Tim Nelson profile picture

Tim Nelson

wood, wire, electrons...

About Me


Sunyata
AmalgamDecember 25th, 1969: After months of wheedling my parents, and with a mere week to go in "The Sixties", I received my first six-string guitar, a plastic-bodied, plastic-stringed, sort-of Stratocaster-shaped brown sunburst thing which was quickly set aside when, having proven my mettle by mastering the chord changes to 'Pollywollydoodle', I commandeered my father's Kingston acoustic (likewise a sunburst) which, having steel strings and actual tuning machines, held its intonation much better and was easier on all ears in the vicinity.
Around the same time, realizing that it would give us just that little extra edge of coolness we found desirable, a friend from school and I decided to start a band. He had two older brothers who had some gear in their basement; my friend claimed the drum throne as his rightful spot, while the instrument made available to me was a strange ultra-short-scaled bass which had been converted from an electric six-string guitar and was just the right size for my seven-year-old fingers. And best of all, it plugged into a great big amplifier! Alternating between acoustic six-string at home, spinet piano downstairs when nobody was home to complain about it, electric bass when jamming at my friend's house and a brief flirtation with the slide trombone in the school band (after the orthodontist kiboshed my first choice of the saxophone, saying that it would give me buck teeth), the stage was set for a musical multiple personality disorder that has stayed with me ever since, a syndrome some one-dimensional, shallow, non-multi-instrumentalists refer to not without derision as "Brian Jones-itis", a pathological need to play ALL the instruments without necessarily mastering any of them. Anyway, I enjoy it.
As the 1970's continued, I found myself continuing to switch between guitar and bass as a member of a succession of groups, some without actual fixed bandnames or musician rosters and others with names reflecting the spirit of the age, gems with such mystical overtones as 'Osiris', 'Arkenstone' and 'Pyramid'. It was as lead guitarist/vocalist of the latter group that I first became fully aware of the powerful influence being a musician could have on one's social life, as we and our rivals 'Tyrant' strove for dominance as the two biggest fish in the very, very small pond of our high school.
My college years (University of New Hampshire, '84) were a time of expanding horizons, as I was simultaneously discovering home recording experimentation, the techniques of Fripp & Eno, and the fact that free improvisation a la Syd Barrett-era Pink Floyd in many cases obviated the need for boring rehearsal of repertoire. I worked as a sideman bassist and guitarist in the Holly Durniak Group (a singer-songwriter/pianist managed by the same guy who managed Barry Manilow) and played bass and wore a skinny tie in the power-pop outfit The Heat. By 1982, I was riding the first wave of neo-psychedelia as bassist/vocalist for the Spontaneous Abstraction, a group which later morphed into the psych-prog Urth. It was during this period that the infamous Timothy Leary, remarking on the fact that we had the same first name, told me that I had "a lot to live up to" and laughed perhaps a bit too heartily when I in knee-jerk style responded without the slightest bit of forethought "Some might construe that as arrogance."
After Urth disbanded, I was the bassist/vocalist/sometime keyboardist for a series of well-intentioned but poorly-organised prog bands with shifting membership, no fixed names (I think we were The Iguanadons at one point) and very high levels of both technical aspiration and pretension.
I spent the five years following college as a world traveller (ie. doing military service) while I continued my musical endeavors with a 4-track recorder and Nick Drake-esque solo acoustic performances in California, Texas, Hawaii, Japan and Turkey. It was during this time that I began my collection of indigenous musical instruments (see column at left), and wrote and recorded many of the demos that would later appear in the Heavens To Murgatroid repertoire.
After leaving the US Navy in 1990, thankfully without any anchor tattoos, I continued to record 4-track demos, and was the bassist/vocalist for the short-lived alternative group Squirtgun. Working as a graphic artist, I became involved with the power-pop group Heavens To Murgatroid shortly before they temporarily disbanded in the summer of 1991, at which time two of the original members immediately regrouped as The Bumping Uglies with a new drummer and with me on lead guitar. Fortunately, we never gigged under this awful name, realizing that HtM's substantial regional fanbase, the boxes of t-shirts and stickers in our bass player's closet and the existing distribution deal with Minneapolis's ProSpective Records made it much more sensible for us to continue as Heavens To Murgatroid.
After a couple of very busy years of regional success and following a national tour in our hot-pink tour bus in support of the album "!", I left Heavens To Murgatroid. For the next year, I did not play stringed instruments at all, and studied Native American flute and the classical honkyoku repertoire of the shakuhachi. In the mid-90's I sort of almost nearly began a new project with Dave Hunter (ex-Drugstore guitarist, now with the Molenes) which was shelved when he returned to London, but at least it got me playing again.
Soon I found myself involved with a prog-electronica ensemble with much in common with the prog bands I'd played with around '84-'85: there was a lot of potential but no discipline, and the roster was subject to the same continual revolving door. We were all multi-instrumentalists, so there were rehearsals where we'd ALL show up with the same instrument; at one point, we were ostensibly a guitar-bass-drums trio, but we'd all show up with synthesizers instead. It was fun, and there was some interesting music, but it was doomed. Through this association, I worked a bit with Nate Groth (Intelevision, Ardent Ways, Hotel Alexis, Northern, etc.) and first met Michael Deragon (Prajna, The Water Section, The Great Invisibles) with whom I didn't actually play a show until May, 2006!
It was around this time (1998) that, using digital looping technology, I again began to perform semi-regularly doing solo electric improvised ambient soundscapes using a variety of different instruments. I was a featured performer at the 'Sonic Blender' event held in 2003 at Cambridge's Zeitgeist Gallery; my set was filmed and televised to the Boston area as part of a program which asked the question 'Is Electronic Music the End of the Big Band?' I'm not sure what the answer to that question turned out to be...
In early 1999 I co-founded the Chain Tape Collective, a worldwide, internet-based group of experimental musicians who have regularly released compilation CD's, all of which may be downloaded in their entirety (including the full CD graphics) from our website. Compositions I've done for CT projects have been featured on Italian National Radio as well as on the Eldorado programme of Sveriges Radio (Swedish National Radio). The CT Collective is fairly prolific, with about 20 CD's out so far, and more in production as I type. We're always open to new membership, so if you're an interested/interesting musician, please visit the site. And bring some friends with you.
From late 1999, I've been a member of Brainfood, an on-again-off-again improvised psych-prog loop-heavy instrumental project comprised of former members of the early-80's lineup of Urth. Brainfood has an interesting structure; it's either a three-member duo or a two-member trio, depending on which way you look at it. The way it works is that any two of the three members constitute a quorum and can perform as Brainfood; when all three of us perform together, which is extremely rarely, we call it 'Brainfood Plus'.
Since around 2001, I've been loosely associated with BuTcH, the project of Butch Heilshorn (ex- 5 Balls of Power, Jim Jones & the Guyanas, BobHouse, Hemicuda, Moonking and the former honcho of PlayHard Records), appearing live in a lineup which also featured Dustin Ruoff (Minds of Minolta, Mosfet) and possibly somewhere on CD, although with BuTcH's CD's it's sometimes hard to tell who's on there when it finally comes out of the cuisinart.
From late 2001 until early 2002, my guitar, electronics and I were part of the short-lived original lineup of According To My Dream.
Early 2006 finds me simultaneously releasing not one but TWO CD's, a few tracks of which may be downloaded above. 'Rantai' consists of material recorded in association with the Chain Tape Collective. About 1/3 of the album is previously released material, another 1/3 is older material that was recorded for CT albums but never released or which has been remixed drastically, and the remaining 1/3 is new material with some connection to the Chain Tape Collective (such as the cello and percussion track 'Orphans Among Strangers'). Incidentally, the cover art is an extreme closeup of a Russian-made pocketwatch chain, and is NOT a depiction of worms, sausages, intestines or anything nasty like that.
The second new CD is called 'Mesh'. The album was originally conceived to coincide with a gallery opening commemorating a 30-year retrospective show of the Metalsmithing program of a prominent art college, but when the opening was reorganized around another venue, I was left with 48 minutes of new music that early reviews have described as 'powerful' and 'cinematic'. The CD retains its metallurgical connection in that all of the titles are terms from metalsmithing, most of them double entendres.
Most recently, I've been collaborating with Michael Deragon of The Great Invisibles with whom I played the second show in the Sotto Voce series (see link in my Friends list) which combines live musical performance with the works of avant-garde filmmaker Michael Winters.

My Interests

Music:

Member Since: 1/12/2006
Band Website: ct-collective.com/
Band Members: Just me, Tim Nelson. But I always got good comments on my elementary school report cards for playing nicely with others, so the concept of collaboration wouldn't require much arm-twisting. I like to play on other peoples' projects, yes, I do, whether as an instrumentalist or a producer...Attention filmmakers! The above applies to you as well!



Influences: My daughter Chloe, Robert Rich, David Torn, Terje Rypdal, Eivind Aarset, Ralph Towner, early Soft Machine, Zdenek Liska, Lera Auerbach, Garmarna, Anekdoten, Hedningarna, Brian Eno, Bert Jansch, Davey Graham, early Chris Squire, Jeff Beck, Godspeed You! Black Emperor, Mogwai, Zoe Keating, Sigur Ros, Anima Amina Amiina, Supersilent, Nick Drake, Michael Hedges, John Paul Jones, Bob Moses, Ben Neill, Popul Vuh, Elvin Jones, Mick Goodrick, Eberhard Weber, Keith Moon, gamelan, gnawa, fado, Scandinavian roots music, rembetika, Loop Guru’s Jamuud, TransGlobal Underground, Nels Cline, Dub, King Crimson, Bill Laswell, Richard Thompson, Ennio Morricone, Gyorgy Ligeti, Edgard Varese, Arvo Part, George Martin’s and Jimmy Page’s respective production techniques, Steve Roach, Syd Barrett, pre-Wall Floyd (particularly 1969-71 live bootlegs), Natacha Atlas, exotica, John Coltrane, Miles Davis, Teo Macero, the mighty Hawkwind, Banco de Gaia, Tangerine Dream, Steve Swallow, Jon Hassell, Peter Gabriel, Camel, Bjork, Count Dubulah, James Brown, Bergman, Fellini, Antonioni, Tarkovsky, Juenet & Caro, Jan Svankmajer, The Brothers Quay, Jiri Barta, Maya Deren, Luis Bunuel, Alexander Calder, Louise Nevelson, Chris Cunningham, Odd Nerdrum, Carolyn Leaf, Jean Cocteau, Michael Winters, Dr. Robert Moog, Richard Zvonar, Michael DePorte, Arthur Ganson, Gunter Grass, William Gibson, Neal Stephenson, James Joyce, Marlin Perkins, Tim White, tokaji, small-batch home-infused aquavit, designing label graphics for small batches of home-infused aquavit, paleoanthropogy, history of 17th-century Maine, culinary mycology, eccentric luthiery (for which I moderate the Eccentric Luthiery Support Group), contemplation of the paradoxes inherent to time travel, the fine folks at Looper’s Delight, ethnomusicology, lucid dreaming, akai headrush, line 6 dl-4 and echopro, boss rc-20 oldschool, lexicon reverberation, caffeine, pomegranate seltzer, those new synthetic corks that don’t crumble into the bottle, anonymously creative individuals, people who enjoy reading, writing and (who share with me a need to get over their aversion to) arithmetic, stealth giraffes, wolf tools, peep, snack-grabbing empty-bag-returning georgian emus, residual australopithecine dna, misused muses, misspent youth, india pale ale, macro lenses and stuff like that...
Sounds Like: tim nelson : live Sonic Blender at Zeitgeist Gallery 2003 Sinusoidal StakeIt's Hard to Ride a Bicycle in the DesertJust So Long As I'm the Dictator
Folding Chloe's Clothes
Ramapithecus
Stars Are Funny

...a plethora of guitarlike instruments (fretted, fretless, steel, nylon, electric, acoustic, bass, baritone, resonator, lap & pedal steel, normal & extended range), cello, flutes (boehm, shakuhachi, suling, ocarina, tarka, quena, native american, bansuri, recorders, etc.), circuit-bended things, sitar, tanpura, oud, electrojawari, siamese carcajou, mandola, ukelin, mandolin, bouzouki (a Greek one modified with a sitar-style jawari bridge and a Romanian one strung Celtic-style), theremin, didgeridu, yueh chin, dulcimer, hurdy-gurdy, baglama saz, cura saz, medieval smallpipes, cumbus, pipa, kemence, mellotron, Nellotron, kazooka, organ, vintage analog synths, piano, banjo, swarmandala, the occasional vocal, tseung, door harp, mbira, dumbek, bongo, djembe, zither, drumkit, cymbals, wind-up toys, shortwave radios, walkie-talkies and microcassettes into electric guitar pickups, bells, chimes and so forth, usually sent through lots of circuitry...

My usual avant-gardening solo stuff has been compared to Robert Rich, Terje Rypdal, Brian Eno, Steve Tibbetts, Anouar Brahem, Ralph Towner and David Torn, topped with a ladle of Ligeti sauce, while the more rock-oriented material I've done as a member of groups has reminded some people of Godspeed You! Black Emperor, The Church, Richard Thompson, Mike Campbell, David Gilmour, Jimmy Page, Social Distortion, U2 and/or The Who. Talk about strange bedfellows...



Miscellaneous Reviews and Comments:

"Tim Nelson makes strangely wonderful music on wonderfully strange instruments!" - Sean Byrne (The Twin Atlas)

"Tim Nelson is one of the most impressive and creative musicians I've run across in my travels. He is ceasely inventive and has no fear of stepping outside of the box to create something that is brand new and cutting edge... He also has a great knack for innovative electronic and physical techniques to create an astonishing arsenal of sounds for both his artistic projects and his professional studio work." - Rick Walker (producer/composer/multi-instrumentalist)

"Tim Nelson is one of the lucky few who truly sees music in a different light, using a myriad of instrumentation to accurately interpret each song's detailed textures and contours, as a photographer would use different lenses to capture the tiniest details. In that regard, Nelson's work is a macro lens that captures the nectar on a bee's legs after pollination." - Marty England (Pondering Judd)

"Tim uses the entire world for his sonic palette. Not just the musical styles but the very musical instruments themselves. His is ambient music that is interesting and moving, rather than a backdrop for something more important, and contains no dairy products whatsoever. From Akron to Arabia, Africa to Ankor Wat, his music is sometimes synthesis and other times distilate--always a journey. Often it is his very own unique aural species, familiar yet exotic, smooth on the outside and dynamicly complex within. Tim knows what he is doing and does it with enthusiasm, open-mindedness, and an ongoing thirst for new sounds and combinations thereof... Yikes." - Butch Heilshorn (5 Balls of Power, Jim Jones & the Guyanas, BobHouse, Hemicuda, Moonking, PlayHard Records)

"Some think of Tim Nelson as a guitarist, others might say a player of all things with strings.But i hold a different picture of Nelson's main axe: it is a cauldron.Whether in live performance or on the studio floor, he stirs home-grown sound sources into boiling concoctions not entirely of this earth. Dare i say "wizard-like", he wields heat, he moves cold with electronic spells, secret spells, which, in turn, enhance and give lift to every other sound or vision over which these secrets are cast.Such potions would appear not at all out of place as ingredients to the film scores of Mark Isham, Philip Glass, Cliff Martinez, Lisa Gerrard, and Peter Gabriel. To the admiration of the Red Sun Soundroom crew, Tim Nelson is a texturalist first: the music he makes is tactile, felt in the fingertips.Mesh, his recent solo release, brings together on one disc at last several pieces created solely at the hand of the mad-botanist-become-organic-chemist-of-the-sonic-laboratory. He plays beautifully. An assortment of instruments are on the palette: acoustic guitars, cello, various flutes from around the globe, percussion instruments of equally diverse origin.He also plays his playing beautifully; treatments bring these instruments to a new place within the compositions on Mesh, to a place hardly imaginable until heard, disbelieved, then heard again.I enjoy Tim Nelson's recorded efforts as a music-lover second. As a composer, creative recordist, and thief, i afford myself a separate, primary motive for listening: inspiration.When (not if!) you buy this disc, buy a second copy for a friend. I'm telling you they will likely procure two more copies to pass along, and they'll thank you for it." - Peter Koniuto (Red Sun Soundroom)



Record Label: Nimbletunes
Type of Label: None