New Website and New Single – Pigeon Song

After taking a little time off from my band Mobjack, I’ve decided to dust off some older recordings and to start tracking some newer pieces and releasing whatever comes of it.  The plan is to put out a song or two every couple of months until y’all tell me to stop or until the well runs dry.

The new website is (clever, right?) and the new single is on the music tab. You can purchase through that page, which will link you BandCamp where the single is hosted.

This single was recorded with some buddies over New Years weekend 2013-2014.  Niles Krieger, David Slitzky, Dan Sauve-Rogan and Justin Tosti were all on-hand to deliver a boozy interpretation of some songs I’d cooked up over the proceeding months. It is Niles’ professional opinion that these do not suck, and I put a good deal of stock into, well, not all, but a good many of his judgements.

A brief disclosure: you’re getting this email because you were on the Mobjack email list which I unceremoniously raided in the dead of night. Which is to say, if you’re not interested in awesome alternative Americana-roots-rock or whatever, I won’t hold it against you.  There’s an unsubscribe button at the bottom: you’ll never hear another peep out of me.

Except for you, Mom; you have to listen whether you like it or not.

Thank you all for listening and for your support; it means the world to me.

More soon,


Top 5 Songs With Weird Time Signatures

I love odd time signatures. They’re a great way to take a conventional music form and shake it up a bit, shift the audience out of their comfortable listening. I’ve used them on several of my own tracks, usually tucked into parts of songs to break up the groome. See if you can spot the time changes in these pieces:

And, for the sake of heading a few objections off at the pass: yes, I’ve heard Dream Theater. No, I don’t think they’re awesome. It’s not enough to chart out a series of random time changes and play them back like a computer chomping down on a punch card (if you’re under the age of 40 and don’t know what a punch card is, look it up, you’ll laugh). Music needs to swing, regardless of the meter.

With that said, here are my top five songs in weird time signatures:

7/4 – “Money” – Pink Floyd

Probably the top-charting song of all time that no one even noticed was in a non-standard meter.  Legend has it that Roger Waters recorded the initial sound recordings in his garden shed and cut them up into 7 equal lengths of audio tape, then taped them into a continuous loop which was fed through a tape machine and around a mic stand; pretty ingenious. The effects were played back to the band during initial tracking, making “Money” one of the first songs recorded to a “click” track.

I love that the song goes back to 4/4 for the guitar solo. It’s a decision that speaks to the use of time as a tool to achieve a particular end, rather than being a shtick around which to build pieces. It balances out the oddness of the main body of the piece with pure rock-n-roll, enhanced by cutting all the effects when they return to the main riff in the bridge, and then bringing all the lush reverbs and delays back in with the 4/4 beat to round out the bridge.

5/4 – “My Wave” – Sound Garden

A quintessentially Sound Garden piece. The band claims that they did not intentionally write in different meters and, given how their odd-time pieces feel, I totally believe it. I didn’t realize this song wasn’t in 4/4 until I tried to play it and kept getting tripped up.

Matt Cameron is, of course, legendary for his mind-bending ability to move in and out of different meters without “winking at the camera” as it were. The time sense that he rocked out in Soundgarden followed him to his new gig with Pearl Jam.

Honorable mention to “The Day I Tried to Live” in 15/4, usually counted as a bar of 7/4 followed by two bars of 4/4.

7/4 – “Solsbury Hill” – Peter Gabriel

Another song in 7/4. Each chorus is punctuated at the end with two bars of 4/4 which enhances the lyrics greatly as Gabriel intones “they’ve come to take me home!”

9/8 – “Blue Rondo à la Turk” – Dave Brubek Quartet

Most people would probably put “Take Five” in this slot, and I get why. It’s the piece on Time Out that really drove home the concept of the album, namely that jazz could be played in meters other than four with a swing. But, I’ve always thought that “Take Five” sounded a little forced, like Brubek was trying to prove it could be done.

“Blue Rondo,” on the other hand, sounds utterly playful. Where “Five” can be grinding, “Blue Rondo” shows Brubek and saxophonist Paul Desmond playing with the odd 2-2-2-3 break down of 9/8 and work in traditional 4/4 solos, giving the piece the feeling of having classical movements.

10/4 – “Everything in its Right Place” – Radiohead

Radiohead are certainly no strangers to weird time signatures, but “Everything in its Right Place” stands alone by combining a strange meter with an EDM groove, and making it work. EDM is notorious for its use of standard preferences in DAW software, meaning much of it is produced in the key of C, most of it is at 120 beats per minute, and damn near all of it is in 4/4. Kid A broke the mold in many ways, and from the first beat in “Everything in its Right Place” you knew you were hearing something totally new, no small feat in the already fragmented music scene of 2000.

A discussion of Radiohead weird time signatures would be incomplete without mentioning “Pyramid Song.” This is basically an exercise in polyrhythm. It’s a repeating pattern of 16 beats and there are many theories as to how those 16 beats should be broken up ranging from a repeating 8-note patterns of 3-3-2 to a repeating 16-note pattern of 5-4-4-3.  I find that the easiest way to count it is two bars of 5/4 followed by two bars of 3/4. However it’s actually metered out, it is a singular display of virtuosity that Tom Yorke can sing and keep that time straight in his head at the same time.




Top 5 Second Acts

Jay Farrar and Jeff Tweedy Second Acts

Fugitive Sounds just published another article of mine about “second acts” by musicians. Here’s a snippet from the artice:

I’ve been thinking lately about artists whose careers span multiple successful—or at least influential—bands. It’s a somewhat tortured conceit, I admit, but my idea here is to list the five best musicians who have been integral members of multiple successful bands, and to list these artists in the order of the quality of the second band to which they contributed their talents. The notion is to chronicle artists whose careers have had a successful “second act,” if you will.

To read the rest of the article, head over to Fugitive Sounds.

Music Production Writing

New Fugitive Sounds Article – 5 Ways Musicians Can Improve Recordings

Fugitive Sounds is publishing my article on how musicians can make better recordings on Saturday morning.  You can read the article over at Fugitive Sounds (this link will not be live until Sat, Feb 22 at 5am).

The elevator pitch for the article is that musicians can make much better use of their time and resources in recording sessions by preempting many of the issues that derail sessions; equipment failures, confusion regarding composition or arrangements, who is in charge, etc. In the article, I discuss 5 simple measure musicians can take to ensure that they get the most our of their studio time.

Many thanks to Dave Stillman over at Fugitive Sounds for agreeing to publish me again, especially after the backlash that was wrought on the site after my decidedly grumpy Pro Tools 11 article.


KellerGlass re-enters the fray!

After a long absence, and against my better judgement, I have decided to relaunch my blog as I know what you’re thinking; the Internet has been a dismal, uninteresting wasteland in my absence.  But, rest assured, dear reader, I am en route with riveting insight and commentary that you just can’t get anywhere else and, once arrived, I fully intend to raise the level of American cultural discourse to soaring new heights with nary a grammatical error or spellign misatke.

In all seriousness, I feel it is important for those of you with little enough time on your hands to actually read this stuff to have access to some semi-reasonable explanation of my motivations:

  • I have my fingers in a lot of pies, as it were, and I’m realizing more and more the value of having a single depository for, say, all the music I release under different groups.
  • I am occasionally struck with an idea that, due to my boyish hyperactivity and vanity, I simply must vent to someone; anyone, really.
  • I am secretly hopeful that one of you, gentle readers, will recognize my obvious genius and offer me a six-figure salaried position as a remote content creator for your innovative and fast-moving company. Tell your friends.

So, what can you expect on this site? A: Every film, piece of music, and lyric I’ve created that I still like enough to share publicly. Also my thoughts on:

  • Music production and technology
  • Bands and music that I think my friends will like and that they probably haven’t heard of
  • Film production, particularly of the DSLR video variety
  • Online and social media marketing

I’m also leaning towards posting some thoughts on politics, though I have some reservations on this subject due to the fact that I’m using my real name, I may need to explain myself at Thanksgiving, and you probably don’t care anyway. We’ll see how brave I’m feeling.

For those of you fortunate enough to be reading this immediately after its launch, you will no doubt notice that the site is not exactly “finished” and that my old site,, is still live.  Well, I’m working on it, OK! I’ll post updates on this site and my various social media pages regarding improvements and additions as I go.

So, thank you for stopping by, pardon the construction, and stay tuned for more!