Nose and Feet Are Cut Off

Aaron Bachelder: voice, steel and nylon string guitars,
marimba, vibraphone, glockenspiel, drums, electronics
Tim Boyer: trombones
Anita Cirba: trumpet
Brian Daub: pedal steel
Bryan Gallimore: fiddle, nylon string guitar
Jimmy Johnson: electric guitar
Andy Mabe: bass and bass guitar
Bü Scherf: viola di gamba
Liz Simmons: backing vocal

Cover designed by Aaron Bachelder and Jimmy Johnson, Beli'al portrait by Morgan Woolverton, photos courtesy of NASA and Jimmy Johnson.

Written and arranged by Aaron Bachelder
Recorded, mixed, and produced by Jimmy Johnson
Trumpet recorded by John Pfiffner
All songs © 2010 Aaron Bachelder (ASCAP)
Published by Where’s the Music, Loverboy? (ASCAP)

Bonus Tracks:

The Manager

Written, arranged, performed, recorded and mixed by Aaron Bachelder.
Mastered by Ryan Pritz.
© 2011 Aaron Bachelder (ASCAP)
Published by Sprague Street Music (ASCAP)

My Name Falls So Hard From Your Tongue

Written, arranged, performed, and recorded by Aaron Bachelder.
Mixed by Morgan Kraft, mastered by Ryan Pritz.
©2012 Aaron Bachelder (ASCAP)
Published by Sprague Street Music (ASCAP)

about Aaron:

Aaron Bachelder is a composer, songwriter, and multi-instrumentalist residing in North Carolina. A composer of experimental, process-oriented electronic works as well as songs that largely defy categorization, he has also served as drummer and percussionist for acclaimed bands Clare Fader and the Vaudevillains, and the Darnell Woodies; additionally he has performed and/ or recorded with Martha Bassett, Eugene Chadbourne, and many others. Founder and director for eighteen years of the Enrichment Center Percussion Ensemble (ECPE), he revolutionized what music-making with adults with developmental disabilities could be, challenging audience expectations through performances and recordings. With the Spool Ensemble, Bachelder has made improvised music as percussionist and electronic musician for over twenty years. His music has been recorded on Albany International, Microearth Records, and other labels. In 2015, he served as co-producer (as well as performer) of Microfest Winston-Salem, presented by the American Festival of Microtonal Music. Most importantly, he is a father, husband, and companion to dogs.

Reviews:

‘Semi-Automatic Music’ by Aaron Bachelder, reviewed in Discogs: “A very odd listen indeed but something I enjoyed as I never heard much like it before. Overall a great double disc for someone new to Aaron Bachelder and something fans of ambient I think would enjoy more as this is "non-harsh and unautomated indeed!""

‘Three Electronics’ by the Spool Ensemble, reviewed in heathenhideout: “the three tracks on here appeared to originate in some far-removed alien and incomprehensible dimension”

‘Nomos’ by Aaron Bachelder, written for and performed by violinist Sarah Johnston and the ECPE, in Newmusicbox: "[it] might as well be for electronics, the use of the instruments is so sonically interesting"

American Record Guide described it as "delicate" and "unfailingly attractive".

Dr. Eugene Chadbourne, writing in Allmusic, called it "what makes this CD really special" and "inspired" (3 stars).

Of the ECPE’s ‘Three Pieces', Eugene Chadbourne (again in allmusic) wrote: "the project is noble, virtuous, and capable of inflicting great genius on tobacco country... the opening 'Parallax' marks promising artistic heights" (3 1/2 stars).

GoTriad called it "mesmerizing" and "hypnotically lush music" and stated that "the band layers soundscape upon soundscape, leaving me sifting through each listen, finding new and gorgeous elements to discover".

Of the ECPE’s Ten Songs, Sepiachord says "Ten Songs is a well conceived and very well executed album that rewards multiple listens" and "so varied its like listening to a chameleon... we've all heard music like this before, but not quite like this".

Southeast Performer magazine notes that the album "achieves more and more after each and every listen. Another travel through the album reveals more layers to the seemingly unending attention to detail that has been paid to many different aspects of ECPE's music... the harmony and technical quality of Ten Songs is an achievement indeed".

Yes! Weekly says "an overall eclectic and rich sound... perfect background music to dream or fantasy".

Of the ECPE’s last performance with Bachelder, Triad City Beat said, “The Enrichment Center Percussion Ensemble opened the block party with a set of dreamy instrumentals that suggested a soundtrack to a pensive indie film.”