This was a rough one.

2021 was pretty handily my least prolific year in nigh-on a decade. Besides a dramatically reduced output across the board, this was also the first year no new Those Darn Gnomes music was released at all—not even an EP or a compilation appearance, and for the first time in our history as a group I truly don’t know what’s next from us. All year it seemed a preponderance of “real life” concerns conspired to prevent me from creating any significant work.

But it’s not all bad. This was the year I started in earnest on a number of projects I’ve envisioned for years, foremost among them the largest and heretofore most ambitious film project I’ve even attempted. I won’t jinx myself by going into too much detail this early, but suffice it to say I’m very excited with how things are progressing.

It’s easy for me to beat myself up over some of the events of the last year, so I want to take a minute to express my deepest gratitude to the people around me who have helped see me through: my wife Hannah, who makes every day easier; Russell, the warmest and most caring person I know; Lucas, who constantly spurs me into acting on my ideas; my brother Joe, who even in his own hard times has always lent a sympathetic ear; Sam Greenberg for always lending his support even when he has no idea what I’m doing (and especially when I don’t); Grant, who is gracious enough to give my camera a subject; Tall Can, for keeping me in the family; Jay, for always valuing my creative input and giving me unimaginable opportunities; and last but certainly not least my wonderful in-laws, Anne and Steve, who support me in ways I could never have imagined. I’m sure I’m forgetting some names, but these are the people who felt closest to me this year. If by some chance you’re reading this, thank you.

Now, onto the music:

Mycropenez – I’d Respect Caillou If He Actually Had Cancer

I don’t remember how far back we actually recorded these songs, but I do remember the day with some clarity: two feverish sessions centered on Ariel’s feedback-laden guitar parts, Tall Can’s manic drumming, Hannah’s jangling harp and my own shrieking recorder. Maybe this year we’ll make it back to this particular stripe of freewheeling creativity.

Caulbearer – Occultation (Fusty Cunt)

I was highly flattered to be asked to play saxophone on the new album by Caulbearer, the death industrial alter-ego of Cody Drasser of Long Island brutal death metal legends Afterbirth. My contributions manifested in the form of two side-long improvisations on alto sax augmented by water bottles, alongside Michael Page of Sky Burial. The resulting morass of slowly-shifting ambient doom manages to constantly surprise thanks to Cody’s deft hand at mixing. I believe tapes are now sold out from the label, but it looks like Cloister Recordings may still have some available.

Crowhurst – Harsh Metal

Ages and ages ago (or at least that’s how it feels), Jay asked if I could cook up some primitive, trashy black/death metal for him to transform into real songs. Thanks to contributions from Ryan of Intestinal Disgorge/Blurricane fame and Matt from Landmine Marathon, he managed to make it happen, and the final record is handily the most capital-M Metal release with which I’ve been involved in years. It’s always a privilege to get to work with Jay and we have big plans for 2022, so keep an eye on this space…

And that’s it. I played on a record low three releases this year, and I think I’m now finally okay with that. I’ve started up at a new regular gig that has me playing in front of me people more often than I have since the lockdown was first announced. I’m finally assembling new material to record and hopefully put out this year, and most importantly to me our new film is significantly underway, with more shooting scheduled this week.

I’d like to take one final minute to plug Joe’s new record Fields of Azure, which he rather discretely dropped back in May. It’s the most gentle, intimate music I’ve ever heard him make, and having heard what he’s working on now I can’t wait to see where he takes this sound. Also of note is his debut poetry collection, which is finally complete and very near to publication. I’m lucky to know a lot of extremely talented people, but watching Joe mature as an artist is indescribably, irrefragably rewarding.

Also worthy of praise: Chad Deal’s excellent debut novel Ketcel, which saw release this year through the perpetually great Stay Strange. Chad, Sam Lopez, Patrick Loveland and Christopher Smith each rank among the most incredible people I’ve had the pleasure to know, and I look forward to their empire expanding this year. P.S. Sorry I couldn’t get my shit together to play on the soundtrack, Chad. Next time!