It seems as though everyone feels qualified to share their personal thoughts and feelings on many subjects. The majority of the capable, sharing population does it through social media. I'm going to attempt to do so here.

My name is Les Heifner, and I spend my time working, writing, waiting, reading, recording, running and resting. That’s all anyone out there needs to know. I have enough difficulty trying to think of something interesting to say to a co-worker on any occasion, let alone everyone I could connect with online, on a daily basis for months on end. Perhaps this will change at some point. For the present moment I’m going to refrain from using most social media, unless I’m talking about music. The exception is this page.

Around 20 years ago I was getting my first full doses of the internet. Simultaneously the internet was getting its first lousy doses of me. It was so much different then. I spent the better part of the last 20 years online. Somewhat recently, I brought this to an abrupt end. Projecting my personal life online doesn’t serve me personally. But creating an archive of my life’s musical work is an acceptable task for the moment.

Over the course of this same 20 years, I’ve written and recorded a large, perhaps unreasonable amount of music. A recent estimate puts the total time of my recorded materials at somewhere near 400 hours. It would take 20 more years to do a heroic job cutting and mastering all of this material, and I’d rather be making more music. Occasionally, throughout the process of remastering and playback, the mental/emotional/physical lightning bolt that is the creative process will strike. I’ve been letting that happen.

The archival process is taking years, with an hour here or there dedicated to the task. Until I’m finished with this archival process, I’m keeping new writing and recording to a minimum.

That’s what’s going on with me.

Les Heifner
October 2017

Despite my best intentions, the mixing process is taking much longer than originally expected. My suspicion is that the trouble isn't with shortcomings of a technical nature, or with the quality of equipment I have. It's the quality of the attention that I'm able to bring to the table.

I was recently reading about the journalist Jim Leher, and how he went to high school 1.3 miles from where I currently sit. The article went on to describe how besides being a famous journalist, having moderated countless Presidential debates, he's also written over 20 novels and 3 memoirs. How is this possible? Are these novels 200 page novels? When could he have possibly had time for such a refined past time? Perhaps he was only doing 6 hours of news a day, but I highly doubt that.

During 2017 I've gained insight into the magnificent role that a consistent sleep schedule plays in the quality of life. Therefore, when I stayed up until nearly midnight last night working on my own personal (educational) version of King Crimson's "Lark's Tongues in Aspic Part One," it was a rare flashback to seemingly endless nights of drunken music making and mixing. Only now, I've pushed aside the alcohol for my own convenience. I allowed myself 7 hours of sleep and woke up about 2 and a half hours later than usual, no hangover, ready to approach the mixing board again.

Progress on my gargantuan musical project of archiving continues, but at a pace that will serve as compelling evidence next time I decide to remix and rerecord decades worth of recorded material. A mental and emotional change of perspective may be necessary for a jumpstart.

That’s what’s going on with me.

Les Heifner
November 2017

Parallel to a more than full-time job and plenty of other mandatory responsibilities, the life's work continues. A few days ago, as I drank coffee and looked at the gargantuan task ahead of me, I had an interesting thought. What if I organize these albums into week-long or month-long projects? I'm going to try it.

One difficulty I've encountered is that my first inclination is to pick my favorite material to tackle before my less favorite material. This creates a workflow problem. However, remembering that this project is not to painstakingly recreate demo recordings, but record these songs as they were originally intended, I can allow myself plenty of creative room to make up for the drag.

A piece that exemplifies this notion is from an album called The Norm. It's called "Go Get Engaged." Originally written and demo'd back in early 2001, this song's finale found it exploding into factions of unorganized nervous ticks. It was an ending that always disappointed me. 2017's ending actually completes the song and takes it to the point it needs to be taken to, before the next track. The rest of the song is in working order and stands up to the original demo quite well, for being 16 years separated.

The Norm was recorded primarily in New Standard Tuning (from low to high, C, G, D, A, E, G.) There was one issue that I forgot about from 2001. I was not in tune. In some cases I was 3 or 4 steps higher than I needed to be. Depending on the gauge of strings you're using, this can be quite unhealthy for a guitar's neck. However, staying true to the original pieces, I've gone and tuned the Dean Evo up like crazy, with the house capo missing in action, unavailable for cutting corners.

After I've completed recording on The Norm (now 75% completed,) I'll be switching focus back to Mechanical Echoes, the new album that I'd like to release completely before the end of this year. I've got 3 weeks and some change. That should be enough time. More to come.

Les Heifner
December 2017

After my last entry, I recorded the majority of a new EP called 'Twenty and Seventeen." This is the way it works, when it works. From the first note to the last, this record basically recorded itself. The idea was to create a record with heavy synthesizers, deep synth bass, supportive guitars, and two separate sets of drums. Essentially, it's a drum machine on the left, and an analog drum kit on the right.

Recording began as ideas began to arrive on December 17th 2017, and most of the material was conceived within 10 days. One song after another, presented itself in clear, opportune bursts. You learn to take advantage of these if you know what's good for you. They're rare, and game-changing. Otherwise these kind of creative opportunities float by in their tempting, distracting manner, before evaporating forever.

The remainder of recorded material will occur arbitrarily in January of 2018. Vocals are last. The majority of the lyrics are written, but I don't event remember what they're about, if they're indeed about anything. The aim is for a February release on Amazon Music and Bandcamp, and March for iTunes.

Les Heifner
January 2018

Opportunities, cleverly disguising themselves as challenges continue to arise. The most difficult part of writing and recording music, in my strange, disconnected musical world, is the challenge of recording vocals. The singing is easy. It's the recording location that eludes me. In order to sing affectively, a certain volume threshold is required which I cannot easily come by due to the environment available to me. Another way of saying this is that I don't want to record vocals at home. From inside the house I can hear the tiniest of squirrel arguments and avian domestic disputes. Often I can hear a single acorn touching down on the bare pavement. I can only imagine what types of terribly embarrassing vocal attempts could be audible from the outsides of these walls. This altogether ignores the internal echo

The one thing that keeps holding back the finalization of my musical projects is the lack of recorded vocals. I've thought of tackling this in multiple ways. One idea was to simply have someone else sing. If this was a "band" per se, it would be ideal. This solution would satisfy my laziness and my distaste for recording vocals. But it would actually require more time, work and committing to the task of involving another person in my solo projects. "Yeah, I play every instrument, but someone else sings." That's not going to cut it right now.

To complicate matters, work on new music has commenced. A new song cropped up in the last week, and with 20 minutes of attention here and 20 there, it's coming along quite nicely. It's a different approach from the two-drummer approach of the last project. One set of drums will do, along with bass, guitar, synths, clav, electric piano, mellotrons, a vibraphone and some wobbly noise rhythms round out the sound so far.

However, the current primary focus, in my free time, remains the bulk of archived material behind me.

Les Heifner
February 2018