Live Performance at Sing Sing Kill Brewery

The Songwriter's Block - September 25, 2019

Live Performance at TASH, Patriots Park, Sleepy Hollow, NY (Sat 31st)

August Dates

Live performance at FERRY SLOOPS, INC. SUMMER MUSIC SERIES

Transparent Gallery 06-15-2019 (Video)

STANDING STILL IN MOTION

DON'T PUT ME OUT

INVISIBLE AUDIENCE

JUST TO BE

FUTURE NOSTALGIA

BOATYARD

ITINERARY

Live Performance at Danny Clinch Transparent Gallery

June dates

Live Savannah Four

Solo acoustic at El Rocko Lounge


Songs by Greg Connors
Recorded live by Larry Jack on April 29, 2019
Sound engineer : Forest

Design and Layout by Greg Masclet (@the_sound_camp)

Tour Poster 2019 with Greg Jacquin Music

HOLOGRAPHIC STATIC PROPORTION OUT NOW

Holographic Static Proportion is an EP designed with the understanding that our greatest strengths ARE our greatest liabilities and vice versa. And part of THAT is forgetting this sometimes. And to forgive ourselves for THAT (and the rest) is a process. Presently, for me, The Process.
credits
released April 19, 2019 

All songs were written by Greg Connors 
Olive Songs Publishing 
All Instruments and sounds by Greg Connors Music 
Recorded and Mixed by Greg Connors at 
Plush Sleeve Studio, Ossining, NY & Studio de Cucch, Bedford Corners, NY 
Shaklee Spring Mastering 


Original Photography by Gretchen Pelleton 
Design and Layout by Greg Masclet


Bandcamp

Soundcloud

Holographic Static Proportion Review

“Greg Connors is back with the release of is his new EP Holographic Static Proportion; it’s rough around the edges, jarring at times, (occasionally even skull-rattling). This album has all the earmarks Connors has become known for, brutally capricious lyrics and a quick dark wit. As a writer, he continues to mine the rubble of human relationships for nuggets of understanding and tenderness amongst the fury and confusion.  A versatile storyteller, Connors will draw you in, hit you hard where it hurts and probably give you a good laugh as well.

Where were you when that tree fell in the forest? Check out Holographic Static Proportion and see what you hear…”
-Catherine Swan

Holographic Static Proportion is an EP designed with the understanding that our greatest strengths ARE our greatest liabilities and vice versa. And part of THAT is forgetting this sometimes. And to forgive ourselves for THAT (and the rest) is a process. Presently, for me:

The Process.

This was made quickly and with intent to be completed by a self-imposed deadline of a Full Mooned, Good Friday about five days before a tour is beginning with my musician friend, Greg Jacquin.

Files were lost in the recording process and I had to keep going. It’s how it’s meant to be. This is not a mainstream album. It’s roughly made with great care. It was recorded on a Tascam DR 40 digital 4-track record mainly with an Electro-Voice RE 320 microphone. A BOSS VE-8 provided me with some sound blends.

At one point in mixing, I had no WiFi at home. I had to go to the local shop, First Village Coffee in Ossining, NY and use theirs. My laptop has a broken headphone jack so I would download on to my phone, step outside and listen to it then go back in and correct it while drinking a magical latte, barista, Kate had prepared and then do that again a few more times. It was reminiscent of the days when you would record multi-track on to a cassette, mix it, listen on your boom box, then a nice home stereo and if it passed that test, you would chamber the car with pot smoke and listen to the music you made on someone’s Kenwood car stereo. More decisions would be made. That process was slightly before my time. I don’t smoke pot or drive these days, but I walked around town listening to these songs I created in two different locations. Stopping occasionally and smelling early spring.

The writing, recording, and mixing was fast. It was completed in about 5 days total. I usually have some great people working with me, but not with this. I thought at certain points it would sound better if I had asked Fletcher Leigerot to play drums, or have Secret Caves (check them out) take it into their golden Sonic assaults, but I just fumbled along until I liked what I heard. I thought a lot about the word “better”. I let my understanding of “better” disintegrate in my guts.

My current life is rich with some good people. Some of them encouraged this on a personal level like John Leon (The Royal Arctic Institute (check them out also!), Gretchen Pellaton, and my brother Mike. I mostly kept it to myself and rather than my usual cast of characters, who would influence choices, I found myself considering, “What would Garrett DeVoe, Patti Smith, Laurie Anderson, or Will Fratesi and his wife, Lisa think of this?” They kind of looked over my shoulder and winked at me and argued occasionally. That they were not around (or have no idea who I am) was irrelevant until I write about Holographic Static Proportion at this late hour tonight realizing I actually did this again. I made history. Or maybe my lucky 13th studio album? Either way, we win.

It’s one of kind but there is nothing terribly precious about it. It’s raw af. This process had no punching in. No easy tweaks or corrections were made. It is simply so. When I would hit record I was in it for the duration of the piece.

I hope you enjoy its duration as much as I actually still do.
Thank you for listening and reading and thank you to mySoundposter for having me again.

Peace, Gregc

Live Performance at HOTEL RL

GREG CONNORS - She Did Glance (Live at Tiny Bronx Contest Vol. 3 for NPR's Tiny Desk Contest 2019)

Live Performance at Dogwood NY

Release Show Greg Jacquin Band at 6 DEGREES OF SEPARATION

Future Nostalgia : Interview by Catherine Swan

Recently I had the opportunity to interview Greg Connors about his new single “Future Nostalgia.” As I was listening, I was so drawn into the track, which prompted further listening to Connors’ vast cannon of eclectic material. I found his songs speak to me in a familiar voice, both vulnerable and comfortable. His melodic, yet ‘cut the crap’, self-styled phrasing dances with a deliberately off-kilter, sweetly angular guitar motion.

What was the inspiration for “Future Nostalgia”? It’s such a cool idea, did it come from a personal experience?

I was on an international call with a friend and he mentioned the term “Future Nostalgia”. It’s about being in the present moment and feeling the awareness and wherewithal to persevere. It’s a way around a certain new-age bovine mentality that tells us “just think positive” and “turn your frown upside-down” or “manifest harder!” It’s a shame free way to acknowledge the present in all it’s beautiful grinds, amazing and mundane complexities. It’s the bigger picture. The “full circle” stuff. Things not being what they seem also.

I collaborated with videographer, George Pereira, on the video. We worked together quite easily. He’s very talented and his well runs deep with great “off the cuff” ideas. He has a disarming confidence and intuition and a keen eye.

What is your work process like? How long does it take you to create a single like this?

I wrote the music and the words in about an hour. I immediately had a pretty good idea of what I wanted it to sound like, and who I wanted to have involved.

I recorded at the New York Vocal Studio with Mark Smith. It was basically two one and a half hour recording sessions. I just sang and played it acoustic in real time. I added some electric stuff with Marc’s old Gibson hollow body. Marc and I both played organs. Second session Amy Gandolfi sang background vocals and the claps and percussive things occurred. John Leon of The Royal Arctic Institute added some guitar remotely. I would say the whole tracking experience was probably about five hours.

Have you always know that music was your path? How old were you when you started? And what was your “Ah-ha! Moment”?

I don’t think I always knew. There’s been a few “ah-ha’s” I suppose. As time goes on they have called for recalibrating, but when I was about 20 years old I played with the NYU Independent Music Festival at cbgb’s omfug. They said it was a slow night but they handed me thirty bucks. I guess it pleasantly surprised me that I could make some money doing this.

Another time there was a place called ‘Mud Shack’ in Atlanta, Georgia and there were all these older, wiser guys, these wonderful poets, William S.Burroughs-and-James-Baldwin-types. They were very encouraging to what I was doing. I remember they said this is a poetry reading but you can play your guitar too. There were some other great musical things, but being from New York they seemed leary of me. People applauded and I felt so all sorts of accolades and approval for doing what exactly it is that I do.

So “career” is a funny thing… But as far as recognizing that I can’t not do this, it was somewhere in my early 20’s.

Who are your musical inspirations? How has that changed over the years? Do you find yourself going back to the same sources?

At a very early age, I always liked hearing Bob Dylan and Johnny Cash. Something about their voices and their phrasing and the words that they sang. They also brilliantly marketed the idea of not giving a shit what anyone else thinks.

The Cure and Pixies hit me in adolescence and spoke to a certain penchant I have for the absurd and vulnerability.

There is something about the way the Elmore James recordings sound. Whether it was in a bar or studio, something about the ragged and sturdy tones. The feel of those is ghostly and inspirational, he sang and played like that was all that was happening in the world at that moment. I find I can get a wealth of information from it still, years later since I first heard it.

What is on your horizon? Can we expect to hear new things from Greg Connors this year?

On December 23rd 2018 I released an EP called, “Holiday Cards on the Table.” It’s a Lo-Fi seasonal album. Nothing has ever been done like this that I know of. I recorded it on a digital 4-track in my room. It’s very personal and peculiar.

I think it would be quite prudent to expect more video and songs from me! I have been thinking of new material. I enjoyed working with this 4-track, barely beyond the learning curve. The benefit of that was really losing myself in it at any given available moment. It does have its limitations…and some hiss, but that could just be being on Main Street.

I’m putting some songs together for an album tentatively titled “Greg Connors Presents Craig Gonners”. There are some talented friends I’d like to hit up for some collaboration. Frankly, I really think today’s music could use more of me.

I still sort of have to pay for “Future Nostalgia”…..so to speak.

Apparently I’m not impervious to the cold…

GREG CONNORS, GETTING BACK ON THE CHAIN GANG

Posted on February 6, 2019 by Lou Lombardi

With a deceptively simple sound of an old country or blues record, his sound is at once raw and vulnerable, but distilled through a caustic brilliant prism of sound. Connors freshly weaves a view of emotion and experience; lyrical branches wound densely in and out of darkness and diffused light. His own raw and vulnerable sound journey can do any listener a great service. And if you’ve ever feel the limb snap, it may just be his dry wit.

From his teen years, drifting the fringes of various NYU independent music festivals and on to places such as CBGB’s, Greg’s path led him to Atlanta, Georgia, creating deliberate vibrations at such local favorites as the 40 Watt Club, in Athens, and the Variety Playhouse in Atlanta, and then back to NYC again, with various stops along the way

Greg is making music currently in metro NYC. He has awakened audiences for the likes of John Mayer, Joseph Arthur, Cat Power, Smoke, Songs; Ohia, Palace Brothers, Joan as Police Woman and Vic Chesnutt.

In 2006 Scared Records released Greg’s 5th Studio album,

“Here, There and Anymore”, Produced by friend and studio wizard, Joseph Arthur.

Recorded with Bass player and recording engineer, Scott Fragala, Connors’ 9th studio album, “Home Made Compass” will be available on March, 3rd 2018.

‘Greg Connors’ trademark simple guitar licks and detached alienated, lonely voice are coupled with a scary command of the English language. He is the Howard Finster of music, painting vivid abstract images with his words and guitar.”

Performer Magazine

Live Performance at Peekskill Coffee House

Live Performance at American Folk Art Museum

Tonight's performance

5:30 pm
 Laura Meyer
Touring singer-songwriter

6:05 pm
Kora Feder
Indie singer-songwriter

6:40 pm
Greg Connors
Post-punk-death-folk

Live Performance at Sing Sing Kill