8 Clicks from Nowhere Productions ䷀

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  • Saxo Phone

    I remember the day in the sixth grade when the band teacher from the junior high school came to our elementary school and assigned instruments: I was rocked to find out I got to learn to play the alto saxophone.  I don’t know how I landed it. It was the coveted beast of the band, and I had rolled a Natural 20.

    That was, hot damn! Forty years ago!

    I still have my original saxophone. It’s not a high quality instrument by any means, a simple student model Yamaha, but its my first and only. I’ve replaced the corks over the years and bought a new mouthpiece (apparently they go sour, who knew?) and it has (sadly) sat in a corner in the house idle for a very long time: decades. 

    I tell people in my orchestra (where I play the violin) that the saxophone was a stepping stone for my amateur musical career: I could read treble clef so I only needed to learn the instrument when I took up violin at forty, not learn to read music, too.

    It’s mostly the truth. 

    As it was my experiences during that era—in band and junior high school and keeping up with the practice required and a long list of other tween drama—soured me long before my mouthpiece went bad. It was a kind of low grade creative trauma and avoidance, and the thought of performing as a saxophonist has left me thinking I must harbour some residual subconscious vibes of aversion and recoil.  

    Even so, something compelled me the other day to pull the saxophone out of its case and ensure it was still playable.

    It needed a new neck strap, but otherwise (and to my surprise) together we could still make a few reasonable tunes emerge from this brass-hued beast.

    I don’t think I’m getting the band back together, but maybe I’ll keep a reed at the ready in case I decide to jazz up some musical therapy in my basement.

  • Summer Synth

    What does summer sound like?

    Oh sure, it seems obvious—ice cream trucks, and birds chirping in the trees, Vivaldi symphonies and sunshine bouncing off the asphalt—but I was sitting in the park recently and I had brought along my synth.

    Remember my synth? About a year and a half ago I bought an Arturia Microfreak digital synthesizer (not a sponsored mention, by the way) which at about the size of a laptop computer has twenty-five solid state keys and about thirty knobs & buttons for tweaking and tuning the sound envelope. It is not a keyboard or a piano, but rather a proper (albeit budget) synthesizer with powerful shaping tools, a matrix-based sound design engine, an LFO, arpeggiator, sequencer and—oh, the list goes on. It’s also pretty portable, so I can pop it in a backpack with a battery pack and some headphones and—yeah—go sit in the park and play music.

    I have about four hundred patches loaded into the memory banks, presets for interesting sound patterns and pads and leads and bass effects and even all variety of cosmic sound effects.

    I thought it would be easy to find a summery sound.

    Because I was, as mentioned, sitting there in the park with my synth and my headphones and making music for no one but myself and I wanted a summery vibe.

    Synths, and perhaps this was merely a factor of my synth and how I had it configured, seem very wintery: echoey and airy wisps of noise, hulking bass tones, crackling shivers, and creaking sine waves. I tuned through my options, scrolling the knob and seeking something with mood that matched the sun and the grass and the mosquitos flitting about in the same and I struggled. 

    A tinkling piano sound, a ringing lead that evoked a steel drum, or the croaking higher octaves of a patch named after a frog—I was close.

    Summer was all around, but I couldn’t put my finger on something that fit. What does summer sound like, after all? 

  • Young Restless

    I made the mistake of asking an AI chatbot for motivation the other day.

    When one leans into these sorts of modern tools for creative inspiration it is helpful to remember that they are the strangest sorts of things often juxtaposing unearned flattery with inhumanly blunt criticism. Grain of salt on standby.

    My curiosity was with a very human problem for which I knew the answer but I figured an all-knowing resource-consuming generative search tool might come up with something unique to say: why do I so often run out of steam on new projects?

    The joys of starting a new hobby, tackling a new challenge, or learning a new skill are often gloriously rewarding.

    And when we were young, damn, everything was new and interesting.

    I’m wheeling in on fifty this year and I find that the joy of newness is not only something I crave, but an energy and vibe that tanks likes a bad metaphor with the lifespan of an ice cream treat in the sunshine.

    The AI knew why just as well as I did: some mix of psychology and endorphins and reward stimuli in the primal parts of my woefully organic brain. 

    Fixing the issue is a bigger challenge than just asking a bot, though, and I think it might help to spend some time getting my own very human brain around the problem.

    Under the category of Young & Restless I’ll be writing more on this topic as the months wear on.

  • Polka Truths

    If I was asked to cobble together a top ten list of my deepest and strangest creative influences, leaders of thought and individuality, curiosity and cleverness, people who have evoked the best from my introspective heart, near the very top of that list would surely be “Weird Al” Yankovic.

    My first interaction with the parody artist was when I bought “Dare to be Stupid”[1] on cassette tape while in grade school, the first album I ever bought with my own money, and I wore that darn thing out listening to it and memorizing every song.

    My latest interaction with the musician was just last week when I bought tickets to his touring show, one for me and one for my daughter, which is coming to my city later this year. It’ll be the first time in my forty years as a fan that I’ll see him perform live.

    And that’s the thing, isn’t it. Forty-plus years (nearly fifty, to be more precise) of making music and entertaining a loyal fanbase is nothing to shirk at, but it also represents a span of time lacking scandal or public outrage, all while being something completely unorthodox in time, space, music, and commercially-bankable content.

    And it all really occurred to me as I was walking this morning, having loaded a few classics onto the playlist of my phone: If there was ever a model upon which to look with awe and reverence for what it means to be a truly creative soul, how can we not count Mr. Yankovic as a paragon?

    Dare to be stupid, indeed.

    That’s the real truth some of us are looking for.

  • Those Walls

    Let me walk you through the door I found in the wall that had been blocking my path.

    I spent the early part of 2025 building the foundations of a computer game. Code. Art. Story. All the bits strung together into a few megabytes of raw materials that I can compile into a simulation-slash-cozy gamer’s curiosity.

    But yeah. I hit a wall. 

    See, building a game is the work of a hundred different skillsets mingling together into just the right blend. A proper game studio would have specialists who focus on each niche skill. A proper game studio would have project managers who coordinate the timing. A proper game studio would have deadlines nudging their team forward.

    I had me.

    I am not a specialist.

    I am managing my own project.

    My deadlines are ethereal.

    So a wall, even a metaphorical one, spells trouble.

    The details of said wall are not important.  What is important is that walls can be impenetrable and project-ending failure points.  They often are.  And sometimes, often I would argue, creatives run into a wall that they don’t even realize was a wall at all.

    We can then do one of two things. We can give up—and that’s fine. Sometimes it’s the right answer. If the wall is insurmountable, spending the rest of our lives looking for a way over or through it may be a terrible idea.

    On the other hand we can look for a gap, a door, a foothold to climb over, or the place where the wall has crumbled from the efforts of someone who went before and…

    Well. That’s what I did with my game development work.

    Thus I march on, scanning the horizon for the next obstacle for surely there are many more ahead.