I've been legitimately making preparations as of late to relaunch my presence
in the music scope. I'm still quite indifferent to the idea of a scene, but apart from
light affiliation with it, I'm just keen on making something of the works I've toiled
over for three years now. The latest concept, and one I'm psyched about, is the idea of
releasing demo materials in an obvious demo format - I'd always get hung up early on with
album or demo artwork, as the visual presentation is oftentimes what decides if people
even oblige you in listening to the first minute of your release. Well a fresh idea of
mine is one I've actually already executed in the past - a promotional photo of the
musicians serving as cover art with a band insignia/logo visible. And the example I've
already done in the past employed an approach perfect for this as well, as it was an
early-stage recording (the band had only existed for a few months at the time) and was
recorded in a rehearsal/studio hybrid, really bringing out the best of both settings.
I can rag on about all the nuanced problems that the band encountered, and have at length
in previous journals, but you could justifiably point to the move to more clinical and
precise recording goals/environments as being the fatal mistake. I say this knowing that
had I taken a different approach, issues would've still surfaced, but at the very least
the trajectory toward clinicality and striving for immediate perfection (instant
gratification) and failing sequentially ensured a sure demise.
	With the "new" front of projects (ones that have never been mentioned, teased,
etc.) there's a plan to start off with live/studio hybrids or mashups into a compilation
with the associated imagery being photographic. This permits some room for stylization
and aesthetic, but it alleviates the pressure of getting the standalone visual
representation right from the start.

	There's an outlook, or visualization behavior or what have you, that would help
overcome optional paralysis a bit, and this is approaching everything as a fixed thing.
No matter how convoluted a device, regardless of how many preset patches and which one
is selected, view things across the studio as equivalents. A conversation I was having
with David yesterday during shoegaze rehearsal #6 or 7 was that he should consider
AB/Ying his guitar sound between two amplifiers, one with an assortment of pedals and the
other his standalone Zoom processor. I realized the applicability to my situation as I
reflected on that excitement-birthing conversation - the specifics of signal chains 
ultimately shouldn't be graded based on convolutedness, instead it should be on an equal
judging field to that of the simpler setups - all that ultimately matters is the potential
for use at any moment on the record. Even if its just a couple of times, that signal chain
contributed to the versatility and specialization of the sound, even if just slightly.
Fully connecting my patchbays is a high priority of mine, and once everything is
organized in a comprehensive manner, the process of achieving textural liveliness
will certainly be strengthened.