The title track to The Double Headed Seagulls’ new EP Play Artful (released August 28, 2025) composer Dave Wirth’s keen ear for melding melody with rhythm and texture in a continuous flow that eases and stimulates the mind at once. It sounds like music boxes attained intelligence and learned to communicate with each other via electrical wires in on the process of communication in a collective, harmonious process in which every entity involved contributes to a dynamic sound that reflects a joyful spirit sustained for the track’s two minute and thirty-seven seconds run time. Tones pulse slowly, a background wave of low end comes to the foreground in pleasing pulses and the simple but jaunty percussive sounds buoy the energy of all the other elements for a net effect of a gentle momentum that feels like a completion of some kind of journey at the end and arriving at your destination at ease. Listen to “Play Artful” on Spotify and follow The Double Headed Seagull at the links below.
On Play Artful, The Double Headed Seagulls, the project of award-winning film composer and producer Dave Wirth, it’s quite easy to say he’s achieved something rare. This record feels both like a culmination and a fresh beginning. It’s a collection of four tracks, but the experience stretches post-rock, IDM, and jazz for something extremely original and fresh.
From the outset, Wirth’s approach to sound feels tactile. It’s an aesthetic that is at once nostalgic and forward-looking, carrying the warmth of cassette-era experimentation while also embracing meticulous production polish. Listening on headphones (a must!!) reveals the craft at its finest. These sounds flicker and dance across the spectrum where melodies spiral and then dissolve into atmosphere, and the mix never loses its clarity no matter how layered or dense it becomes.
Compared to earlier Seagulls releases, which leaned toward darker and noisier territory, this record thrives on lightness. For us, it sort of felt Radiohead-esque in some ways without ever feeling derivative. Instead, Wirth builds his own universe, one where jazz chords float weightless against buzzing synths and fractured electronics, where propulsive beats can suddenly melt into ambient pools.
On one hand, it’s an intellectual delight. You can dissect the layers of production, trace the genre-bending experiments, and marvel at the intricate sound design. On the other, it’s deeply affecting on a visceral level, as the melodies and tonal choices cut through with warmth and immediacy. Even at its most abstract, Play Artful radiates accessibility and really gives the opportunity for repeated listens and experience what you might have potentially missed.
There’s also a cinematic quality to the work that embodies Wirth’s film composer background. Each piece feels like a scene in an unfolding dream, full of color and texture, each transition handled with an editor’s sense of pacing. Despite that polish, nothing feels too controlled. The music retains a looseness, a spontaneity that makes every detail feel discovered rather than engineered. You never really know where things are going, especially on “One Pot Screamer”, but collectively the whole record gives off the perfect experience.
It’s a masterclass in how to push the boundaries of genre while keeping the listener grounded in melody and mood. Both lush and spacious and classic in its influences, this is a record that rewards an actual close listen while turning off life around you.
For listeners, it’s an invitation into a world that feels strangely familiar yet endlessly surprising. Not only do we recommend you check out the record, but you have to check out the back catalog as well for some serious gems. Go ahead and click those links below to listen in, follow along, and of course to stay tuned for more.
BiographyWeb:
Dave Wirth, an award-winning film composer and soundtrack producer, created The Double-Headed Seagulls. This US artist’s project’s latest EP, “Play Artful”, combines post-rock, lo-fi electronica, IDM, jazz guitar, and experimental ambient to create a beautiful and dreamy sound universe. I am going to be your guide and take you through these four songs
“Full Oxford” is the title track of the EP. The song opens with these ethereal synth sounds. The song then takes a different direction with synth pop sounds that are initially very bright but, a little later, we see a darker side of it. This song to me, is yin and yang. It had a light side and a dark side and, the way they mixed together would not have been able to sound good, but I can vouch for this song that, it sounded amazing. The way the song oscillated from high to low throughout was quite beautiful. This lovely song opens the EP
The next song is the EP’s namesake “play artful”. This song opens with a synth sound but, a unique beat is added to it it giving it such a wonderful flair. This song was not one of those instrumentals that sound the same from beginning to end. We see the development of the sound and it’s exciting to see the genius mind of the artist and feel like we were there when he made it
“One Pot Screamer” is the second-to-last song. This song opens with a mid-tempo melody that is unlike anything I have ever heard. It sounded like a cross between different instruments. As the song builds, so does the excitement and this song was just an incredible song, you won’t regret listening to it
The concluding song on this EP is titled “Doss money”. The song opens with a dramatic synth sound and then the guitar melody sets in. The notes are bold yet lonely. The melody picks up a bit towards the middle of the song before the organ sounds set it. Toward the end of the song, a buzzing sound goes in and out of the guitar melody. This song was an odd but incredible arrangement by the artist. This amazing, yet out-of-this-world song ends the EP
This most recent release of this artist is an example of how old recordings can be altered, edited, and redesigned to make a whole different statement. The final product provides a more fun and youthful flair while maintaining a similarity to the project’s previous work. In contrast to his release “Slimline”, released in 2011, which was loud and solemn, “Play Artful” is more vivacious, upbeat, and melodically inventive. Although the tone and energy are different, the underlying sound is still quite similar. In a lively and engrossing way, Play Artful blends art-rock, jazz guitar modulations, lo-fi IDM, and rich ambient synthesizers. It seeks to astound and excite those who hear it. I vouch for this song but, if you don’t believe me, listen for yourself and see how wonderful it is.
Broken 8 Records:
When an artist with film-scoring credentials steps into the world of independent projects, there’s always a thrill in discovering how their mastery of storytelling through sound translates into personal expression. Enter The Double Headed Seagulls, the boundary-pushing project of Dave Wirth, an award-winning film composer and producer whose latest EP, ‘Play Artful,’ which came out on August 28th redefines the playground of instrumental music.
This is no ordinary record. It’s an exercise in turning sound into sketches, tones into brushstrokes, and rhythm into unexpected shapes. Wirth folds together post-rock dynamics, lo-fi electronica, IDM patterns, experimental ambient layers, and the fluidity of jazz guitar to create something vibrant and exploratory. The result is an EP that feels like creative kids scribbling on the walls—messy, colorful, imaginative, and ultimately, delightful.
“Full Oxford” –The opening track introduces the us to Wirth’s penchant for atmosphere. Floating synth textures drift like watercolor across a canvas, while carefully placed IDM-style percussion patterns add a sense of motion. Jazz guitar phrases weave in and out, at times contemplative and at times playful, creating a dialogue between order and improvisation. It’s an overture that sets the tone: thoughtful yet unpredictable.
“Play Artful” – The title track embodies the EP’s philosophy most directly. Here, the post-rock influence shines, with guitar modulations rising like waves against lush electronic backdrops. The piece sways between meditative passages and bursts of layered instrumentation, like a mural slowly filling in with bold, colorful shapes. There’s a balance of restraint and abandon, suggesting that art—like childhood creativity—should never fear chaos.
“One Pot Screamer” – As its title suggests, this is the wildest moment of the EP. IDM glitches and stuttering beats collide with experimental ambient soundscapes, forming a controlled cacophony that feels chaotic and hypnotic. Wirth’s jazz guitar licks punctuate the mix, giving it a human anchor amid the digital frenzy. It’s the sound of crayons snapped in half and still scribbling furiously—raw, visceral, and oddly joyful.
“Doss Money” – Closing the collection is perhaps the most introspective of the four. Here, the production leans heavily into dreamy ambient tones, with spacious reverb and shimmering synths that seem to hover in the air. The jazz guitar softens, taking on a reflective quality, while subtle rhythmic textures provide just enough grounding. It’s a gentle exhale, a lull after the bright colors of the previous tracks—a reminder that even play ends in moments of stillness.
As a composer, Wirth’s expertise lies not just in writing melodies but in orchestrating sound worlds. His delivery throughout Play Artful is not about virtuosity in the traditional sense, but about creating immersive experiences. The jazz guitar work never overpowers but instead converses with the electronics, bending and shaping around beats and textures like a painter adjusting hues on a canvas. Each track is sculpted with cinematic precision, yet loose enough to feel organic and free.
The production here deserves special mention. The EP is mixed with a warmth that makes its experimental nature approachable. Lo-fi elements keep the textures grounded, while ambient washes give the EP an expansive, dreamlike quality. The IDM influences—delicate glitches, off-kilter percussion, and electronic pulses—are executed with finesse, never overwhelming the organic guitar timbres. The combination of electronic programming and live instrumentation feels balanced, with no one element stealing the spotlight.
With ‘Play Artful,’ The Double Headed Seagulls mark a fascinating entry into the experimental scene, proving that playfulness and sophistication can coexist beautifully. Dave Wirth uses his filmic instincts to draw us into shifting landscapes—sometimes chaotic, sometimes serene, but always captivating. This is music for the imagination, a reminder that creativity is at its best when boundaries dissolve.
Listen to the ‘Play Artful’ EP on Spotify
Rising from a unique spell of jazz guitar and lo-fi electronica, The Double Headed Seagulls’ EP, ‘Play Artful,’ feels like a rebirth. The seeds for this project were sown years ago, in the discarded cassette recordings from The Double Headed Seagull’s 2011 record, ‘Slimline’. While that album was a serious, often noisy affair, ‘Play Artful’ is a complete departure in tone, a burst of energy and melodic imagination that feels like a playful, joyous statement.
It's a playful, eclectic, and wonderfully textured ode to how old recordings can be manipulated and rearranged to create something completely new. Caught between deft fusions of digital synthesizers, direct-to-interface guitars, and vibrant real-time feedback, it echoes the work of masters like Brian Eno, Radiohead, and Four Tet, creating a world torn between styles. The result is a captivating and whimsical listen, the musical equivalent of a child with a box of crayons, happily drawing on the walls while their parents watch with amused affection.
‘Full Oxford’, the first track on the EP, develops like a well-written narrative. It starts off in an area of serene calm before bringing in a daring, low-end element that strides purposefully forward, slowly creeping into frame and becoming part of the overall sound. With each listen, the music takes you on a beautiful and inquisitive journey that becomes more intricate and captivating over time.
‘Play Artful’, the EP's title track, is its stylistic centrepiece. It's a happy anthem for getting back in touch with a more carefree era; stripping away life’s noise to reconnect with simpler times. It’s a song that feels like the culmination of Dave’s influences thanks to its deftly woven percussion and expansive style.
In the latter half, ‘One Pot Screamer’, arrives as a brief but potent track that lasts just over a minute. The quality of the music and production is undeniable, and while brief, it’s light shines brightly, bursting into life to deliver a powerful and impactful composition.
In the closing moments, ‘Doss Money’ delivers a more reflective experience, shifting between changing textures and instrumentals. It’s a song that gets under your skin and lets you imprint your own ideas upon it, building steadily and purposefully, and leading you to a powerful and memorable end.
While just four tracks long, ‘Play Artful’ is undeniably complex, creating a captivating sonic experience that doesn’t lack depth or flavour. In a landscape filled with heavy themes, ‘Play Artful’ stands out as a delightful and surprising artistic statement that is well worth exploring.
For more from The Double Headed Seagulls, be sure to check out the band on Spotify, YouTube, and Bandcamp.
Play Artful by The Double Headed Seagulls
Reading Notes
1-2 Minute Read | Laptop or Tablet Recommended
Topics and Themes
A good kick in the ass to inspire more creativity and overcome hesitation; Triggering the artistic process.
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It's time for some tough love: The fastest way to create anything is to create something, right now.
No hesitation. No waiting until the right moment. No waiting for inspiration.
Plain and simple: Just jump in. Do it now.
What are you waiting for? Are you waiting to be good enough to create anything? I dare say you're good enough right now to create. Even if it's minuscule and modest. Even if no one will ever read it, view it, or hear it. You don't have to share what you created with anyone at all. It can be your little secret.
Are you waiting to feel inspired? That sounds like a complete waste of time to me. You lure inspiration by teasing it, by creating something immediately. You jump in. And when inspiration does show up, the whole world stops. You're in the flow. You are creating what you're meant to create. That's inspired action, baby.
Are you waiting for the right moment? Again, what a waste of time. You mean to tell me you'd rather put off the fun of writing a song, creating the next poem, or painting the next painting because the moment isn't right?
Poppycock.
There's always a moment to create. You could create the bare minimum each day. You could write one line of a new poem, plug a couple of cables on your eurorack synth, make up ten seconds of choreography, draw one long beautiful line of a pencil portrait, sing for thirty seconds. There's always a moment.
Quit fucking around.
The fastest way to create anything is to create something, now.
Reading Notes
2 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Mastery defined; Continual engagement; Being realistic with time investments.
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Mastery is continual engagement with your craft.
That’s it.
Mastery is not some exhaulted place you get to. It’s not some destination you arrive at. And, it’s not enlightenment, nirvana, or satori.
It’s just continual engagement. Usually, it’s engagement with something you can’t even fully grasp or comprehend (music, for me). There’s always a beautiful sense of mystery in true mastery.
Mastery is a daily dedication to engage, follow up, come back to, and reengage with your craft every day.
It’s like that saying: “How do you eat a whale? One bite at a time.”
It’s almost too simple, right? But it works, and it’s compassionate to ourselves, too.
Thinking about mastery as a process, rather than a product, has vast implications for learning anything.
For example, I wanted to study orchestration on a super deep level. So, I got a copy of Daphnis et Chloé by Maurice Ravel and studied it for three years. My only job was to continually return to the score and study. I focused on revisiting, on sitting down, on opening the pages. Once I was there, it felt easier to just move forward with my work. Eventually, I finished analyzing the entire score. I learned a great deal. I applied everything I learned to the score for Finding Solace (If you want to hang with me at the premiere, you can grab a ticket here. Scroll down to Finding Solace, and I’ll see you on August 8th, 2025.)
My point: I cared more about continual engagement than completion. I ate that damned whale, one bite at a time.
If something is important enough, I will come back to it every single day, even if I don’t feel like it. I'll do a minimum of work and then walk away.
Mastery Doesn’t Require Hours and Hours of Time Every Day
Mastery doesn’t require an excessive amount of time each day. All it needs is a modest investment to reconnect. I never worry about the amount of time I invest each day, but I prioritize returning to the work. I prioritize the process.
For example, when I practice composing, I have a bare minimum task I do each day: I compose two notes. That’s it. I always have time and energy for two notes. It’s easy. I consistently come back and reengage. On other days, I have more energy to compose. I end up writing an entire page of music. I love those days! But no matter what, I always return the next day.
Mastery is continual engagement with your craft. That’s it.
I expect that whatever I continually return to will become intimately familiar to me over time. My “mastery” of the skill might appear remarkable to anyone who doesn’t see how I got there. They might think I spent far more hours learning it than I actually did. They might think I’m superhuman.
I’m not.
I’m just willing to eat whales one bite at a time.
Reading Notes
7-9 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Why measuring progress backwards works like gangbusters; Applying to a long-term project and making my life easier.
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If you’re a regular reader of this blog, chances are you read my previous article on measuring progress backwards.
If you haven't, lets just say that there's a great deal of magic that happens when you compare yourself from where you started. It’s easy to do this, too: You first choose a goal, put in the work, and you only compare yourself to where you started. Like, that’s it. Rather than focusing on how much work you have to complete, how far you have to go, measuring progress backwards asks you to compare yourself to where you first began.
There's a wealth of goodness in measuring progress backwards. There's a smoothness that comes to our lives once we embrace this simple mental trick. I’ve noticed a massive spike in my happiness that was directly attributed to celebrating how much further I got each day on a project. This came in handy in the summer of 2024 when I approached a very brain-intensive project that required a lot of energy to complete.
Measuring Progress Backwards in a Long-Term Creative Project
Over the past 25 years, I often woke up from dreams with songs in my head. I often recorded these ideas, as well as any other musical sketch I made in my waking life. All in all, I had about 2,000 audio sketches lying around on my computer, completely disorganized, strewn about like the way my dog leaves her toys on the floor in my home. I needed to organize these sketches so that I could search them by mood, vibe, intrumentation, and genre. I could use them if only they were searchable. After I started this process, it took me two full months of consistent effort to finish. This sketch catalog is now my backup; I have a buffer of musical ideas, just in case a director asks for something brand new and I’m out of fresh ideas. It's a brain I can count on when the pressure is on. I've already used it dozens of times to find better ideas for music I'm working on. It’s more than proved it’s value.
When I shared this story originally, I got some comments to the effect of “Why did you do that? I mean, it’s so much work. It gives me a headache to think about it. Didn’t you get discouraged?”
The only way that I was able to commit to organizing this heavy mess of sketches was because I made damned sure to measure my progress backwards, every single day. Everytime I finished categorizing a sketch, I celebrated the win, verbally, out loud. I also celebrated every five sketches cataloged. I also celebrated my daily goal of 55 sketches cataloged. I also celebrated finishing 275 sketches cataloged every week.
To take the idea even further, I decided to make my celebrating way more fun. I always said something like this, out loud and obnoxiously: “Well, that was five more records than I had 10 minutes ago. Yes!” and “Wow! That was 55 more sketches than when I started this morning. Awesome!” and “Yes! That was 275 more sketches cataloged than when I started this week! I'm crushing it!”
This created momentum for my project. I got into a rhythm, a routine, a habit. I woke up every day excited to celebrate each and every little win. I watched this catalog of sketches go straight up in number, almost without me noticing. I ended up finishing the project with a week to spare, and let me tell you, I smoked a very expensive cigar to celebrate that win!
Remember, before I began the project, I had none of the thousands of sketches catalogued. None. Now, I had all of them done. I grew it from nothing.
Measure. Progress. Backwards.
I used to really fuck this up when I was younger…
This is in huge contrast to my old attitude toward long-term projects. I used to despair at the wide gulf between accomplishing a goal and where I was. It didn’t help I was comparing myself to some insane idealized version of myself. With that ideal rattling around in my head, I always felt behind, no matter how much progress I made toward any goal. I never felt good enough. I kept on thinking how much farther I had to go before I completed a goal. It always felt like the most annoying slog.
Henry David Thoreau truly nailed it when he said:
The mass of men lead lives of quiet desperation.
I look at that younger me now with a mixture of embarrassment and wisdom. I want to reach through time and slap the shit outta him, but I'm trying to be a little more self-empathetic. I just didn't know any better.
The Gap and the Gain: Always the Gain.
As I've mentioned elsewhere on this blog, The Gap and The Gain by Benjamin Hardy and Steven Mitchell solidified a change in how I view progress that’s so fundamental that I wanted to write about it twice. I no longer look at how much farther I've got to go in any project, no matter how large or small. I only measure progress backwards, to where I started. That’s it.
The result is one of continual satisfaction. There's a smoothness to working. I feel a satisfying momentum most of the time. I only see progress. I always feel like I'm ahead of the game. No matter what, success always finds me. I don't care how my small my wins appear to others: Every small success is a huge win for me, equally worthy of celebration. I feel happier. It reminds me of this quote from the Buddha:
There is no way to happiness. Happiness is the way.
I can only imagine what my life would have looked like if I had read The Gap and the Gain earlier, if I had only focused on the gains I made toward a goal. I mean, hindsight is definitely 20/20. If I'm lucky, I'll have the next 50 years to focus only on the gains.
Happiness is the way.
The Double Headed Seagulls – Play Artful – EP Review
Full disclosure…even though this would technically be my first time reviewing the music of The Double Headed Seagulls, it would be far from the first time I’ve reviewed the music of the man behind it all, Mr. Dave Wirth. While it’s not something that comes across my desk each and every day, I’ve technically been listening to his music in a variety of forms since sleepingbagstudios was about a year & a half old, and I’ve genuinely cherished it for just as long. Whether it’s been writing about or playing it on the ol’ SBS Podcast – this dude has been making music that’s been on my personal soundtrack for quite some time now, and I’m grateful for that. Dave’s also what you’d call a proud, perpetual student of his craft, and one of those folks that’s always looking to be hit where it hurts when it comes to the feedback I provide. Which, to be fair, you regular readers know that no one directly needs to ask for – I always say what I want to say, however I wanna say…always have, always will. It just so happens that I tend to enjoy what this dude does for the most part, so he’s generally escaped my wrath throughout the years. I think it’s basically crazy that this is the third project name I’ve reviewed his music under, which doesn’t count his solo work…so that’s four names you’ve gotta know in order to be able to track him down online and THAT is insane in today’s world for sure…but sound-wise, he’s always created stuff I’ve been interested in and that remains to be true here in the case of The Double Headed Seagulls. What’s more true than anything else dear readers, dear friends, is that there can be no mistakes when there are no rules. Sure things will or won’t be accessible based on the decisions someone makes in how they go about creating this or that…but that’s really all there is to comment on when you do your own thing.
So here goes anyway Dave…hope this helps.
With the warm digital glow of “Full Oxford” starting out the EP, I immediately felt like this was going to work out well for The Double Headed Seagulls in its debut. The low-end that enters into the peaceful serenity is more than noticeable to the point where I suppose a few listeners might find it to be a little jarring when it first shows up, but I think that after you give “Full Oxford” a spin or two, you welcome it. You’ll spend the opening two minutes in this strange sound-bath of sorts, which essentially serves as the audible amuse-bouche, before The Double Headed Seagulls begins to expand this first idea in the most delightful of ways as you head past the two minute mark into modulating frequencies and malleable sound. You get the sense that change is coming, which will be welcome for those that were getting a little antsy I suppose. Honestly, to me, “Full Oxford” felt akin to hearing a great story unfold – I don’t want anyone to rush those situations, so personally I was more than pleased to listen to the opening couple of minutes help build this song’s character and establish its presence. That being said, hearing how it goes on to morph itself anew was absolutely fantastic…that’s when I guess you’d feel like it was almost difficult to go backwards from there. Thankfully, that’s not how time, or songs work…we move forward, and the adventure of “Full Oxford” continued to get more and more interesting as it played. As you trip into its third minute, it’s like you’ve become untethered to float around blissfully in the ether. When that low-end comes back in minute four, it’s like the warm hug you always wanted to get, and it envelops you entirely as the music supplies a series of enchanting complements along the way. It all feels new, exploratory, and absolutely beautiful…and by the time it ends, you’ll wish it would never stop. The amount of work that’s been put in to make this opening song flow so fluidly is absolutely staggering.
What do they call those things in school…when you’re like…supposed to be familiar with something before you dive into something else…or like…at least it helps? Prerequisites? Is that the word I’m looking for? The press release gives you insights into the inspirations for a lot of what you’ll hear on this EP…stuff like Brian Eno, Radiohead, and Four Tet for example…all names I’m intensely familiar with and have celebrated throughout the years on my own playlists over here. Four Tet alone probably managed to shift my entire musical palette at one point in time long ago. Anyhow. I wouldn’t say you NEED to know all those names in order to enjoy what The Double Headed Seagulls is creating – but yes, it helps. As I listened to the cleverly interlaced percussion of the record’s title track, “Play Artful,” it was like I could hear how each of those influences played a role in paving the way for The Double Headed Seagulls to exist today. “Play Artful” feels playful…like reconnecting with the joy of discovery and what that’s like to experience when you’re listening to music. It’s not a moment to take things too seriously, you know what I mean? Don’t mistake that for a lack of craft…that’s not at all what I’m saying. What I think I’m getting at more than anything else, is that the music of Mr. Wirth has often come with the weight of heavy emotional elements to it, and there’s something about “Play Artful” that really feels like he was much more focused on just having a moment where he could leave all that behind for a minute or two. And heck – couldn’t we ALL stand to feel that way for a bit? When I started to think about it, I wanted to make “Play Artful” my personal anthem for the year…a direct affront to all the bullshit we’ve all been forced to endure through the corruption & erosion of our politics in the modern era. “Play Artful” gives you the opportunity to close your eyes and reconnect with simpler times, where the joys of finding new music you love, the beauty of the sun above, and the potential of every day was as exciting as it has ever been. We might not be able to physically go back there anymore, but songs like this can transport you.
You want raw honesty Mr. Wirth? Here’s some for ya – what’s the point of doing ANYTHING for a minute and twenty-six seconds? Not just music…I’m talking ANYTHING in life, though I’m more than fine with declaring I’ve always been at war with shorter songs. I certainly understand all too well what their place in today’s society would be with our ever-disappearing attention spans & all…but I kinda feel like it’s our collective job to rebel against that. Now…do I like what there is to be heard on “One Pot Screamer?” Sure! Does that mean I’m in favor of its appearance in this lineup? No! Though to be clear, I’m not ever going to be completely opposed to hearing something I enjoy, no matter how short it is. Plenty of those influential names we pointed out earlier on in this review all have shorter tracks of their own…it’s a thing…don’t get me wrong, I’m just complaining like an old man on the porch yelling at the state of the world. Even “Play Artful” was like, right on the borderline of what I’d consider to be a worthwhile venture. I mean…you should SEE some of the effort that folks like Dave pour into the making of “One Pot Screamer!” You’d likely assume that a shorter song directly equates to having to spend a whole lot less time twisting dials and knobs to get everything where it needs to be, but more often than not, they’ll end up spending more time in pursuit of perfecting something that’s even shorter than the male orgasm…and that ain’t right, is it? Shouldn’t we want music to be longer than that? Shouldn’t it have taken you longer to listen to “One Pot Screamer” than it just did to read about it here? No issues with what I’m hearing…production-wise, it sounds good…but at 1:26 in total length, it’s also really damn hard to argue that there’s anything so significant to be found here that it’d bring you running back for another repeat too. “One Pot Screamer” is a quality cut for the length it provides I guess – that’s about the most I can say to support it, and even that seems like it’s as positive as I can be. As I’ve said many times in the past, if song-length is all you’ve left a critic to pick on, you’re doin’ A-OK.
Alright…rant over…I think I got that outta my system…for now. “Doss Money” is the final track on The Double Headed Seagulls Play Artful EP, and I’d say this is likely more representative of what I assumed the record would have sounded like, long before I pushed play. “Doss Money” is like a somewhat logical progression from where we left off with Dave Wirth’s solo music…so this kinda makes sense to me and my ears. That being said, I think “Doss Money” is probably the most mood-dependent track on the EP, as in, it might not always be the track you’re looking to listen to the most in this particular set of songs. Again, I’m not opposed to it, and I’d argue that after about four minutes of floating around in a bubble, you finally land with a minute & change left to spare that will reveal all the most significant highlights that there are to be found within “Doss Money” – but overall, I enjoyed it. This is one of those sit up close and listen, textural & sensory types of songs for the most part…bending notes, resonance and such…more based on how the music moves you, as opposed to the music itself moving in a more tangible way, if that makes any sense to ya. We’re not so far off the deep end that “Doss Money” would play like a Robert Fripp experiment into Frippertronics, whereby he’ll play one note and let it ring for a half hour while he fiddles with the knobs and dials…nothing that extreme here at all. I’d probably argue that “Doss Money” is more like what it’s like to hear the art of evolution in real time. I’m not suggesting that it’s not rehearsed or doesn’t move with purpose – I absolutely think it checks both of those boxes. I suppose what I’m saying is that “Doss Money” feels gradual and organic, once again unfolding like a great story does, without feeling like it needs to gloss over any chapters along the way. And while like those great stories we know of, this final cut saves its largest doses of potency and impact for its last act, “Doss Money” ends up developing at a pace that takes a surgeon’s precision & patience, and delivers a conclusion to this EP that will certainly stimulate the curiosity required for you to want to spin it again.
Spotify this EP by The Double Headed Seagulls, or check it out at Apple Music by following this link here: https://distrokid.com/hyperfollow/thedoubleheadedseagulls/play-artful
Reading Notes
1-2 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Play Artful, the new record by The Double Headed Seagulls, releases August 28th, 2025.
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The seeds of the new are planted in the ashes of the old. In the case of Play Artful, the seeds originate from The Double Headed Seagulls' 2011 record Slimline, specifically the numerous, extra cassette tape recordings made during its years-long production process. Digital synthesizers, direct-to-interface guitars, and vibrant real-time feedback were all captured on tape and subsequently forgotten, waiting for the right moment to resurface. They were just begging for a new life beyond their original purpose.
Play Artful's manipulation of cassette fragments, lo-fi electronica, and jazz guitar chord modulation evokes the sounds of Pat Metheny's early self-titled record and Watercolors, as well as Brian Eno's Ambient 4: On Land and Music for Films, Four Tet's Everything Ecstatic, and Radiohead’s landmark 2007 album In Rainbows. This newest album by The Double Headed Seagulls demonstrates how old recordings can be reworked, revamped, and rearranged to create a completely new statement. The result bears a resemblance to the project's earlier work but introduces a more playful and childlike flair. While Slimline was serious and noisy, Play Artful is more propulsive, energetic, and imaginative. It represents a departure in tone and energy, yet remains close to their established core sound.
Play Artful is a fusion of dreamy jazz guitar chords, lo-fi electronica, and lush synthesizers, all combined in a vibrant and captivating manner. It consistently aims to surprise and delight listeners. The vibe evokes the image of creative kids with crayons drawing on the walls, with the parents rolling their eyes but loving every second of it.
Releases August 28th, 2025
Preorder Here:
Reading Notes
3-5 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Measuring progress backwards; Celebrating small wins; Shifting our mindsets in a productivity-obsessed economy.
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The next three paragraphs have something in common. Can you spot it? It’s easy. I promise:
Two months ago, I had no idea how to finish a blog post without expending a great deal of energy. Now, I have pinned down a lighter and easier process. I went from spending up to 7 hours on a single blog post to just 1-3 hours. That wasn’t the case two months ago.
Three months ago, I also didn’t have a reliable car. My car at that time had no AC, old tires, and engine issues. Now, I have a new car that I can drive anywhere in comfort and style. It's much more reliable, and quite a bit safer. That’s a lot better than where I was more than three months ago.
Six months ago, I hadn’t yet written a note that I liked for a major film scoring project. I was still grappling with the direction I was going to take. Today, I can look back and see all the tiny advancements I made until I finished it. I delivered the score, the director was pleased, and I felt fantastic. That wasn't the case more than six months ago.
Did you spot the common theme? In each of these examples, I measured progress backwards.
Measuring progress backwards means comparing ourselves to where we started. From that vantage point, we often (and only) see remarkable progress. By only seeing progress, we tend to build momentum. To me, that's super magical.
In The Gap And The Gain by Ben Hardy and Dan Sullivan, they talk extensively about measuring progress backwards. I nabbed the audiobook version to hear Dan Sullivan get interviewed by Ben Hardy in between chapters. In one interview, Dan said,
If there’s only one thing that you do as an entrepreneur, always measure your progress backwards.
Why does he recommend that?
Possibly because measuring progress backwards gives us a ton of momentum. It also helps us break the habit of looking at the future as a distant place we are so far away from.
I can’t think of a worse way to live my life than to only see how far I've got to go before I reach a goal. That’s similar to when I allowed an ideal to drive me. Comparing myself to that ideal made me miserable. The cliché “Comparison is a thief of joy” is a cliché for a reason. Whenever I compared myself to that ideal, I felt depressed, annoyed, and aggravated that I hadn't accomplished more with my life.
Thankfully, measuring progress backwards guards against using an ideal as motivation. Since I only compare myself from where I started, I always feel good. I always feel like I’m progressing. I always have momentum. I like that feeling! It’s the wind at my back.
When I started that film score, I only focused on my wins. If I wrote a cue that worked for a scene, I celebrated that win. I would simply say, “Wow, I didn’t have that written this morning!” It felt great every single time I saw progress.
Truly, measuring progress backwards means I only compare myself to where I started. I count and celebrate every win, and it feels good. That's a tonic we all could have more of, especially in the hyper productivity-obsessed work environments so many of us feel squelched by, nowadays.
There are two possible outcomes when asking someone to pay you what you're worth:
You gain a collaborator who’s eager to invest in you.
You get rejected by someone who isn't ready to invest in you at this moment.
Both outcomes are wins.
Reading Notes
7-9 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Patience in commitment; The "Tepid Yes" concept; A framework for categorizing commitment levels
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After the success of Titanic, director James Cameron waited years for the right technology to develop so that he could create Avatar. He believed in the idea but didn’t commit to it immediately. He was unconvinced that the visual effects industry could bring his vision to the big screen. Instead, he bided his time, focused on the story, and patiently watched as 3D filmmaking and motion capture advanced enough to realize his vision fully. When the time was right, he pounced.
Cameron's commitment to ensuring that every aspect of Avatar was worthy of the time and resources invested into it paid off. The film became one of the highest-grossing of all time and received critical acclaim for its innovative visual effects.
This story reminds me that it’s okay to be patient. It reminds me that I can wait on an idea until it's time has come. It reminds me that I can have many ideas simmering in the background. We don’t need to commit to everything right away, as James Cameron did with Avatar.
The challenge is knowing which commitments deserve our full attention. Truly, we could all do ourselves a huge solid by being more thoughtful about not only what we say yes to, but also how much to commit to them. Instead of charging forth, giving our full, undivided, honor-is-on-the-line commitment to everything we've said yes to, why not give most of them a tepid-yes and let them simmer?
Most options out there don’t deserve any commitment whatsoever. I believe that 99% of the options that get presented to me are pretty trashy. But when I do find an idea, project, or option that resonates deeply, I don’t have to go all in, right from the start. It’s better to match the commitment to the project’s actual importance, at any one time. It's better to remain flexible and assess how much energy a project truly needs before blindly jumping in, thus expending our time and energy wastefully.
Examples Proving When A Tepid Yes Works In Your Favor
There are tons of examples of well-known companies giving a casual, tepid yes to projects, simply to see if they are worth a more hard-core yes later on. Google is a great role model in this respect. They only invest fully when an idea proves itself in their labs. Google Calendar started as a small project. After a tepid yes, Google escalated their commitment to the project as its potential became clear. The rest is history.
I appreciate the "tepid yes" because it allows me to explore without feeling trapped. This way, I avoid the sunk cost fallacy and can step back if something no longer serves me. Amazon did this with its Fire tablet. The product failed, but Amazon didn’t cling to it. They committed just enough to gauge its success and pulled the plug when it was clear it wouldn’t work.
Rating The Level of Commitment
Some commitments are minimal, like deciding whether or not to grab a cheap salad for lunch. I consider these level one commitments. They are many in number and have the smallest amount of trade-off if you don't do them. Changing one's mind is easy with level-one commitments.
Level five commitments are significant, like marriage, raising children, or a deep commitment to a chosen profession. They are few in number but of outsized importance. They are so intregal to our lives that not honoring them is both unthinkable and painful.
As I mentioned, level one commitments are largest in quantity but smallest in importance. Level five commitments are smallest in quantity but largest in importance.
This undeniably simple graphic (created by the office intern who is a juvenile graphic designer-wannabe, who has a poster of Jan Tschichold in his bedroom, who is a gushing fanboy of Edward Tufte, whose Mom is super proud of his work) shows it best:
A ridiculously stupid-looking graphic that gets the point across… I can only fucking hope.
The Downsides of Misjudging Commitment Levels
Misjudging your level of commitment can lead to several nasty problems. A lack of critical thinking can develop into a habit if we don’t fully consider what we say yes to. That's dangerous! Overcommitting forces you, out of the necessity of saving time, to look past the details. There's a reason why the saying "the devil's in the details" is a cliche.
Burnout is another risk. Committing too quickly or too deeply will drain us, especially if a project demands more time and energy than we expected.
Let's not forget about the dangers of unrealistic expectations, inflexibility, and the pressure we place on others to capitulate to what we committed to. Further, think of all the great opportunities you'd forgo if you just committed to a whole mess of really crappy ideas. Yuck.
A Framework for Judging The Scale of Commitment
To avoid overcommitting, it helps to write down what we’ve said yes to and evaluate it soberly.
Start by writing down your commitment on a piece of paper or text file. Then, rate your answers to these questions on a scale of 1 to 5:
How worthy is this person/path/idea/option of your full commitment?
How good do you feel when you fully commit?
How unthinkable is it to abandon this commitment?
How aware are you of the trade-offs and benefits of staying committed?
How dire are the consequences of stepping back from your commitment?
The higher the average number, the higher the commitment level you need to give to it.
In Conclusion
Overall, it's best to relish saying no, way before you even get committed in the first place. As I mentioned, most of all the options out there are super trashy and trivial. But when you do say yes, it doesn’t have to be an all-or-nothing declaration. It can be a lukewarm, tepid yes. It can be a "let’s see if this works" kind of yes. It can be a "you’ve got 30 days to prove yourself" kind of yes. It can be a "perhaps, buddy. Perhaps." It can be a long, molasses-slow "maybe."
Opt for the tepid yes, especially when the big commitments (like kids, marriage, family, and our professional aspirations) deserve most of our energy and commitment.
Reading Notes
9-11 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Sunk-Cost Bias in rock and roll; The Rise and fall of Sprightly Moans; How to determine if you have a sunk-cost bias
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Though I hate to admit it, so many of my old dreams of becoming a rock and roll star were probably derailed out of a lack of awareness of a sunk-cost bias. Sunk-cost bias is the tendency to keep on committing to a path based on prior investments, rather than future benefits. Sprightly Moans was one of these casulties.
Sprightly Moans was a band I put together in 2012. It was a guitar and drum duo. Both of us played significantly loud. To new listeners, I often described our music as if The White Stripes, Lightning Bolt, and Jimi Hendrix got into a gigantic knife fight and it didn't end well.
Our music set astonishingly nihilistic lyrics against a bluesy, bit-crunched, distorted guitar. The drummer would play in a blistering blur around the rhythms I threw down. I sang loudly and with a great deal of force. It was a lot of fun!
Sprightly Moans got to the point where we wanted to make a serious go of it. I thought we had great potential to actually make it in the hyper-competitive rock scene in Austin as well as the United States. I began to get our image straight. First, I got my Fender Telecaster re-done with an all white, nitro finish. It looked awesome and it sounded great:
I decided to give an old drumset a monumental makeover. I stripped it of it's cover, sanded it, repainted it, recoated it, put clear drum heads on it, and all of a sudden I had this sharp-looking drumset. It helped that it sounded tremendous!
We got professional promo photos done with a great photographer, Juan Gonzalez of Lime Fly Photography:
We shot a video I'm still proud of:
And then, after all of this progress, the drummer and I parted ways. It knocked the wind right out of me. After the shock wore off, my next thought was how I was going to recoup all the money, time, effort, love, and the many hours of dreaming I put into the project. Obviously, I needed a drummer! I was already so far ahead... how hard could it be to find a drummer?
I printed posters, I posted ads, I asked friends. I auditioned five different drummers. No one really fit… One of them made fun of me, right to my face. Ouch.
Something started to feel a bit off...
Operating from a place where I wanted to recover all the resources that I put into this band ruined the fun of it. And that’s a shitty place to be at. I was trying to capture that feeling again, and it was disappearing quickly. I didn't feel right slogging it out on a project that seemed to no longer have the magic it once had. I acted out of desperation. I doggedly kept pushing forward. I still expected a return.
Eventually, after two years of nursing the dream of getting the band up and running again, I gave up the ghost on Sprightly Moans. In a deep way, I felt relieved. Sprightly Moans was no more, and I accepted that I would not be a rock and roll star after all. Sure, that hurt a little. Growing hurts sometimes. But it was healthy.
After I let it go and I properly grieved, I finally felt ready to tackle the next thing. It wasn't long after that I met Madison Bounds and started collaborating with him on his film Crisp Lips, my first film score. I had such a fun time doing it! The magic returned! I was creating music in that flow-state of musical fun.
Creative Sunk-Cost Bias
My unwillingness to let go of Sprightly Moans and my dogged persistence to reclaim the investment is a perfect example of the sunk cost bias. I was more motivated to make good on all the effort I put into that band (the mini albums, the promo photos, the music video, the time I spent making albums our of paper, and the nursing of my dreams) than I was playing the music and trusting the magic of it. I was more interested in getting a return on the money I spent on the video than I was just having fun and going with the results.
In other words, I was stuck in the past rather than finding a way to be creative.
Sunk cost bias becomes a huge hassle if we're not careful. Without knowing it, we can get pulled into a commitment and stay there even if we're totally unhappy about it. Often, I don't think we're even aware of this bias! And if we are blind to sunk-cost bias, we are similarly blind to newer opportunities, less aware of present realities, and unflexible to take advantage of a good cultural moment.
I know now that if I had given up on Sprightly Moans within a half a year (not the two years it actually took) that I would have had a massive head start on composing music for film.
Determining Sunk-Cost Bias
What can we do to guard ourselves from sunk cost bias? If you suspect it in one of your creative prospects or business doings, or if you're just plain curious, ask these questions of yourself:
How worthy is this person/path/option of my commitment? Time? Energy? Money? Other resources altogether?
Is there a better-sized commitment for this that's more appropriate and respectful of my resources? Time? Energy?
Have I become blind to how shitty it really feels being committed to this?
Do I feel a sense of being locked into this commitment?
Is there an exit strategy with this commitment?
If I weren't already invested in this commitment, how much would I invest right now?
If I didn't already have this commitment in my life right now, how much would I work my ass off to get it? How much would I pay for it?
What opportunities are getting lost as a result of me commiting to this?
What else can I do with my time if I pulled the plug on this commitment?
What else can I do with my money if I pulled the plug on this commitment?
What else could I do with my energy if I pulled the plug on this commitment?
Would I be more effective in reaching my ultimate goals if I pulled the plug?
Are past investments in this option getting heavily weighted over future rewards?
Are there any patterns with this commitment that are similar where past costs were prioritized over potential future gains?
Call up a friend who will tell you the truth, no matter what. Explain the situation. Ask this person: "Am I prioritizing the previous investments more than I am prioritizing what I could get from it?"
Are there any strong emotional reactions when I consider uncommiting to this? Name them if so. The more there are, the more likely sunk cost bias is in play.
Is it time to implement a "kill criteria"? Meaning, a criteria for discontinuing projects that are not meeting expectations, regardless of past investments.
We don’t need to suffer to create art. Seriously.
I think suffering from sunk-cost bias totally roots us in the past in an unhealthy way. It doesn't feel good being tied to a creative commitment that doesn't quite do it for us anymore. In my case, it felt awful trying so hard to revive Sprightly Moans. I hoped to make that my main breadwinner. I was a little too obsessed with making my money back, with making it in the rock scene altogether. The fun disappeared.
Once I finally let it go, I felt tremendously good about what we did. Looking back made me smile, and blush a little bit too. I began to enjoy those things I invested in as loving artifacts of that period of my life. The drum set, the Telecaster, the photos, the albums, and the video.
As I mentioned before, hindsight is 20/20. Better to look back soberly at these older projects and reinterpret them as these awesome things we did. Better to marvel at the things we accomplished while we were truly in the moment, and then find a new thing that suits us even better, now.
This post was inspired and influenced by Essentialism by Greg McKeown. I totally recommend it.
Reading Notes
1 Minute Read | Laptop or Tablet Recommended
Topics and Themes
A conversation between Kurt Vonnegut and Joseph Heller; More vs enough.
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The well-known American authors Kurt Vonnegut and Joseph Heller once had a remarkable conversation about money. It encapsulated how Americans value growth to the point of idolizing it.
Here’s the story:
Vonnegut and Heller were at a party hosted by a billionaire. When Kurt Vonnegut discovered how much money the billionaire raked in the previous day, he couldn’t resist needling Heller.
Vonnegut peppered Heller with this question: “How does it make you feel to know that our host only yesterday may have made more money than your novel Catch-22 has earned in its entire history?”
Heller smiled and said, "I've got something he can never have."
Kurt Vonnegut was intrigued. “What on earth can that be, Joe?”
Heller responded, "The knowledge that I've got enough."
I’ve heard this story many times, in many forms. I love it. I appreciate the economy and authority of Heller’s reply. His contentment with his own financial situation was clear, and his response also served as a subtle critique of a culture that often equates self-worth with financial success.
Heller’s response also shows how we might be doing ourselves a great disservice by chasing more money at the expense of our time. Don’t get me wrong. We all need money to survive. But there comes a point where we can go too far, where we would willingly trade away the finite resource of time in the relentless pursuit of more and more money that we might not actually need. We don’t have a lot of time in our short lives. It’s important to use it wisely.
Hats off to you Joseph Heller. Thank you for reminding me (us?) of a balanced, kind, and self-compassionate word… A word that brings the importance of conserving our limited time back into sharp focus:
“Enough.”
Reading Notes
7-9 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Balancing flexibility and structure in work; Time management in the creative realm; Designing a life with both creativity and engagement with the world.
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I originally wanted to teach guitar for a silly reason: I wanted to have a job in-between touring stadiums. I know... reach for the stars, right?
In my mind, I didn't want to be out of a job during the months I wasn't rocking the free world. Thankfully, after my dream of being a rock star died, I learned that teaching offered me a chance to dig into my own happiness in a much deeper way. That, and it made my life a whole lot more fun.
For starters, teaching privately meant that I could teach anytime of the day. When I first began building my teaching practice, I was strict with having a 9-5 schedule. I soon wised up that I could restructure my hours to avoid rush-hour traffic (totally amazing in a city like Austin).
About two years into teaching, my Dad mentioned that if I charged more, I could work fewer hours and the clients would get better. I honestly thought he was full of shit at first. Have you ever heard saying “The older you get, the smarter your father gets?” Of course, Dad was right. I charged more, I worked fewer hours, and the students got way more dedicated. With these changes, I felt like I was getting away with murder in my work-life.
The importance of scheduling out creative time
I had an epiphany after I made a greater number of adjustments like these to my work life: If I can structure my teaching schedule so elegantly, how do I wish to structure my off-hours? How do I wish to structure my time away from teaching to be the most creatively fulfilling? Of course I wanted to create new music, but I found myself stymied by the luxury of having too much unstructure time. It's like Twyla Tharp says in her book The Creative Habit: If you want to ruin creativity, throw as many resources at it as possible.
At that time, I had another massive luxury of a separate office where I taught and recorded music. I wanted work to be totally seperate from my home life. The trouble was that all of my recording equipment was at the office. If I wanted to create music, I had to drive there. Going to that office to "be creative" didn't quite work for me.
I silently chastised myself about this for years. Then, the pandemic happened. Yeah... the separate office had to go. There was no was I was going to pay two rents during one of the worst economic periods of my adult life. I moved all my teaching and recording equipment to a spare room in my house. I had to make it work, somehow.
After some tweaking of the acoustics and adjusting to the idea that students will come to my home, my office began to feel super comfortable. But even after I settled into the new situation, I still felt like I wasn't structuring my creative time as best as I could. I had this annoying suspicion that I could have finished off a bunch of old projects earlier if I were a bit more ruthless with my schedule. After reading Deep Work by Cal Newport, I knew I finally had the answer.
Cal Newport teaches at Georgetown University and is a well-known author who has long offered excellent advice on creative productivity (in other words, how to get our most interesting work done without giving up on our responsibilities in the world). He has long advocated for doing what is most effective in one's life to reach the goals we dream of reaching. In Deep Work, he presents a very compelling case to schedule uninterrupted time to focus on the things most important to us. In his view, the idea of deep work comes to life when we schedule out the time to work, engage, struggle with, and solve hard problems that we want to solve, and without any interruptions.
The AM/PM Creative Routine
Reading Newport's Deep Work inspired me to structure my time outside of teaching. And what came out of it? I call it the AM/PM creative routine. Here it is:
The AM part of the equation is this: I wake up at 5:30 AM. The silence in my neighborhood encourages me to be super creative. I quiet my phone. I refuse to check email. I practice music. I work on finishing albums. I focus on creative projects that I intend to finish.
Once 12 PM hits, I shift. I begin to see the world beyond my head, engage with the people in it, and be completely present in my interactions. I shift to the PM part of my day. That’s why I teach in the afternoons and evenings. I ended up choosing Sundays through Wednesdays, from 2 PM to about 8PM to teach. During this time, I am totally present to the outside world.
In short, the AM/PM creative routine (for me) looks like this: 5:30 AM to 12PM: Create excessively. 2PM to 8PM get my extrovert on. It works for me.
Making your own version of the AM/PM Creative Routine
If you've made it this far in this article, then congrats! Here's where this'll get really applicable, for you. Let's go over how you can make your own version of an AM/PM creative routine. First, you need to ask yourself one simple question:
When am I most creative?
Why start with the creativity, rather than the work-life? I’m assuming you don’t want to have a job forever, right?!? It’s my strong belief that we need to give priority to our most creative moments on our schedules.
If you know when you are most creative, put that time on your calendar. Schedule it out. Block it off. Do not let anything get scheduled during that creative time. It's not time to check email or get engaged with sending messages. It's sure as hell not time to answer to a boss's silly needs. That's your scheduled time to just create. Guard it with your life.
Once you've given that creative time the priority it deserves and scheduled in on your calendar, the next step is to schedule your work-life around it.
If you're annoyed with that last sentence I wrote, I don't blame you. Everyone's situation is different. I recognize that. Keep in mind that that no work situation is final. You are not stuck forever, in exactly the same circumstance and exactly the same job. Chances are good you have far more flexibility to schedule around your creative times than you think you do.
A close friend of mine, an unbelievably creative man, works in the IT department of a major university. He was taken aback by how easy it was to get his employers to accept his proposal to work from home. Now, without a daily two-hour commute, he has far more room to schedule out his many creative pursuits. He has more balance. You probably have more flexibility than you think you do with the "PM" part of the equation. Just tease it out. The solution will come.
Wrapping Up…
There are times for myopic creative exploration. These times need to be spoken for on our schedule and deeply protected. Similarly, there are times for engagement with the forces of the world... times for extroversion and presence with our families, friends, and professional colleagues. That also needs a little bit of structure, too.
I need a well-maintained balance between both mindsets to get to where I'm going (aka, the toppermost of the poppermost, as John Lennon mentioned before the Beatles got to be huge). Clearly, it's my strong belief that the introverted creative exploration and the external engagement with the world need balance for me to have any chance of happiness and success. It’s what I value.
If you value that balance too, then be sure to schedule time to create as well as when to engage with the outside world.
Reading Notes
11-14 Minute Read | Laptop or Tablet Recommended
Topics and Themes
A humiliating first music theory moment; An effective learning strategy and plan for learning music theory from scratch.
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I promise you I will share the optimal way I’d learn music theory, if I were starting from scratch. Before I get there, I want to share a story where I got destroyed by not knowing it. Like, the carpet was totally and completely yanked out from underneath me. It makes me chuckle to think about it, to this day.
Getting Destroyed By Music Theory, Story #1 (of Thousands)
I didn’t take guitar lessons in high school, but I didn’t mind. I was having a blast learning to play music on my own. I’d find a random guitar tab, learn it, and move on to the next one. If I liked a song that didn't have a tablature online, I’d just jump in and transcribe it. I played guitar for at least two to three hours every day after school.
I learned guitar by ear, with a will to get better and better and better (I compared myself to an ideal, back then). I didn’t know music theory, but that didn't stop me. Learning on my own meant I didn’t have access to a teacher who could teach me the nuts and bolts of why music works the way it does. When I finally got to college, my first act as a college freshman involved approaching the guitar professor, Chris Buzzelli, and begging for guitar lessons.
Here’s the part of the story where the rug got yanked out from under me.
On a chalkboard with four permanently painted music staves, Chris scrawled four notes and asked me to play them. I couldn’t do it. I was mortified. I could transcribe a bunch of solos, play some impressive rock guitar, but I couldn't play four notes? Four simple notes on a treble staff?
Embarrassing.
Chris took pity on me. He recognized my eagerness to learn and my desire to improve. He arranged for me to take lessons with a graduate student, Jason Werkema, who taught me jazz guitar. I explored scales, arpeggios, and all sorts of 7th chords. I even memorized a couple of jazz standards. I was finally able to improvise over jazz, solo in a fairly concise way, and play four measly little notes on a music staff.
With that knowledge, I successfully auditioned for the guitar program at the end of my first semester. And damn, I was stoked to be there! Over the next four years, I basically hunkered down to learn guitar.
Getting curious about how to learn music theory
Since then, I dove deeper into my love of music theory. I uncovered more advanced topics that piqued my interest. I expanded on my foundation and developed a deeper appreciation for the lesser-known but super fun concepts of music theory.
As I began teaching, it also became essential for me to discuss music theory in a meaningful way. Some students had an intense curiosity about it. They would ask really good, insightful questions. This challenged me to provide equally good answers.
Over time, I experienced moments of clarity around music theory and how to teach it even better. I wanted to address the questions students had about learning the concepts with the least amount of intellectual baggage. How could I help them grasp the fundamentals quickly and easily? This led me to consider how I would tackle learning music theory if I had to start over.
I began to pinpoint the most important concepts and arrange them into a coherent, cumulative order. I focused on isolating the music theory concepts that truly made a difference in developing musicianship and artistry.
I’ve since guided many students through this approach to learning music theory, and it works. I want to share this overall path here so you can reap the rewards. This information could save you (or someone you know) a lot of time and prevent quite a few headaches.
Before I jump into it, keep in mind that I don’t talk about how to learn these concepts. There are countless ways to address each of them. And thank goodness for that! No single learning method will work for everyone. This blog post presents a cumulative order that builds upon mastery of the previous topic.
Let’s get started!
If I needed to learn music theory again, this is how I’d do it
Learn to play by ear and learn basic music notation.
I would start by learning how to figure out melodies by ear. This requires transcribing melodies and bringing them to life on any musical instrument. The specific instrument doesn’t matter. I used the guitar, but you could choose a piano, an oboe, or a hammered dulcimer if you’re a non-conformist.
Playing by ear helps you develop pitch recognition, which is essential for playing music. A heightened sense of pitch means your ears connect to your instrument. This connection creates a deeper musicality, and extension of yourself. You’re already learning how to express yourself musically before you know anything about music theory.
During this process of learning by ear, I would also recommend learning basic music notation.
Just as reading a book requires understanding written words, music theory relies on written notes to convey meaning. Learning basic music notation helps you get comfortable with how musicians communicate with each other. This includes understanding notes on a staff, clefs, key signatures, and all sorts of other fundamentals. I highly recommend Music Notation by Mark McGrain for getting familiar with this. I recently took about three months to work through that book. It sharpened my skills quite a bit.
Memorize Major Triads, Minor Triads, and Dominant 7th Chords
Once I feel somewhat comfortable transcribing and have a grasp on basic music notation, here’s my next move:
I would memorize the notes of every single major triad. For example, C-E-G, F-A-C, Eb-G-Bb, and so on. I wouldn’t stop until I can spell out each of these triads quickly and without hesitation.
I would tackle minor triads next by taking the third of the major triad and lowering it by a half step.
I would memorize dominant 7 chords last. I’d do this by taking a major triad, counting down two notes from the root, and calling that note the 7th.
Why do I recommend memorizing triads and dominant 7th chords? These chords form the foundation of harmony. Much of western music builds on major and minor triads, as well as dominant 7th chords. Being able to spell them quickly means you gain a significant advantage in understanding the nuts and bolts of music.
Memorize Key Signatures
Next, I’d flat-out memorize the key signatures.
Why? Key signatures are essential for playing in different keys. You do want to play in different keys, right??
Additionally, they engender greater familiarity with the written notes, enabling you to read music more fluently and perform with confidence.
Memorize Basic rhythm: Metric structure
After that, I’d totally commit basic rhythmic subdivision, often called metric structure, to memory.
Why? While the height position of a note on a staff represents pitch, the horizontal position of the note represents time and thus rhythm. Without understanding how notes are subdivided and how they fit into time horizontally, music wouldn’t be at all rhythmic. Simply put, without an ability to write rhythm, you don’t have a song you can tap your foot to.
Learning rhythmic subdivisions allows you to grasp the system of rhythm. Further, you can leverage it to your advantage when writing music.
Feel Solid With Roman Numeral Analysis
Next, I’d sink all of my focus into learning Roman numeral analysis.
Why Roman numeral analysis?
For starters, you’d unlock the underlying chords of most songs, instantly. You can use it to decipher why some songs sound really cool and why others sound kinda lame. Mastering Roman numeral analysis means you can create chord progressions that sound really good together. You'd get a cheat sheet to write a cool chord progression quickly.
Sight reading
Finally, I’d sight read on a daily basis. This book has served as a lifesaver for me to learn sight reading on the piano, and the author also offers a version for guitar.
Why sight reading? For one, it helps you become comfortable with the notes on the staff, the keys and the key signatures, and rhythmic subdivisions. Additionally, getting really solid at sight reading boosts your ability to perform, collaborate, and adapt to new musical challenges.
The process of learning music theory from start to finish
As a recap, here is the learning process for music theory fundamentals from start to finish:
Transcribe melodies by ear and learn music notation
Memorize the major triads
Memorize the minor triads
Memorize the dominant 7th chords
Memorize all the key signatures
Memorize basic rhythm: Metric structure
Get comfortable with Roman numeral analysis
Make a daily habit of sight reading
How Long Will This Take?
Okay, you might be wondering how much time this will take. Before you jump to conclusions, I want to remind you that the order I’ve laid out is cumulative. Each concept builds on the previous one. I do not recommend trying to approach all of them at once. Start with the first concept, right from the beginning. Once you feel comfortable and familiar with a concept, move onto the next.
As far as the time commitment, that depends on the amount of space available to work on it. Given my current schedule right now, it would take me a little less than a year to learn if I had to learn it all from scratch. If I had nothing else going on, give me about three months.
If that sounds discouraging, please check out my blog post on bare-minimum practice routines. I firmly believe that small amounts of practice can lead to big results. You should be aware that you can easily practice sustainably.
What do you get after you complete this basic process?
Here’s the great news: Any additional music theory concept you study after mastering these fundamentals will come easily.
For example, if I want to learn about arpeggios, I can easily dive in because I’ve already memorized the triads and dominant 7th chords.
If I want to write music in a specific key, it's straightforward because I have studied Roman numeral analysis, key signatures, and memorized the chords.
If I wanted to learn modes, I can jump right in because I already know the triads and am familiar with Roman numeral analysis. I can spell out the modes because I’m comfortable with the notes on a staff, key signatures, and metric structure.
Are you starting to see how beneficial learning music theory can be? I hope so.
In conclusion
Learning music theory doesn’t have to be difficult. You can approach it in a sustainable way, gradually, over time. Additionally, not all music theory provides the same amount of benefit to you. There’s tons of things I still don’t know (and that makes it fun).
Understanding which parts of music theory to focus on and in what order gives you a significant advantage.
Now, all you gotta do is roll up your sleeves and get on with it.
Reading Notes
3-5 Minute Read (Photos) | Laptop or Tablet Recommended
Topics and Themes
Building a QD-23 by Acoustic Fields
Without a doubt, the most time-intensive project to improve my composing studio has been a DiY build of Acoustic Fields’ QD-23. The QD-23 is a massive acoustic diffuser that evenly diffuses all frequencies from 185 Hz to 3.45 Khz. It was totally worth all the pain and difficulties because it sounds dope in my studio, now.
Why on earth did I attempt to build this damned thing? Three reasons.
Reason #1: Acoustics in recording studios are crucial. Taking care to shape the acoustics of a room allows me to feel reasonably confident that a mix will travel well (meaning, it’ll sound good on a lot of different systems). Proper acoustics also ensures a far better chance at clarity and balance.
Reason #2: Diffusion, in general, helps to scatter sound waves evenly throughout a space. The QD-23 works really well when it’s placed behind the person doing the mixing, like on the back wall. I knew that it would allow a deeper, more 3D richness in sound.
Reason #3: I talked my Uncle into helping me with the build. Seeing as how he’s a far better woodworker than I will ever be, I was both shocked and delighted he agreed to help me out.
The process was intense. I knew that I wanted to remember this for the rest of my life, so I kept a photo diary of the process. I’ve published a couple of blogs about this project already, Day 1 and Day 2, but I’ve condenced the entire project onto this blog post so you can see the entire thing, start to finish.
Let’s go!
Day 1
Goal: Cut all wood to the sizes required by the build plans.
Day 2-4
Goal: Stain the wood. I have fewer photos of this part of the process because getting my phone out to take pictures was incredibly difficult with rubber gloves and stain everywhere. The colors did turn out quite pretty:
Day 5-6
Goal: Mark the wood for the wells. Not sure what a well is? You’ll see later in the post.
Day 7
Goal: Get the wells routed out and ready for the slats. My Uncle managed to create a jig for the router so that we could get the work done quicker.
Day 8
Goal: Get sides and wells glued into place. This was really fun to do:
Day 9-10
Goal: Get tops on.
Day 11
Goal: Configure the well depths. See the hammer? My Uncle called that his “Persuader.”
Day 12
Goal: Start placing the wells. Each of them was configured to go to different depths. Notice the gnarly things we needed to do to each slat to make sure that it stuck together…
Day 13
Goal: Do a little framing, make a stand, install in studio, be happy!
Reading Notes
7-8 Minute Read | Laptop or Tablet Recommended
Topics and Themes
A love letter to the iPod Shuffle; Digital downloads lack a home; The iPod Shuffle's backwards compatability.
Sometimes, the whole world closes up tight on me. My options seem limited. Progress slows to a trickle. My thoughts flail around like flies in syrup. Stuckness abounds. It happens. It’s a part of the seasons of life.
Eventually, the world opens back up again. Emotions flow easily. Colors burst more vibrantly. Life regains its delectable mystery. This time, the music of Tomasz Bednarczyk, Swartz et, Rival Consoles, and Kin Leonn has all opened up my world again. I find myself grinning more because of them.
Most of the time, I am late to the party in unearthing artists like these. These musicians release their music on small independent record labels who duplicate very limited quantities of vinyl records or CDs. Inevitably, these artists run out of the good stuff before I can nab a physical copy. They are highly prized and valued because they are so limited. This forces me to choose between grabbing a digital download of the record, or streaming it on Spotify. I totally dislike the latter. Unfortunately, the former comes with the annoyance of the music not having a dedicated physical home.
Marc Weidenbaum, author of the excellent This Week In Sound newsletter, also admitted he feels perplexed about where to store digital downloads of records. Clearly, he can store vinyl records and CDs on shelves in his apartment. That’s easy. Let’s also admit that a big vinyl record collection is one hellova humblebrag. What happens if the vinyl isn’t available, if the record is only available digitally? The download doesn’t have a dedicated spot for storage. Digital downloads exist in multiple places at once: a phone, a computer, a tablet, the cloud, in our minds at 3am when we’re trying to sleep (or maybe that’s just me…) and more. In other words, digital downloads exist everywhere and nowhere, simultaneously.
Vinyl Record Love
Vinyl records are different. They are physical, present, and they have weight. I also love the sound of vinyl records. I love big artwork. I love the look of them on my shelf (read: humblebrag). Plus, I appreciate that I don’t need WiFi to listen to any one of them. I come from a generation that had Sony Walkmans and portable CD players. For us, it was exciting to stumble upon a new band by listening to CDs in a listening booth at a record shop. Sure, we missed out on the abundance of music that Spotify offers, but as I’ve mentioned elsewhere on my blog, having millions of options has a significant dark side.
Nowadays, I limit and deliberately curate the records I choose to listen to. It’s the 80/20 principle in action. I want to find the most highly-inspired records that I’ll listen to for weeks on end. Finding these records makes me happy. Such treasures. The trouble is, what do I listen to them on if I’m not in my acoustically-controlled environment at my home studio?
A Quest for the Perfect Listening Device
Recently, I pined for a piece of equipment, both as simple as a Sony Walkman and as hip as a record player, to serve as a storage space that unfussily stores the digital versions of albums I enjoy. I wanted something I could take anywhere. It had to look cool, feel nice, and quickly deliver my music without distraction. It needed to play the music I purchased under any circumstance, even if there’s no WiFi. Finally, the device was not allowed to be my phone.
That’s when I remembered I had an iPod Shuffle gathering dust in a closet. What a perfect, elegant solution!
iPod Shuffle
The Charm of the iPod Shuffle
This beautiful little device weighs just 22 grams. It's smart. It’s appealing. It’s functional. The design is snappy. It feels great when you grasp it. It’s like holding a tiny baby chick in your palm: cute overload. I realize I’m channeling Jerry Seinfeld introducing the cars in Comedians In Cars Getting Coffee, but I think I could channel much worse (and I bet you would agree).
Despite having no screen, the iPod Shuffle is incredibly easy to use. The play button doubles as both play and pause. Volume controls are the + and - signs on the top and bottom of the white circle. You can skip songs on the playlist using the clearly marked buttons on the left and right sides of the white circle. When I long-press the button on top, a voice announces which album I’m listening to. I get a chuckle out of that Web 2.0 robot voice.
The iPod Shuffle has enough capacity for 2 GB of music. To listen to an album I purchased digitally, I create a playlist on my Mac with the music and drag the playlist onto the iPod. I plug in my actual headphones with a cord (remember those?), long-press the button on top to choose the album, and then press play. That’s it.
Best of all, the iPod Shuffle cannot connect to the internet. It's completely neutered from receiving notifications from this person/that company/whomever. I can listen to music for hours in peace and happiness. Uninterrupted musical enjoyment!
A Nostalgic Relic
The iPod shuffle couldn’t be easier to operate, nor could it have been better designed.
And yet, as music shifted from being purchased to getting streamed, the iPod faded in popularity. People gradually forgot about it. Apple retired it altogether in 2017. I understand. The iPod is a relic from a time when we bought music instead of renting it.
Sure, the iPod made sense before Spotify, but now?
Not really, unless you’re like me. Unless you enjoy endlessly searching sites like Bandcamp for something new and interesting to listen to. Unless you love digging into an album for months on end because it completely scratches that itch in just the right way. Unless you want a solid solution for listening to records on the go, from start to finish, sans notifications. Unless you want something that doesn't take up a whole lot of room in your fanny pack.
There's never a bad time to take a nuanced look at how we engage with music. The mediums that music gets delivered on (streaming, vinyl, downloads, CDs, tapes, carrier pigeons) are worthy of consideration. How we own music affects how we value it. Streaming proved that people aren’t willing to value music as much as did before. For those who want the vinyl, we can't always get a copy. More often than not, we have to settle for a digital download (or worse... streaming). In that case, the time is ripe to consider the benefits of a dedicated listening device for the digital albums we've purchased.
The iPod Shuffle combines a genuine simplicity with an early 2010s nostalgia, and it couldn’t get a higher recommendation from me.
Reading Notes
2 Minute Read | Laptop or Tablet Recommended
Topics and Themes
Evaluating all options; Trade-off consciousness; Making informed decisions
This was me before I considered the trade-offs in every decision:
"I can do anything. Every possible option holds value and significance. The more I work, the better it is. You never know what might turn out to be profitable, so why not do it all?”
This is me after I considered the trade-offs in every decision:
"I will do one thing, and I’ll do it exceptionally well. I accept the sacrifices. I expect that one thing will bring me success.”
The Meaning of Decision
The word "decision" carries a certain sharpness. Just look at the Latin word it comes from: decidere.
“De,” meaning off or away. “Caedere,” meaning to cut.
Decidere means to cut off.
The word "decision" suggests that each time we make a choice, we cut off numerous options.
And there’s the rub… the trade-offs. We can’t do everything, so we need to make do with the best option we’ve got. Unfortunately, there's always trade-offs. Always. Even with easy decisions. We just find it easy to make the easy decisions because we’re already okay with the trade-offs.
The Wisdom of Evaluating Trade-Offs
Here’s the great news:
Considering the trade-offs beforehand allows for spectacularly powerful decisions. Doing so enables us to find the best possible option and fully commit to it.
If we can see that option A is something we actually want, if options B, C, D, E, and F are just stupid, then we can cut them out and simply go for option A. Because we considered the tradeoffs and cut off the hanger-ons, we significantly enhance our well-being, creativity, and professional success. No more harried, “I gotta do everything” moments. Sweet!
Here’s an example:
I wanted more energy to create music, teach more effectively, and write better blogs (Hopefully? Ahem? Maybe?). I decided to sacrifice the immense fun of smoking cigars, eating out, and watching movies during my four-day workweek. I save all this fun stuff for my slothful three-day weekend. During the four-day workweek, though, I make those trade-offs.
I used to get annoyed with myself for having a lack of energy when it came to consistent engagement in my professional life. Now, I can coast though my workweek with a greater ease. I create more music, write more effectively (Again, maybe?), and am more available to my students.
Only time will tell whether I stick to this routine. So far, it’s working out. I’m used to the trade-offs. I made a conscious decision to create more balance, fully aware of the sacrifices. I achieved that balance.
Final Thought
Let’s end this conversation on a bang, why don’t we?
Thomas Sowell wisely pointed out:
“There are no decisions. There are only trade-offs.”
Whoa.
This post was inspired and influenced by Essentialism by Greg McKeown. I totally recommend it.