Electric Organic::Avant Garde Trash Bin vol.1
Electric Organic:: Avant Garde Trash Bin is my new blog. I plan to expound on the happenings of my creative processes, projects, ideas, and other minutia that may be of interest to the adventurous culture fan.
First, let me say a little about myself as an artist. I like to make things, including audio recordings. In a variety of styles. From folk to noise, to beats, to jams. I take musical styles as launch points to use as I will to make what I make. I am an avid music fan as well (maybe too much, maybe not enough). The styles I tend to explore in my musical process are varied, maybe even polarizing. Perhaps this variety is one of the reasons for me starting this Avant Garde Trash Bin blog.
Stirred And Flustered. An 8-track home recording by Electric Organic, 2001
My first instrument after harmonica, was elementary violin as a kid. That didn't last long. I have since added violin back to my aural pallet, in a performance-based, primitive/noise/play-by-ear fashion.
Sunflowers Pt. 2. Experiments in sound from Electric Organic, 2008
In jr. high I began singing/screaming in a punk rock band. It was fun and we even played a few shows. Then I was kicked out of the band, as they took on a more sXe hardcore posturing that I didn't have the throaty growl for. If I wanted to continue making music I would have to find a new band, or learn to play some kind of instrument. At first I wanted to learn bass guitar, I liked the heavy bottom end. However, I wound up getting an acoustic guitar for Xmas instead. And I ran with it. I started learning folksongs like a champ.
line-up playing at Bug Jar, 4/20/2009
I still play tons of singer/songwriter acoustic guitar, and was/is a huge building-block in my next stylistic exploration: The Power Trio.
live at Bug Jar, 10/29/2007
I saved some doe and bought my first electric guitar, an Epiphone Sheraton. I was 15. It was 1993. The guitar's headstock said "Epiphone by Gibson." It's a collectors item now, and sometimes I wish I had held onto it.
I ended up trading it for a vintage Moog synthesizer, so I guess I can't complain. I blasted that Epiphone Sheraton through a big Ampeg amp that would electrocute me all the time. I got some stomp boxes at Buzzo Music in Geneseo, NY and I was ready to rock. I played through an Electro-Harmonix Russian Big Muff (later know as the "civil war" model), a Marshall Blues Breaker Pedal, a Dunlop Rotovibe and a Cry Baby Wah. I went through several hard hitting rhythm sections, and even played at some hardcore shows at RIT. We were more on the Dinosaur Jr end of the hardcore spectrum. Post-Hendrix psyche rock. I got a physical and my heart rhythm was messed up, and they told me to stop electrocuting myself with my ancient Ampeg stack. So I traded it for a safely grounded 4x10 Fender Blues Deville. It was very loud, we wore earplugs. Rocking power trio action. We recorded a couple of demos, one at Holt Studios and one at Watchman Studios. We played live shows all the way from Ithaca, NY to Oberlin, OH. Then Bringing On Nutritious Grooves broke up, and I got rid of all of my gear to start fresh.
FOSTEX XR-5 4-track recorder
I traded my Epiphone guitar for a Moog Opus 3 synth. I got a drum machine and a 4-track tape recorder. I started going through cheap electric guitars like it was going out of style. I hankered down and started my life long experimentation with home recording. I made tons of noisy, lo-fi recordings on my 4-track. I put out a tape compilation of my DIY efforts called Tank Daze. I don't have anymore of the comp, so they're out there some where. I have digitized the tracks and plan on putting more of them up on bandcamp.com at some point. They are noisy and raw by professional musician standards, but there they are. Avant garde trash.
Down To The Wire. a pre-EO Josh Bucci DIY 4-track, 1996
I went on the road, for a few years, a laboring Beatnik, first in sewers and concrete, then later in arms with Uncle Sam. I got home to Western New York a few months after the turn of the millenium. I went out and bought a couple nice Fender Telecasters and a Boogie Mark IV amp. I started a new power trio, The Phain. We got really tight. We played one show, in a crowded, beer-soaked barroom. We recorded a studio demo at Holt.
The Phain. Power-trio indie action, recorded at Holt Studios.
Then the drummer went off to grad school. So I hunkered down to do more home recording.I got a deal on a floor model Roland CD-RW 8-track recorder. I recorded lo-fi, DIY avant pop for years in various home studios I set up. I made a lot of output before the 8-track machine eventually wore out. Song after song, album after album, demos or audio albums on their own. Titles like Love Noir, VOID, Vast, Dwelling Wheels #1, Pan Da' Mixtape, and others came and went. Some of these DIY titles (Vast, VOID, ect.) are available at
I went out West and worked as an intern at K Records' Dub Narcotic Studio in Olympia, WA. I wanted to pitch my DIY efforts to K Records, a preeminent DIY label. I figured if I was in the building, they'd have to give me a shot as a recording artist. They weren't interested, in the least. They just wanted a mailroom intern. I was playing VOID in the warehouse for some other interns, and one of the managers heard it and said it was good. When I told her it was my music, she said, "I think it's weird when people listen to their own music." To each their own, I guess.
I returned from my failed quest to get a dream record deal, in search of new creative outlets. I had got a cheap mini-dv camcorder in Olympia and decided I would start using moving images as well as sound in my art. Here is one of my earliest experiments:
On the strength of that video and some of my photography I got a spot at a small art school in Rochester, NY, Visual Studies Workshop. I could explore filmmaking, photography, and to a lesser degree, sound art, and get an MFA in the process. Sounded good to me.
documentary by Josh Bucci about his music and some of
his musical collaborators, 2008
Then they told me to stop using guitars in my work. Then the told me to stop taking pictures of myself. They were going to challenge my comfort zone. That meant going away from the direction I had been following all the while, that of a facitiuex DIY "Pop Star." They encouraged my flights of fancy with synthesizer music and film, however, and I set out to become an experimental filmmaker Auteur.
Ghost Water Train from Electric Organic is an experimental film, 2010
I have several new films in the works. Right now, I'm trying to fine-hone my home recording skills on my laptop and work out songs with my newest power trio line-up to make another demo. I have been making some headway with work, but it seems that I am an alien even to the more experimental elements around me. We get down in my live power trio music is guitar driven psyche rock, and that varies so much from my home recordings, synthesizer experiments, and challenging films. I think there is a lot to do for me to rise above the Avant Garde trash heap that I created around myself and actually connect to new people who may give a hoot about my art. You know, people out there in society beyond my immediate circle who would view, listen, and pay for (gasp! the lad wants biscotti!) my songs, movies and shows. I appreciate feedback for the countless years and hours of work put into making the songs and other art featured in this edition of Electric Organic::Avant Garde Trash.
In future blogs, I plan on discussing more gear, influences, and things I think are cool in general. This is all part of my plan to be engaged in process, even if it is only in the cool twist of the Avant Garde Trash Bin.
Here are some of Electric Organic's most recent albums:
Civic Grit- Experimental, psychedelic, analog, digital synthesizer dubbed out compositions. Frozen night in a silent city. Sci-fi soundtrack to a fine art piece.
revillusion luminescence- Space is the place for this disco chill-out instrumental electronic production. Complete EP$5.90, because this music is great to listen to on the highway.
untitled. Joshua Bucci Morris, 2008
[A] Dada exhibition. Another one! What's the matter with everyone wanting to make a museum piece out of Dada? Dada was a bomb ... can you imagine anyone, around half a century after a bomb explodes, wanting to collect the pieces, sticking it together and displaying it? L