Misconstroodle

Apr 28, 2008 at 18:47 o\clock

Blake

by: misconstroodle

William Blake (misc.):

It is right it should be so;
Man was made for Joy and Woe;
And when this we rightly know,
Thro' the World we safely go.
Joy and Woe are woven fine,
A Clothing for the soul divine.

The Child's Toys & the Old Man's Reasons
Are the Fruits of the Two seasons.


The Questioner, who sits so sly,
Shall never know how to Reply.

He who replies to words of Doubt
Doth put the Light of Knowledge out.

Feb 4, 2007 at 14:10 o\clock

Brian Ferneyhough

by: misconstroodle

It's cool for a composer or a musician to think about music. Every great mind in the history of great minds would agree that there is no point in doing something if you do not know why you are doing it.

I have recently stumbled upon composer Brian Ferneyhough in my research:
http://en.wikipedia.org/wiki/Brian_Ferneyhough

He invented a new rhythmic notation that (here is the basic idea) is so incredibly complex that it forces the performer to abandon the conventional sight-reading approach and to think (excuse the put) 'outside the clef.' But who invented clefs anyway? It wasn't the composer, and in wasn't the performer, it was some musicologist. The idea of working within a system to break it into pieces appeals to me much more than just flying by the seat of your pants. It's really know your enemy. The enemy is unquestioned convention, or dogmatic thinking.

Hearing Ferneyhough's music can be like a thorn or a snake bite. To be honest, I wouldn't dig it at all unless I first knew his intentions. When asked to explain his music:

"I don't put a label on it because when you put a label on something, you've canned it. I know that the present-day world of commerce cans things and I'm sure it's very good that they can things for us. They radiate them and do various things to normalize them and make square tomatoes that fit more adequately in the boxes available to them. That's not my concern. Art is about questioning how things fit together, it's not about making them fit together better."

Jan 29, 2007 at 23:32 o\clock

Interview with Viben Oodle drummer Parker Simmons

by: misconstroodle

To start off, where are you from and who were your early influences?


I'm from Raleigh. My earliest influences were Raleigh radio stations - and even when I was a kid it was just about all of them. I liked variety. Lucky me, my parents weren't apathetic to music, and I got a taste of Neil Young, Joni, Zeppelin, Floyd, CSNY, and other classic groups. Yes, tapes. Later on, I joined the school band in 4th grade on alto sax. The music instructors at the schools I went to in Raleigh were awesome - another huge influence. I played saxophone(s) in middle school in which I started playing jazz arrangements and played bari sax in the "jazz/rock" band. At the same time, I heard my neighbor playing bagpipes outside his house all the time, and I couldn't believe the way they sounded. I got to see a guy I knew play once up close, and oddly had other experiences with bagpipes where I became infatuated with them. So I started taking lessons and listening to whatever I could get.   Retrospectively, I would say that being in band and wishing I was back in the percussion section creating the presence of all noise, and Carter Beauford through his work on Before These Crowded Streets really pushed me over the edge into doing something about my lingering interest in drums.  A friend gave me this CD around that time and his drumming clicked with me.  Imaginative.  I listened to that CD a lot.  I'll tell you what else was a damn good CD from that time was Chumbawumba's Tubthumper.  People have given me strange looks when I tell them that, but that stuff is awesome.  At this point in sixth grade, I was playing this eclectic collection of instruments and just enjoying the hell out of them. Later on after moving to Virginia, a friend gave me Giant Steps, and I wore it out. The question how music like Giant Steps could exist began a new quest. I continued playing sax through high school, and drums, and pipes. I started playing in a cover band at a bar in Northern Virginia on drums whilst taking lessons from my most potent of drum influences - Gary White, and then really started getting into music. That is a very brief history of my early influences leaving out a lot of anecdotes that I am known to rarely exclude. Since I can't drink legally yet, I guess my influences now are still early ones. Influences are crazy now. Ball vicing metal to Eno's soundscapes with an emphasis on everything. I just soaked it all up along the way and felt like I connected best with music and music people; still do.


How do you think this eclectic array of both instruments and listening
albums has effected your playing, in particular within the context of
Viben Oodle?


If I were a chef, my food would be boring and the menu pretty small if I
didn't have a wide array of ingredients and know how to use them. If I
had only one ingredient to use in my kitchen, I bet people would stop
coming to my restaurant after a while. Just relate that to music. Viben Oodle allows me to use a lot of different ingredients, but not just a slurry because I want the songs to taste good. Knowing how to enhance the flavor and how to use the tools for creating can only be beneficial.


Following this analogy, how do you think your music effects the listener
who is only used to eating three basic foods: hamburgers, peas, and meat
'n potatoes? A lot of academic, esoteric musicians don't care about
their audience, so where is your position relative to them?


Meat and potato type music listeners can dig esoteric music; they can
understand what these musicians are trying to say. I know what you are
talking about to a degree, but those types of musicians simply aren't
concerning themselves with bringing their music down to people. Even
though they aren't using a tried and true method of delivering music to
them, they aren't performing their art to be a bunch of pompous, smug
mothers. They may be doing the contrary - trying to bring up the
expectations of what people can feel comfortable with, trying to
manifest their innovative musical ideas and not being concerned with
failing. Caring about the audience may be just what they are doing,
because coming up with a new route to connect with people's emotions or
sense of rhythm could really affect them in a way they never experienced
before. That would be great! The smug mothers are around, but their
intentions are those of people with hang-ups and a bag of tortilla chips on
their shoulders.


With that said, I'll bet that with open minds, people can relate to more varying
music than commercial radio tries on them. Many musicians feel that way. Radio is always surprising me with something they are playing though, which is cool.


As far as my playing and the groups I am in, I can't be certain how
anyone is affected. I hope that since I love what I am doing and that
goes in to the way I play, that people will feel it. It's about vibes some might say. After all, I am in Vibe - n - Oodle.


Is it tough being this type of musician in Southwest Virginia? There are
other jazz groups such as Happy Apple from the Twin Cities, but it seems
that this location might present even more difficulties.


Yeah, it's always tough to present a piece of culture that is even a little
different when there isn't a large pool from which to grab interested people. Like minds clump together and I don't see the point in trying to break up someone's particular clump. I would rather join a clump that I connect with somewhere as opposed to wasting time scuffling with uninterested parties. That would be absurd.
To answer the question in a focused way, yes this area provides difficulty in getting very many people to pay attention to any art. The difficulty lies in there not being that many people here to begin with, and B neither the school's culture nor the local resident's culture really emphasize key aspects of my life - like music - to a high degree.  There is simply a difference in interests, and I won't tiptoe around the fact that indeed occasionaly in smaller areas with less competition or a lower entry level for gigs people have been turned off to even caring about locally based music. People begin to assume after a few times of hearing poor quality, that local music and under the radar music is terrible.  Anyways, I'm still trying to find my niche and my home.  So I'm not so frustrated as I was after I had been playing the area for a short time.  I got logical about the situation and zenned out a little.


Many people indeed assume that under-the-radar music is terrible. To
address this situation, oftentimes bands gather together to attract the
attention of the public, while keeping static personnel. But Viben Oodle
has a notorious reputation for incorporating guest musicians, from many
different stylistic backgrounds. How do listeners react to your dynamic
instrumentation, and how do your guests feel about sitting in?

I have to assume people enjoy it a lot when guests play with us.  Adding another brain in there changes everything up sometimes.  We'll end up doing something with a song that is really exciting.  For example, at a show we recorded and made into a live disc, our friend Cameron McLaughlin laid down some funky bass alongside Andy, and caused me to change the feel of the songs around.  Because I wanted to sit in Cameron's groove really tightly, it changed the songs in to parallel thoughts.  What I mean is basically here is the original song, which is maybe slower and swinging, and there is Cam over there funking it up and modifying it with his feel.  In the end, we got our original song ideas with deep pockets.  Other musicians just put in their take of the music, which seems to me like the closest we can ever get to knowing how another person perceives our material.  It's exciting to have other people shed light on us like that.  For me that keeps it fresh and sometimes all of us either consciously or subconsciously decide to play the song with that new feel because we like it so much more.  


Tell us about recording. Do you record practices, alone or in the group,
and how does it effect your learning?


I don't record my own individual practice but come to think of it, I should!  Early on, the three of us definitely recorded a lot of our practice and it helped me a lot.  We recorded our early performances a lot too, and listening to them over and over was really helpful because I could hear what I needed to work on among many other aspects of my playing.  We all were able to hear how well we were playing off of each other, which is hard to hear when you aren't listening from the outside perspective.  Listening to early recordings of performances and practices now serves as an inspiration in the way that we can hear just how rotten and sloppy we sounded at times and how much of a unit we have become.  All of us have grown in the last few years because of Viben Oodle, and a lot of it came from our critiquing of each other and our own playing.  Now we don't record that often unless a guest is playing with us, and we want to capture their new perspective to review.  With regards to recording my own personal practice, I barely ever listened to myself playing alone.  Maybe once or twice, but I think that would be a great idea.  That way I could hone in on things that don't pop out to me so well while I'm playing with other people; like a sloppy foot on some groove I need to work on.  I do know that I started to do weird things while playing with other people that I notice now in my personal practice.  I hum and make these weird sighs and moans like those of slow death or getting sat on.  It's hard to explain.  When you scratch a fat, lazy old assed dog behind his ears - it's the sound that old bastard makes.  The reason isn't that I am that physically pleasured, and it's not that I am trying to get out ideas like Keith Jarrett, it's more like I'm trying to control my exhale.  Who knows?  I do it when I play sax too.  


Any comments to add as far as special techniques on the drums or in the composing process?


I don't really have any techniques that I would consider really special, not to say that I'm a chameleon player.  I have my own sound in other words, but my physical techniques in holding the sticks, playing the pedals, moving around the drums and such are what I learned early on from my drum teacher, Gary White (who by the way rules), and what I learned from watching videos of players who are known to be great technicians like Steve Smith, or Dom Famularo.  I have been moving into playing open handed, which is something I don't do right now completely because I only have a hat on the left side, and I don't want to totally give up all that right hand technique that I spent all those years developing.  I'd rather just get a hat for my right hand and keep developing both.  Open handed playing seems pretty logical to me for what I am trying to get at in my playing.  I practice everything with traditional and matched grip, but I prefer matched for most situations.  When we are composing a song in Viben Oodle, I base what I am doing on what Andy and Josh are doing.  They base what they are doing on me.  We are at the point where we can seemingly telepathically go into new ideas and not fall apart.  We got our rabbit ears on.  Later, when we have been through a lot of these ideas based on themes and rhythms and sometimes mishaps, we'll solidify a song.  We'll do something unexpected while performing the songs though, without any notice between each other.  I choose rhythms from a large bank of ideas I get from listening to a foolish amount of music.  When Andy or Josh throw out an idea, I put in the idea that makes me feel just right.  Feeling is practically what this thing is about to me, save for a dash of absurd musical comedy here and there.  So yeah, feeling is what all this knowledge comes down to for me.

Jan 28, 2007 at 19:28 o\clock

The Essential Ingredient

by: misconstroodle

We don't know exactly how or why our minds work,  but it's fun to do experiments - certain conditions effecting thoughts. How can you be the most creative, where you learn the most, or where you have the most fun?

Joyce Cary hit it bullseye in his novel, 'The Horse's Mouth' 

"And I had to be out in the air. Even oneday in bed was putting a cramp on my ideas, tucking them up in a tight parcel. My imagination was working inwards instead of outwards; it was fitting things into a pattern, instead of letting them grow together. If I had stayed in the boat-shed for another week under Cokey, I said, I could say goodbye to my Creation - it would turn into a little square picture with four corners and a middle. However big I made it on the wall, it would be a piece of art work. A put-up job. A jigsaw of the back-room. Whereas a real picture is a flower, a geyser, a fountain, it hasn't got a pattern but a Form. It hasn't got corners and a middle, but an Essential Being. And this picture of mine, the Creation, had to be a creation. A large event. And no one can feel largely except in the open air."

The rest of the novel is a joy and a half, and it's available from amazon.com and a lot of used bookstores for cheap.

Jan 28, 2007 at 19:14 o\clock

Alice Coltrane

by: misconstroodle

Alice Coltrane passed away about two weeks ago, and I actually just found out.  So it got me to thinking that maybe a lot of people stopping by the old Viben Oodle myspace page would benefit from knowing about her music and some of the lesser-known music that the Coltranes have created.

http://www.washingtonpost.com/wp-dyn/content/article/2007/01/14/AR2007011401006.html

Alice Coltrane's music is fantastic despite what some critics would have you think. 

Coltrane said that she believed critics were actually mad at her for supposedly turning Coltrane to the avant-garde.  Those types of critics feel that artists are indebted to them and owe them something, which really reminds me of the comic book guy from the Simpsons.

http://en.wikipedia.org/wiki/Comic_Book_Guy

Ravi Coltrane makes awesome music too, as well as his tenor playing kinsmen post traveling into outer space as I like to think of it. 

"It has been claimed that in 1965 Coltrane began using LSD which would inform the sublime, "cosmic" transcendence of his late period, and also its incomprehensibility to many listeners."

He continued to make some of the most incredible music I have ever heard after a lot of people stopped listening in the mid sixties.  You just have to check out those recordings and see for yourself."

The first recording I heard of post-A Love Supreme Coltrane was a posthumous release called Stellar Regions.  I won't lie it shocked me at first.  I guess I was expecting Giant Steps-ness.  Lucky for me I listened on.  The musicians on those freer records - of JC's and many of his pioneering contemporaries - command your ears.

Here are some of those free dudes that I have grown to love.  Most knowledge starts with a google search:

Rashied Ali - Drummer - wears some sweet lookin' hats
http://www.drummerworld.com/drummers/Rashied_Ali.html

Ornette Coleman - recorded on a plastic saxophone at one point, but I only mention that to get you to go to his site- http://www.ornettecoleman.com/

Sunny Murray - drummer - http://www.allaboutjazz.com/php/article.php?id=503

Albert Ayler - http://en.wikipedia.org/wiki/Albert_Ayler
Cecil Taylor - http://en.wikipedia.org/wiki/Cecil_Taylor
Gary Peacock - http://www.fild.de/ufart/GaPeE.html

Jan 27, 2007 at 01:28 o\clock

Legend of Viben Origin

by: misconstroodle

Once there was a land of happy people who had never experienced a Tanuki falling from the heavens. These people were masters of most anything you could think of, from basket weaving to basketball, from theoretical mathematics to the most soulful music. In the centermost village lived three great masters, men who transcended mortality through singular attention to three holymost instruments of enlightenment. They were called the Great Viben.

But while the citizens of this perfect land went about daily life, a vast, evil, alien force plummeted closer and closer to destroy everything the happy people held dear. When the Tanuki landed, he crushed an entire village with his testicles. Minutes later, he was scampering across the countryside, raping every daughter, and leaving a trail of pheromones and fire in his wake.

Not a single female was spared that horrible pleasurable disaster. As fate had it, no births except Tanuki Bastard births were made afterwards, and the happy people became a dying race. The original Tanuki had blasted off to another planet long ago, and they sat, waiting.

After some time, the Tanuki Mongrel Bastard Children grew to an unstoppable force, executing any purebred survivor in their path. Among them were three unique entities who felt life perhaps a little more sensitively than their brutal contemporaries.

The happy people had only one stronghold left when the TMBC were seen on the horizon. Certain Doom. The centermost village was in a frenzy, but a frenzied philosopher observed that the Great Viben were worried not one bit. 'Why are you not worried one bit?' asked he. 'Beats us,' replied they who had transcended mortality.

The battle was tough. The battle was so tough that both sides had completely obliterated each other and the city was in flaming shambles. The only living souls on that entire planet were three shabby TMBC and the Great Viben.

The Great Viben were jammin' as they were approached by the three. 'Teach us,' they said, in earnest. 'We cannot teach you,' replied the GV, 'because you already know.' And with that, they tossed away their three holymost instruments of enlightenment for them to catch.

Indeed they were caught, and as the spawn of Tanuki the planet pillager plucked those notes from their glorious axes, they seemed to transcend both time and space. Meanwhile, the GV had pulled from their pockets and assembled every piece needed to create a working time/space machine. With that, the instrumental trio was teleported!

On another planet:
 Josh, Parker and Andy were out for their daily hike to the Dragon's Tooth when three enormous scortums landed on their respective heads. Just about killed 'em. They were alright, but it must have effected their sensibility because all of a sudden, they could think of nothing other than music. Organic Chemistry. And a voice shouted down from the heavens into their thirsty ears: 'VIBEN OODLE"

Just where did those undulating testicles disappear to? Perhaps another dimension to affect yet another fortunate trio.

Pretty soon after the successful completion of their unplanned Dragon's Tooth Spirit Quest, Viben Oodle was hard at work with their premium OG Vibes. Honing their skills, they cut Soaked in Antimatter which has a tribute track to the Tanuki, their mysterious and quasi-influential planet conqueror.

 

-Andy Woodward, Senior Legend Writer 

Jan 25, 2007 at 23:03 o\clock

Viben Oodle in the Collegiate Times

by: misconstroodle

Undercover Band: Viben Oodle
by Kimberly Berkey



“We are awesome,” proclaimed Andy Woodward, philosophy alum and bass guitarist of jazz band, Viben Oodle. Neither modest nor shy of words, Woodward described what can’t be Googled on Oodle and how the band got started.

“We stared about a year and a half ago,” Woodward said.

Parker Simmons, senior horticulture major and drummer for the band said, “Two summers ago we just got together. I knew Andy through some of my friends, and I was in a class with him.”
Woodward nostalgically continued, “We were going to start a video game soundtrack cover band.”

He took a breath, smirked and paused for a moment to think.

“That’s what we were going to do … but found Josh, (Herrington, senior psychology major and alto sax in Viben Oodle) in a VT Jazz Band, who was a singular entity and completely unique.”

By joining musical powers, Woodward, Simmons and Herrington extended higher levels that could not be reached by video game symphonies. The band may have pressed reset for their original game plan; however, their soundtrack was far from game over.

“The video game thing never panned out because when we got together, something completely original blossomed,” Woodward said.

Viben Oodle’s inspiration for their music ranges from Bruce Lee films, books, philosophy and other musicians such as New York jazz guitar player, Kurt Rosenwinkel.
“He’s the man,” Simmons said. “He created his own harmonic language.”

“I get a lot of inspiration for my drumming from other instruments I learned how to play over the years … I actually didn’t start out as a drummer,” he said.

Simmons listed his lineage of instruments: “I played bagpipes and saxophone, so I draw music from anywhere.”

He began playing bagpipes when his neighbor and other people he knew played. “I didn’t question why I wanted to play bagpipes or when I wanted to play sax … after (the bagpipes), I didn’t really understand why I chose to do things … I wanted to get my ideas out and all of these different tools helped me to do that,” Simmons said.

Bass guitar player Woodward also draws from other musical inspirations when composing his signature sound.

“I don’t really listen to other bass players. A lot of my musical ideas come from saxophone players or great composers,” Woodward said.

The band’s sound may have taken time to form, but the band mates for Oodle believe their music is not frugal in regards to fresh sounding electronic jazz jams.

Self-described on MySpace as “cinematic art groove” the band said, “The basis of Viben Oodle is organic chemistry.”

“We have a lot of texture going,” Woodward replied when asked to describe the Viben Oodle sound.

In an attempt to describe “organic” Woodward said, “Our music grows from us.”

“I was just trying to be clever,” Simmons said. “Mechanical would be a really intellectual way … when we are coming up with ideas, it’s not hugely intellectual.”

“We don’t think about it too much,” Woodward said. “We don’t have sheet metal or a projector for the audience … all we have are ourselves. We are just being ourselves and not playing down to the audience.”

Simmons described his version of organic chemistry. “We rely on how the music makes us feel, and when we get bored with ourselves it makes us push more … Chemistry is the way we play and respond to each other … not to say I did well in organic chemistry, but I do well with Viben Oodle’s organic chemistry.”

What is the sound that grows from a compilation of Viben Oodle’s organic chemistry?

“I would say that is closer to groove music of anything … a lot of heavy rhythm,” Simmons said.

The band has performed at places such as The Lyric, She Sha and The Cellar. As for how Blacksburg responds to their music, “The problem isn’t the people enjoying our music, it’s getting people to the venue, and once they are in the venue to get people to us. The inhibitor is getting people to the music,” Woodward said.

While Oodle’s organic chemistry grows in the band, they see themselves growing away from Blacksburg in aspects of their future residences.

Simmons said, “There are a few bands around that we are friends with pretty closely … this area is really small, and everyone knows how to reach a larger audience. You have to find the audience.” He said, “I see us making a move to a place where there are an abundance of likeminded musicians … there are a lot of places that have really organic scenes where there is a huge pool of people who have thirsty ears … there is not quite enough of a draw in this particular area.”

Finally, what’s with the band name, and how is Viben Oodle trying to become a mogul in the Blacksburg music scene?

“I thought a good name for the band would be vive noodle. Like whatever is going on inside our heads is pretty hip … you vibe well off each other and slip the ‘n’ so it’s viben,” Simmons said.
People viben to Oodle can buy CDs sold at their shows.

To constroodle more information on Viben Oodle and their upcoming shows, check them out at www.misconstroodle.com.

Jan 6, 2007 at 09:23 o\clock

Wikipedia loves Viben Oodle

by: misconstroodle

Viben Oodle, despite an initial, almost immediate deletion from Wikipedia is now on there to stay.  We hope that is true at least.

Parker tried to make it sound all wiki-like.  Here is the full text:

Viben oodle

From Wikipedia, the free encyclopedia

Viben Oodle from Blacksburg, VA is an experimental funk trio. Since forming in 2005, the band has created a reservoir of originals and released three records in 2006. The members of the band are drummer, Parker Simmons, alto saxophone player, Josh Herrington and bass player, Andy Woodward.

While based around a hard driving rhythmic force, the group's compositions are relatively complex to the genre, and the influence of jazz can strongly be heard in the emphasis of improvisation from all three musicians. The sound of the trio differs from that of many groove oriented groups in their compositions, instrumental tones, rhythms, and the saxophone voicing effects of Herrington who commonly uses a loop station in his improvisations to create layers. Many fans have taken to calling this music "texture jazz" for this reason. The influence of free jazz is also apparent in much of Herrington's style. Bass player Andy Woodward has a unique style of bass playing instructed by his background on the double bass as Woodward plays a fretless electronic bass augmented with individual selections of string types. Drummer Parker Simmons' style of playing is as informed by hard bop and funk as it is metal and rock which creates a distinguishing quality when mixed with the styles of Woodward and Herrington. In an attempt to actual describe the genre that best fits Viben Oodle the band has referred to their music as cinematic art groove which hints at their themed take on songwriting. The band continues to perform and write new music prodigiously.

Misconstroodle, the name of the trio's first release is also the name of the label under which Andy Woodward operates his recording work on noteable regional projects such as Josh Herringtons solo work, groove band GreenLiteMikey, and a capella death metal group, Flesh Socket.

2006 releases:

Misconstroodle

Live at She-Sha

Soaked in Antimatter

Related Sites:

http://www.misconstroodle.com
http://www.myspace.com/vibenoodle

Categories: Virginia musical groups | Blacksburg, Virginia | Funk musical groups

 

Jan 2, 2007 at 03:38 o\clock

Listening Phases

by: misconstroodle

 

Josh, Andy, and I (Parker) have some pretty interesting habits.

--> --> --> -->

I asked them two boys what they's a listenin' lately

But since I'm boss, here's what I've been into recently:

me

Avishai Cohen

--> -->

Devotion

Adama

Live in Jerusalem (which I can't affirm is an official release)

At home

Continuo – everyone must hear this recording!

Billy Cobham

Focused

Stratus

Magic & Simplicity of Expression

Drum n' Voice - All That Groove

Jeff Beck – You had it coming

Joe Satriani – Engines of creation

Kenny Garrett – Beyond the Wall

A lot of Ravi Shankar stuff too

Andy

Assorted JPOP

--> -->

Ayumi Hamasaki

Luna Sea

Music from Cowboy Bebop

Utada Hikaru

Yoko Kanno

Josh

Couldn't really get him to tell me what he was listening too for some reason. I can only assume…

--> --> --> -->

Listening to The Simpsons while engaging in some devious act &

Jean Michel Jarre - old school

The Police

Incubus

I really don't know…

Dec 31, 2006 at 01:21 o\clock

Current news from Oodledesh

by: misconstroodle

Mood: enthralled
Listening to: Avashai Cohen

Now comes the time for a real blog entry. 
Lately, new exciting things have been happening with Viben Oodle such as:

1) The release of the new full length album, Soaked in Antimatter which you can get your copy of for a ten-dollar bill at the link below.

2) The release of new footage caught on camera of your favorite oodleteers posted in the pics section.

3) All of Viben Oodle's CD's are now available for purchase online for a 10 dollar bill at the following link:

http://kunaki.com/MSales.asp?PublisherId=111126

Grab your copies of:

Misconstroodle - The band's first release
Live at She Sha - Fantastic performance with guest performers
Soaked in Antimatter - Contains the latest and some of the most energy-packed studio recordings to date.

4) The beginning of the writing of the first actual blog

Performances will be happening again soon, probably starting after the holidays.  We hope to start taking the Viben Oodle sound out and about.  Maybe a little Asheville, a little Roanoke, and a little wherever we can be paid enough to cover expenses and make enough for some imitation gruel (nine out of ten orphans can't tell the difference).  Laugh it up.

As far as the new CD, Soaked in Antimatter, we made it sound nice baby.  Frankly, the disc doesn't sound like we called a friend's house and recorded it on their answering machine.  Don't worry, those of you afraid of us using the aforementioned black metal recording technique.  It sounds exquisite and was mixed by Andyboy himself as the other CD's are.

www.misconstroodle.com is our record label's website.  There are recordings to be had from other artists there as well.  This site was launched a few months ago by the owner of the Misconstroodle label, Andy Woodward, who is also the major rager on the bass guitar for Viben Oodle.

Among the other bands associated with the label are:

Josh Herrington - Viben Oodle's own sax player's solo project.  Guitar, sax,  and vocals with looping.

Flesh Socket - A capella Death Metal.

GreenLiteMikey - Chill groove; tale must move.

There are CD's available from all these artists at the Misconstroodle catalog.

http://www.misconstroodle.com/catalog.html