next several months will only be about a year old.

New Jersey Sound Machine

There are a few of our albums that really standout for one reason or another, this is one of those. We are very much at the top of our game on these recordings and I would now consider this to be the best thing we've released so far.

This album covers a multitude of musical territories, but over all I would say there's a definite psychedelic feel to the tracks. The first song Self Born Cosmic Egg, opens the album feeling very spacey and mystical, before we intentionally or unintentionally, summon dark entities and split a hole between worlds (see tracks Dweller of the Abyss and Broken Seal of the Inter-dimensional Wall).

Have noo fear however, we here at The Brown Christmas are skilled in all kinds of occult mysticism. There's no need to shield your chakras or break out your quartz crystals, everything is well within our control. We'll guide you back safely and finish the journey with some dumb lo-fi rock.

Dick Hz

Coming in just under the wire, but still technically a January release, I present Dick Hz. We start off the new year with a very boisterous album, rough around the edges with janky guitar tearing right through the center. To me this album has a very cathartic feel to it. I don't know if it comes through in the music but this was our last jam before I moved to Philadelphia and started a new job, nerves were high and a good dose of vitamin Brown was just what I needed.

Unique to this album is the fact that there's very little of Joemazing's trusty Roland D50 synth, it only occasionally makes subtle droning appearances, instead guitar takes center stage. Through sheer accident we discovered that a clipping mixer is the perfect substitute for a distortion pedal. Say what you will about your fancy $3000 guitars and their tone, they'll never have the same qualities of a beat up thrift guitar with a built in speaker.

One of my personal favorite tracks is "Journey to the Ocean Floor." Maybe it's because it's one of the few songs where the D50 makes an appearance, or maybe because I'm particularly proud of my synthy soundscaping on this one, either way it's a track with a lot of interesting textures. It's one of the more ambient tracks, but it gradually gains abrasiveness from Joemazing's nasally guitar echoes.

Also of note is the track "Compromised Structural Integrity." There's not too much to say about this one, other than it's a good example of us just saying "fuck it" and going nuts. I think we could probably both feel the jam session was wrapping up and decided to give it one last hurrah.

Christmas Retrospective Part 1

It's the most christmasy time of year and The Brown Christmas has a new Christmas album coming your way soon, but first take a retrospective look at our older christmas albums. Up first; The Brown Christmas Presents: A Very Special Brown Christmas, Christmas Special: for You and Yours
Recorded about 10 years ago when The Brown Christmas was just a (Santa) baby, and officially released 7 years ago. Aged like a fine glass of milk, our first Christmas album sounds quite primitive and minimalist compared to the recent material we've been releasing and rightly so. Some of these songs were recorded less than a year after our formation. I didn't even have a proper synth yet, and was instead banging on cheap toy keyboards running through pedals.

I think this was also the only album for which we've done a proper "release" show. In quite grand fashion we dressed in our christmas bests, decorated our set up with lights, and gave out christmas presents. Several lucky fans received this album with it's very special christmas special poster, a screen printed article of clothing, and our non-christmas themed album; Polish Men in $500 Hats. That performance in it's entirety is available here:

Where the Moon Don't Shine

I'm quite proud of this album, it's one of my favorite jam sessions of this "Album a Month" series. Where the Moon Don't Shine may be the best thing we've recorded (as a duo) although I can't promise I won't make that same claim again next month. It certainly marks continued growth and maturation of our sound, and I would argue that the steps forward we take in this album are seismic.

This is a truly dynamic collection of controlled chaos. We run the gamut between quite minimal ambiences to lush walls of sound. The track Lughnasadh for example, is a continuation of the soft dreaminess from the previous track. A simple string melody is introduced by Joemazing, and then through a combination of audio loops, arpeggiators, midi, and live playing we create a massive orchestra like swell of rousing, joyous, synthy goodness. On the opposite end of the spectrum Dark Forest Ritual takes a similar approach, but instead builds to a haunting sinister atmosphere punctuated by quaking drums and ghostly recorder fluttering.

The middle section of the album is a madcap suite of gorilla circus insanity. It became so zany and out of hand that we had to pause from a moment and make sure everything was still plugged and working properly; proving once again that the Gorilla can not be tamed.

The last section of this album contains several tracks that are probably unlike anything we've done before. Repetitive loops phase in and out of sync and climax in the massive 19 minute final track of cacophonous intensity.

I'm also quite proud of this album because it's our first to be released in physical form and not self released. Orb Tapes has a limited run of Where the Moon Don't Shine on cassette. Pick up a copy and check out their other awesome releases.

Contemporary Adults

Enjoy some music for the adult of today! We here at Brown Acres Enterprises realize that today's discriminating adult will not settle for just any flavor of music. That is why we are proud to offer an alternative to the mainstream. Contemporary Adults starts smooth and finishes strong, always full flavored never watered down.

This album starts off slow and spacey with docile drone tones before taking a sharp turn into more gritty lo-fi tunes with our bizarre cover of Pantera's Walk. The madness continues with a long overdue circus performance by the Gorilla. The astute listener will also notice Joemazing shredding on the Otamatone on several tracks, an instrument that hasn't made an appearance on an album since L.E.D Zeppelin V.

Please listen responsibly

Good Enough to Screw

A new Brown Christmas album for the month of May is finally available. We close out the month with Good Enough to Screw. This collection of downtempo soundscapes comes from a jam session back in January 2014.

Just like our album Tugboats, Trolleys, and Trains from the previous year, this album was recorded around the time of my birthday. When listening to the two albums back to back there is a clear connecting thread and evolution of sound. While still remaining in the vein of noise or ambient soundscapes the songs also have an inexplicably funky groove to them. I feel like this jam session marks a definite step forward in our music; a tipping point of sorts where our sound begins to take on a more cohesive, mature, and densely texture sound.

So please enjoy the metamorphosis of our synth textures as they coalesce in this album and point towards future sonic endeavors. These tunes will make you feel good, Good Enough to Screw.

Dark Nebula

In an effort to clear out the backlogs of unreleased Brown Christmas recordings, and to keep listeners updated on our continuing auditory adventures, I will be attempting to post something new every week.

While the last few tracks posted on our soundcloud have been previews from our 'new' upcoming album, they were actually recorded almost 3 years ago. This song however, is freshly picked from only a few weeks ago. I can't say when recordings from this jam session will actually make their way onto an album, hopefully it won't be 3 years from now, but for now enjoy this little dark spacey synth ditty.