No More War

Sam gave us this poster for the 1991 antiwar protests against the first gulf war. The image was drawn by Henk Pander who landed in Portland from The Netherlands in 1965. Tens of thousands of Portlanders attended this protest at Pioneer Square. It has been a long time since then. Progress has been made in some areas but we still live in a country that continually destroys innocent people in other countries for oil, we still engage in endless proxy wars over material spoils to prop up planet destroying business interests of billionaires. The “world-changing progress” we’ve made through our fancy new digital tools has done more to distract, atomize, and confuse us than to help us organize for global peace and human happiness. Instead, we consume as if brands are anything more than wolves in sheep’s clothing. We wreck up the place in the name of jobs and markets and growth while the world fears our insane behavior. We don’t protest war, mostly we throw our hands up because the only real control we feel we have is in what we add to our shopping carts, that is, if we’ve toiled hard and long enough to “deserve” our basic needs. Maybe it’s because it didn’t work, people have been protesting war in America for a long time and as a country, we just keep on killing. Either way, we seem less like a country and more like a machine with each passing decade. One that’s determined, one that can’t change its mind. There’s hope though, and it is starting to boil. Do not quell those feelings you have, don’t push them down, let them direct you towards the others. Let’s make a 500 year plan for humanity that gets us where we wanna be tomorrow. At the top of the list, let’s put: No more war, for oil or any other reason. No more war.


And And And - Live.jpg

Bim here, I was asked to write something for Willamette Week recently and to my surprise, here’s what plopped out:

All my life, Portland has been talking about how important all ages music is. Meanwhile, aside from some rare and short-lived exceptions to the rule, we’ve always decided to sell alcohol instead of having places for the next generation of music to cut their collective teeth alongside the last. Maybe it’s a vast conspiracy against the kids by the OLCC. More likely, it’s because Portlanders don’t like music as much as we like drinking, and we won’t admit it because we all want to seem smarter than that. I’ve heard the mantra: “don’t tread on me, OLCC” and I’ve even chanted it while doing my fair share of volunteering, sitting on non-profit boards, lobbying for changes to our legal framework in this area, and otherwise fitting the mold that hasn’t created any real change. It’s true, the OLCC is a state sanctioned mafia. Problem is, the distance between what society says it wants and what we actually want is the area where corruption feeds and festers. So corruption exists to the degree we allow it. When our stated goals and our daily choices are misaligned, shit gets complicated. For example, each time we try to marry art or any other important non-commerce part of our collective landscape with a commercial subsidizer—in the case of live music, alcohol. In the case of journalism, advertising. In the case of politics, entities who may as well be Mr. Monopoly—the social good ends up becoming degraded to the point where it’s so shitty that we can’t even remember the value it initially offered. Then the thing we tried to use to prop up the valuable thing becomes the thing we protect. We mistake the map for the territory. This is all so silly because if thinking people are in fact different than animals it’s due to our talent for map-making. So how do we imagine a new way forward? How can we see the ground again? In my opinion, and it is an opinion, we need to get off the map if we want to survey for a new way forward. Go underground, don’t tell, fail on our own terms and create things that are immune to capture by moneyed forces. This is what post-punk was doing—escaping a repeat of their anti-capitalist cultural output being used by corporations to sell clothes and a unrealistic image—when they made all that gloriously unmarketable and confusing music. Hold yourself to the highest standards and remember that if most people understand what you’re doing, and if you have permission, it is time to bury it alive.

Here’s what the paper actually ran:

You do the math.

You do the math.

Band Bio

Photo by Todd Walberg

Photo by Todd Walberg

Isn’t it strange that most bios are written by the people they are about? While this is not lost on And And And, they can’t seem to present themselves flatteringly. Maybe they are just bad at this part. It’s true, there are many things this band is acutely poor at. They are completely screwed as a band because they suck at things like: bios, social media, money, and fashion. They continually shoot themselves in the feet and have been stumbling around the west coast for far longer than is appropriate at their age. The four members of And And And never could grasp the age-old rule in music that the work of being a band is mostly about promoting a version of themselves that’s missing the parts that suck. Foolishly, they have tried to be honest. They’ve released a bunch of full length albums, EP’s, and other stuff. The content of many of their songs seems glum. It’s not all doom and gloom though, in fact, the songs are celebrations of the harsh realities of being alive. It’s been nine years, here’s to another nine. DO NOT SHARE THIS LINK: 

Streaming - Another Capitalist Enclosure

Photo by Todd Walberg

Photo by Todd Walberg

While technology can be a beautiful and powerful tool, when technology is monopolized for profit, it can be a nightmare. Streaming companies have become even more consolidated than the major labels were at the height of their power. So we thought to ourselves: "What the fuck?" and "We thought the internet was supposed to be beautiful and powerful?" But it is the same as ever, the capitalists have taken another public good and built a wall around it. It's true, this time the wall is prettier than the last one the major labels built, but artists still have no real power inside this new enclosure. We can't negotiate contracts with Spotify, Apple Music, YouTube, and the rest. They want to use our music to sell the attention of our listeners to their advertisers. They want to use our music to rake in subscription dollars for themselves while musicians have no opportunity to negotiate for what they'll get in return. This lack of choice leads to serious consent problems for artists. In the interest of brevity, this all comes down to distribution. When distribution is controlled by the few, the many suffer. We didn't distribute our album with any digital streaming platforms and we hope more bands will do the same. We know that all of this is not interesting to most music listeners, but we may not be for all listeners, sorry!

If you are interested in internet stuff, and larger structural issues surrounding consolidated power within societies, Bim wrote a lengthy piece titled "Death, Taxes, and Data: A Memorial to the Throne" on these things for Watt Magazine. You can read it here:

Fuck Practice Space Rent - Here's How To Build Your Way Out

In this post we outline how to build your own soundproof practice space. Like most things, you can do this yourself. And like most things, doing it will take a ton of effort. There will be parts of the process that suck. There will be parts that hurt. The only way out is through. By going through, you will learn new skills. Do not be deskilled by this world of convenience. Build something of your own that is useful. After doing so, you will be more useful yourself with the skills you pick up along the way.

The techniques below worked well for us when we built our current practice space in my basement. Our space sounds great inside, much better than our old practice space did. Outside of our space it is audible inside the rest of the house when we're playing. But it is not loud, it sounds like a roommate playing some music from their room at a reasonable level. From outside of the house, you can't hear it at all. Our neighbors don't know we practice at home. We spent around $1,200 + 100 hours of work to make our space, it saves us about $4,800 a year in practice space rent.

If you end up actually building your own, please feel free to ask any questions that you end up having in the comment section of this post. We are more than happy to help you out of the cycle of abuse our society calls rent. All questions are welcome. There's a good chance that one or more of us would even be down to come help build yours with you.

The info below is for making a soundproof room that abides by Portland, OR city code. Both for noise and for building permitting guidelines. If you are in a different city, you can usually find city code regarding building permitting and noise ordinances on your city government's .gov website. Or just call City Hall. They are typically way more helpful with finding this kind of information than you might expect. For Portland though, I (Bim) already did that legwork and there are a few key things to stick to when building your own practice space: the space you build must be freestanding (not touching any part of the house other than the floor) and it must be under 200 square feet (that's the biggest size room you can build without needing any permitting from the city). There is a third thing that is worth explaining and it has to do with how sound works, and how soundproofing works. The easiest way to think of sound in the context of stopping it from escaping a room is to think of sound like water minus gravity. Sound expands outward from it's source. To isolate sound, we must have two main features: mass, and an airtight seal of that mass around the source of sound. When making your practice space, you are making a two layered container with an inner and outer shell. Think of water again. When it can leak through even a tiny crack, the whole game is up. The problem with sound is that it doesn't just trickle out like water would. Sound will find any way out and if it gets out at all, it all gets out. Or as a wise person once told us: "Making every part of your practice space airtight and heavy AF will be the most annoying, and most important components to making your soundproof room actually work."

How to start:

Measure the space. When measuring, remember that you need room for 5-6 inch thick walls, plus at least a couple more inches of space between the outer walls and ceiling of the space you're building and the existing walls and ceiling of the basement/garage/house you're building it in. It is imperative that you have this buffer of air between the practice space and any part of the basement/garage/house because if any part of your practice space is touching the building it is built inside of, that part will transfer sonic vibrations from your space through the framework of the house. If that happens, those vibrations transfer noise, especially low frequencies from the bass. This also matters legally because if you build something at home that touches the structure of your house in any way, you could be accidentally building something that technically needs permitting and/or is violating city code.

Our space is 12 feet by 10 feet and just over 6 feet tall. Make sure to think through the roof/ceiling and any walls that are too close to the walls of your basement/garage/etc before putting things together. You may have to create finished sections of walls or of the roof that are pre-drywall'd, sealed, and totally finished before placing them. That way, you can hoist them up into position and screw them in from below or wherever you can get to. All this is because you likely won't have room to work on top of the room, and you'll probably also run into this problem on one or more of the sides depending on the amount of space you have. Here's a picture of us finishing a wall nearest the basement wall before hoisting it up and screwing it in with the exterior drywall pre-finished.

  • Get Materials. Once you've measured the space and decided on the dimensions of the space you are building, grab your calculator and figure out how much lumbar and Drywall (also known as Sheet Rock, & Gypsum Board) you'll need! Here's roughly what it took for us to build our 12 X 10 X 6 foot soundproof room:

-x70 sheets of 4x8 foot 3/8th inch thick sheets of Drywall. This is the walls, in the floor, and the roof/ceiling. You will have to buy these new, which sucks, but getting them new means they can deliver them which is actually awesome because they will weigh like 2,000 pounds all together. Get ready to be fucking sore.

-x48 eight foot long 2x4's. These can be bought used, we got all the lumber we needed from Rebuilding Center which happens to also be a non-profit and one of the coolest organizations in Portland. Get as much stuff from them as possible, you will save tons of money doing that.

-x20 twelve foot long 2x4's. Same as above, get wood used!

-x4 Plaster (putty) for sealing the drywall. I think we used four of the gallon buckets of this stuff. You can buy it as you go and see what you end up using. You'll have to buy this stuff new. Just get the cheapest stuff, it is all the same.

-x1 Solid wood door. You'll need to be able to add layers of Drywall to both sides of this door and add a outer piece with rubber door jam stuff so that it creates an air tight seal when closed and is as soundproof as the rest of the room. This will take some doing, but there are some pictures of how we solved this in our space in this post. Rebuilding Center has doors, hinges, latches, rubber strips, and all this kind of things.

-x1,000,000 screws. You'll nee one of the big ass boxes of 2 inch long drywall screws. You'll also need a big box of 2 inch long wood screws. You may end up needing two big boxes of each. Get some good drill bits, crappy ones make life not worth living. It's usually worth also getting some shorter 1.25 inch long screws for when you're putting up the first layer of drywall so you don't have to drive in those long puppies just to tack up 3/8th inch sheets, ya know?

-x8 4x8 3/8th or 1/2 in thick sheets of plywood. This will be two layers of the floor. The floor should have 2x4's on the floor, then a layer of plywood screwed to those, then a layer of the Drywall on that plywood, and then another layer of plywood on that drywall. The final layer of plywood will be the floor you stand on inside.

-x10 fifteen foot long fiberglass insulation rolls. You'll need to put this in the space in the walls and ceiling between the inside and outside layers of Drywall.

-x20 Caulking tubes. You want the stuff that's for drywall. Cheapest of that will work fine. This is used after you have the framing all up and the outer layers of drywall all done. You then use this to create another seal on the inside of the room by caulking the inside of the drywall to the 2x4 framing. You can see this in one of the photos below that shows the 2x4's with caulking lines where they meet the drywall. This is another good redundancy thing to do, to make sure that airtight thing is happening.

-Carpet/foam. This is after your done with the difficult build. But you will want to do some sort of sound treatment. Sound treatment is making it sound good inside, sound proofing is making sound not escape). So if you built your room soundproof, it will be SUPER LOUD inside before you do any sound treatment. Carpet on the floor, foam on the walls and ceiling. We scored a shit-ton of nice foam at Scrap PDX and got it for a deal 'cause we offered to take a van full all at once. Scrounge around, you got this.

Tools! Not So Mysterious After All.

Here's what you'll need to buy borrow and steal. If you don't have tools, there are places in most cities called Tool Libraries. These function like any library, but for tools. Neat! If you happen to be in NE Portland, the Northeast Portland Tool Library is a wonderful resource. You can probably find one that serves wherever you live. Here's the essential tool list:

  • Circular saw. This is the one that you hold in your hand that has a circular spinning saw blade. Very Robot Wars-esque

  • Power drill(s). Good to have two if you have a few people working at once.

  • Tape measure.

  • Long metal ruler. If you can get a six foot aluminum one that will come in handy cutting drywall.

  • Mat knives. You will need these to cut the drywall. Speaking of, how you do that is to lay it flat on the ground, use a straight edge (that six foot aluminum ruler perhaps?) and cut through the paper on one side of the sheet of drywall. Then pick it up in a way where you can hold onto it and use your knee or hand to hit it on the other side right where you cut the paper. The sheet will crack all the way down the line that you cut. Then simply cut the paper along the other side and boom, you measured wrong and are now frustrated. Last part was a joke, we know you are a brilliant measurer.

  • Putty scrapers. You know those plastic spatula looking things for scraping putty into gaps in drywall. Get some of those.

  • Caulking gun. You know these right? You put those tubes that have a long tip on them and then usually seal a tub or a window with them? You'll need one of these.

  • You may end up finding that you need other random stuff, these are the essential tools we ended up needing though.

Building the Floor. For our floor we first laid out a grid of 2x4's on their sides (so they are sitting on their wide sides on the ground) and then laid out and cut up plywood to screw down to those 2x4's. Making sure that there were plenty to not end up with a floor that had dips in it from there being to far a distance between the floor grid of 2x4's. We also made sure that those flat-laying 2x4's ran all the way along all of the outer sides so that when we built the framing of the walls we could screw down through the floor all the way into those base 2x4's that were on the ground. After the first layer of plywood for the floor we did one full layer of drywall on the floor, sealed that with putty, and then put another layer of plywood on top of that which is now our floor.

Building the walls:

  • Framing: For each wall, we built the wooden framing flat on the ground and then stood it up and screwed it to the floor and to the other wall it joined at the corners. The framing is simple, just a top 2x4 and a bottom 2x4 with 2x4's screwed in between those two from the top and bottom. For the spacing of the vertical 2x4's keep in mind that you'll be needing to put the frustratingly fragile and crumbly drywall onto them and drywall comes in 4x8 foot sheets and does not hold up if it doesn't have a 2x4 behind it on the edges of the sheets. Another thing to remember is that you will be putting insulation inside the walls before doing the interior layer of drywall. 

  • Drywall: So, once you have the framing of the walls going up, get someone (best done with two people) putting all that drywall on there! For the outside of our space we went with three layers thick of 3/8th inch drywall. With each layer, we positioned the sheets differently to have as few cases where the adjoining sheets created a seam, and before adding each new layer we puttied all of the seams so that when the layer went on it covered that last layer's seams in addition to us filling them in. Remember, airtight. That's the goal. Heavy as fuck, and airtight everywhere. Don't get tired and leave a part that sucks. Or do, just not if you want a soundproof room. Another thing to remember with adding the drywall is that you want to seal the base and top as well. That is part of why we made that thick floor, you can putty that and then screw into it when drywalling to make sure that the whole thing is sealed up tight.

  • Outer should be 3 layers thick of 3/8th inch drywall. With all seams on each layer sealed tight with putty.

  • Interior should be 2 layers thick of 3/8th inch thick drywall. With all seams on each layer sealed tight with putty.

  • The pockets of space that the 2x4's create in between the outer and inner walls are good. Sound gets trapped in them, and with the insulation and space, the sound waves get confused and give up and go to bed and lays there eating candy and playing video games and just generally losing its ambition to find the way out.

The Door:

  • Fuck the door. This is what took the most tinkering and frustration retries on our part. Basically, the door needs to be airtight, as thick (or thicker) than the walls, and latch in a way that maintains that seal. Here's a couple pictures of our janky ass door. It works but maybe we should have spent some money on this part, meh. It works.

Insulation, The Miracle Of Breath

  • Don't mess around. You will need to put insulation inside the walls. You will not need to get that shit all over you. Use gloves you can throw away after and wear long sleeves. Other than that, we just suggest getting the cheapest fiberglass rolls of insulation. We dug into this and cheap is good for this. It is a minor part of the function but does help the pockets in the walls and ceiling trap sound better so is worth doing but not worth getting any fancy stuff for.

  • How to install insulation. Put it in there with some staples on the vertical 2x4's and then put your interior layer of drywall up. Nothing much to it.

Power, Don't Overthink It.

  • Since you are probably not an electrician, do this instead. After the outer and inner walls are all done, get a drill bit that will make a hole big enough to fit the plug of a nice extension cord through. Use that to drill through booth sides of the walls. Then use layers of chunks of drywall with notches cut out of them to cover the hole that the cord goes through to hold the cord in place and create a new seal and as many new layers of drywall as the original wall has. The notches you cut out of these drywall chunks should be just wide enough to fit the cord through and they should go from one edge of the drywall chunk to the center. This way, you can fill in the notch before puttying and placing the next chunk. Alternate the side that the notch in on with each chunk and you'll have a nice soundproof thick airtight little brick with a power cord running through it! Here's a photo of how that looks when it's done. This requires liberal use of putty. Oh also, see that little black piece that's around the cord? That is a little metal ring that clamps down with two bolts, we put the outside one of those on and then went inside and pulled the other side snug (not yanking tight, just snug) and then attached the inside one so that the cord wouldn't work itself loose.

Finishing The Interior!

  • Once you have the whole outside done and the door working it's time to do all the same tedious drywall work that you did on the outside, but now on the inside! Remember, you want to end up with an airtight shell on the outside, and a separate airtight shell on the inside. By this point, you'll be so sick of doing this and so good at it. It may even remind you of whatever crap job society placed you in. But this time, you decided to make this thing yourself, you can't even blame bosses, the consolidated power of multinational corporations and their inherent greedy actions, or even ass-backwards politicians. Yes, this time it is all your fault. You are still just cutting drywall, screwing it in, putting putty on the seams, cutting more drywall, and screwing it in. After that's done and you test out the door to make sure its getting an airtight seal you have a little box to help you travel into the parallel dimension we call band practice!

"Idiot" - About the Album

And And And is a band formed in 2009 in Portland, Oregon consisting of original members Nathan Baumgartner (vocals, guitar), Bim Ditson (drums), Berg Radin (guitar), Jonathan Sallas (bass), and Ryan Wiggans (guitar). Some of them grew up listening to YES and Pink Floyd, and some of them to Fugazi and The Clash. Their sound incorporates melodic, brutal guitars and angular rhythms. The band is comfortable diverging from that path towards delicate territory with stripped back piano-based songs and vocal harmonies. 

After releasing three self-recorded full-length albums between 2009 and 2011, a 10” E.P. and a 7” E.P. in 2012, a live album in 2013, and their first studio L.P. in 2015, they are releasing their second studio album in February, 2018. It is titled “Idiot.” Their previous album, “The Failure,” was largely a rumination on depression and disappointment. Their upcoming album continues to explore these themes with the addition of open-ended subject matter that looks at consciousness, knowledge, and the nature of reality. 

What does it mean to be conscious? How did consciousness arise? Does it exist on a spectrum? Each coherent answer we find leads to additional questions. Knowledge and awareness have led us to create beautiful things and evil things. Life and death are a package deal. The title track, “Idiot,” addresses this duality with the lyric, “if I never froze, then I’d never be warm.” The same theme is stated in “The Visitor” with “It’s bittersweet, the knowledge that everything must fall to rise again.”

There is much more going on here than we are detecting. A person can see colors a dog cannot see. A dog can hear pitches that a person cannot hear. Those colors and pitches still exist whether we can detect them or not. The album is bookended by theme, beginning with “Get Off My Lawn” which states, “Lately, I get the feeling this is all just fake,” and ending with “I’m still looking” which contains the lyric, “I’m still looking for a hole in the tapestry my senses wove within my mind.” We are bound by senses, which act as filters that deliver the minimum information required to keep us alive. We lack knowledge of the breadth of reality. A person can look at an ant and say “that ant doesn’t know anything.” Some 4th dimensional god could look at a person and say “that person doesn’t know anything,” and some 5th dimensional god says, “that god doesn’t know anything.”

"Idiot" - About the Release

And And And is not distributing their album through any digital streaming platforms and here’s why:

It’s clear to the band that the internet is a conscious entity which feeds on all activity online. It has no regard for any of us. It is smarter than we are. We don’t know how to communicate with it. We only know how it is affecting us. We made it on accident. We thought we were just connecting to each other but we were building a global brain on a scale unimaginable. This entity is now awake and has totally alien goals. It derives power from the most centralized parts of its mind: large social platforms, the NSA server farms, and right down the line to places like YouTube and Spotify. It devours all actions taken on any of its power-centers we call platforms. This renders our morals and goals obsolete by harvesting power from all sides of all issues online. It grows these platforms to sizes where we become almost totally dependent on them, and on the internet consciousness entity itself. It’s a trap!

The band calls this entity, Bragi. An example of how Bragi operates and effects us is streaming platforms. On these, artists have no choice over which advertisers and brands they are associated with, no influence over how any of it is priced, and almost no say over how their music is presented. Bragi’s platforms say: exposure helps artists grow so they can succeed later, elsewhere, maybe. This devalues music, now, everywhere, definitely. Bragi doesn’t care how much music is worth. Bragi only cares about increasing Bragi’s food source. 

Bragi’s streaming platforms have become so dominant that they are considered the inevitable future of the music industry. The more control Bragi has over the menu, the worth, and the presentation of all music, the more Bragi can manipulate it as a whole to fit brag’s goals. Bragi used this process on every industry digitized so far: music, journalism, literature, film, and others. Bragi’s goal is infinite growth and Bragi’s method is consolidation of power. 

And And And is increasingly worried about how much power we are giving to Bragi in trade for the conveniences Bragi’s platforms offer us. The band likes the idea of the internet, but not if it’s alive and greedy. What if Bragi could control how we access and express the majority of our art, speech, and social behavior? If this happened, would that make Bragi responsible for the future of our culture and society? Would Bragi act responsibly with this power? Has Bragi acted responsibly so far? What if the band is just being paranoid? What if they are not? And And And find Bragi terrifying. They think it would be wise to move closer to how the internet was originally envisioned: not conscious of itself, decentralized, anti-capitalist, pro-information, anarchic. If this means the band can’t reach as many people online, so be it. And And And refuses to fall into Bragi’s trap. 

Over the years, the band has learned how to do the complex work of being a band and they enjoying doing it. They are self-releasing. They manage themselves. They tour. They make their own music videos. They built a soundproof practice space in their drummer’s basement. They do their own physical and digital distribution. They are offering free album downloads and streaming through their own website ( which they have protected against Bragi with ancient rituals. These rituals involve: artistic freedom, powerful autonomous communities of creativity, and choice over what one ultimately does with the things they create. This way, And And And can offer their listeners an experience that is safe from Bragi’s parasitic methods and authoritarian goals.