Wonder Wheel

Blood Is Red, Bruises   
Are Blue


ICONOCLAST Scores and Lyrics

DEMOLITION OF WISDOM (Fang Records, 2022)

Listen to the variety and creativity of what is being played on the drums, the unusual tom applications and the intricate polyrhythms. Despite the variety, there is a clear, distinct personal style that is distinguishable throughout the album. This is what happens when curiosity leads the way beyond the obvious. Here are some guiding descriptions of the tracks on Demolition of Wisdom.

Track 1. Four Forgotten Minutes starts with an accelerando / ritardando with the double bass plus asymmetrical cymbal hits. At 0:45 there is a double, backwards figure eight over the toms and snare (snares off). At 1:37 a floor tom roll segues seamlessly into a double bass roll. At 2:00 a backwards over the toms roll. At 2:14 a slower figure starts on the snare, goes to the floor tom, turns around and goes back. You've heard the standard triplet jazz lick with two strokes on the snare and one on the bass. Here, at 3:01, you hear an expanded version with 4 strokes on the snare and 4 on the bass with a cymbal on the beat. At 4:04 there is an ascending 3 tom arpeggio that requires hand crossovers.
Track 2. Oxidation is a minimalist piece utilizing only two toms played together with improvised accents bouncing back and forth.
Track 3. The Realistic Optimist has surprising snippets from various styles: waltz at 0:38, speed metal at 1:45 and blues at 1:58.
Track 4. Tour of the Wild Moons. On this track drums and keyboard are played simultaneously. The keyboard is set up by the floor tom and is played with the right hand.
Track 5. When I Was Naughty is an improvisation with a Latin feel.
Track 6. No drums.
Track 7. No drums.
Track 8. Farmer's Delight has many variations on a theme, including a flexible tempo and unusual rolls like the 2-3 roll (RRLLL).
Track 9. When the Mermaid Sings. The A sections are played on the snare and high rack tom only, while in the B sections the whole kit is used. Note the short snippets at 2:03 and 3:18 where unusual quintuplets are played with the double bass. Near the end, at 3:55, a figure in 7 is played on the snare/toms over a bass drum roll.
Track 10. Slippery Up the Road. Here arpeggios are played over the snare/toms on the intro.
Track 11. Villains and Leaves. This one has a conversation between the snare/toms and the bass drum.
Track 12. The Ultimate Delinquent. The second half has short aggressive odd meter prog rock phrases.
Track 13. When I Was Nice is another improvisation with a latin feel.
Track 14. No drums.
Track 15. Bangers and Mash is two consecutive, improvised takes layered on top of each other. Take one is alto saxophone & piano, take two is alto saxophone & drums. Note that the double bass is integrated organically in this free jazz style.
Track 16. No drums.
Track 17. No drums.
Track 18. Waiting in Vain. This piece is interesting from a recording and sound perspective. The cymbals were struck and then the microphone was moved closely around the cymbals, catching the long decay.
Track 19. Collage at Risk has a contemporary classical quality with changing meters, dynamics and accents.
Track 20. Four Forgotten Minutes is an alternate take that has many of the same ingredients as track 1.

Above all, everything is played with intensity, emotion and passion. Without that, music is worth nothing.

Drums used on this recording: Vintage Slingerland 22", 12", 13", 18". Ludwig Supraphonic snare. DW 9000 double bass pedal. Assorted cymbals and stands. ProMark drumsticks and mallets exclusively.


Sugar Shock
(Track #1)    
= 130


             = Controlled Feedback (different pitches)     = Guitar-like strumming open strings


Sugar Shock
Sugar Shock etc.

Rapture me, it makes me wet
Capture me, it makes me sweat
Fracture me, it makes me hot
Take me now, don't let me rot

Oh . . .
Hot--Hot etc.

Sugar Shock
Sugar Shock etc.


Sugar Shock
Sugar Shock etc.

It makes you wet
It makes you sweat
It makes you hot
Don't let me rot!

Oh . . .

Shock me
Shock me etc.

Shock etc.

Carbonic Machines (Track #4)

Intro: Saxophone improvisation

Section A: = 250


Section B: = 100




Alto saxophone:
                                                                                              + improvisation

Section C: = 200


Alto saxophone:

Signalization (Track #6)     = 275


Violin: Improvised

Bloody sensation
Rape of the nation
You gotta drive to survive . . .

The Raven Is Waiting (Track #9)

A fun jam between violin and drums where the drum part actually was inspired by the guitar playing of Richie Havens.

Drive Shaft (Track #11)

Drums (with percussion sounds on octapad):
= 330        or



= 132  

Alto saxophone:
                                                                                              + improvisation


Flasher 491 (Track #15)    = 150










Jamais (Track #17)     = 123


Alto saxophone: Improvised with Live Electronics