Dream of a review from Underscore

Well, this is the kind of review one dreams about. From Underscore Music Magazine’s new series, The Inbox:

“God, I love this. I love the music and I love the idea, which is one of those you wish you’d thought of yourself and can’t believe it hasn’t been done before…Airy vocals, mangled library music, robotic spoken word and sudden flights of electronic fancy guide the listener through what seems to be a pretty complex academic paper…”

More over on the Underscore website. Thank you!

Reviews and more!

Woke up this morning to quite a few happy notifications. First, Monolith Cocktail has a great write-up of C.M.S.O. This lovely excerpt should get you to want to read the whole thing:

A writer of repute on the failures of tech, communication and self-preservation, Rodriguez (who also files his musical experiments under Alison’s Disapproval) lends a constantly filtered and affected spoken word narration across all six tracks as Kelly swans, touches the ethereal with her diaphanous woos, calls, arias (a merger of Laurie Anderson, cosmic opera and Jane Weaver). Often transmogrified by robotic effects and the slowing and speeding up of that instructive monologue, Rodriguez’s message is constantly warped, broken up: sometimes on the verge of some Max Headroom glitch stutter, or the slurred falling apart speech of HAL.

*Achievement unlocked: Max Headroom comparison!

Max Headroom

We also seem to have successfully stumped Vital Weekly, who write of the album:

The music is mostly a computer treated voice/vocoder style, and along with some electronics playing some weird tune. The six pieces last altogether less than 19 minutes, which is perhaps the best thing for such a little curiosity. Great for confusion and confused to know what to say.

Vital Weekly also put out a podcast highlighting the music they’ve reviewed; be sure to check it out.

Finally, I haven’t been able to find a recording, but thank you to Kat O’Rly for playing “Literature Review” on WLUW’s Destination Unknown last night.

Interview on The Socialized Recluse

Almost one year ago to the day, Tyler Weaver interviewed me for his blog Parenthetical Recluse. Now we’re back, this time on his podcast The Socialized Recluse. Tyler describes it perfectly on his website so I’m just going to crib that here:

Presenting: a conversation had amidst the haze of new-puppy-exhaustion.

In which: two collaborators learn they can converse as well as collaborate and, as such, converse about all sorts of creative and collaborative things, things including, but not limited to: the essential nature of bandname punctuation, the existential dread that Philip Glass’s music inspires, the demoralizing hellscape of academic publishing, and, most importantly, doing the work.

And, a note: while Elizabeth’s audio in our conversation – which is the most important part in an interview anyhow – sounds fine, mine is (more than) a bit on the quiet side (save for a notable exception; sorry ears). At the time of recording, I was still learning the mix/gain needs of my new condenser mic; by the time I recorded the intro / outro, I had a better handle on it. So, as Bill Murray said, I’ve got that going for me. Which is nice.


  • Intro + puppy exhaustion caveat (0’00”)
  • Philip Glass and existential dread / “This is death.” (03’25”)
  • Beauty v. pretty / “The economy of musical material” (05’44”)
  • What makes for an ideal musical education? (08’21”)
  • Mind the (reality) gap / Rediscovering artistic passion (11’20”)
  • Imposter syndrome / Do the work / Reviewer Number Two (15’52”)
  • Intro: Orca, Attack! (punctuation is key) / Listen: CMSO, Track Five, “Limitations.” (20’27”)
  • Strategic Tape Reserve / CMSO: Origins / “The shed shelf that your uncle had.” (23’32”)
  • On the benefits of shorter projects and collaborations between longer projects / “I hate writing short stories.” (26’41”)
  • On household movie data reportage and the surprises within (29’32”)
  • Creative like-to-try / Recommendations / Connect (34’49”)
  • Outro (37’34”)

More on Tyler’s website. Thanks again for having me!

Avant Music News and Independent Music Podcast

Thank you to Mike for this amazing review of C.M.S.O. on Avant Music News. My favorite part:

The coupling of these topics with abstract modern classical and electronics is unique as far as I can tell. And this degree of quirky novelty is certainly in line with Kelly’s previous release. After a few listens, I am not sure what I learned but I do feel a little smarter.

And thank you as well to the legends at Independent Music Podcast for including “Abstract” on this week’s episode, which as always has resulted an influx of new additions to my Bandcamp wishlist.

Lone Frequencies and Dark Train

Thanks to my friends across the pond for more C.M.S.O. plays this week! Lone Frequencies on Mad Wasp Radio featured “Abstract,” along with some hilarious toe-themed banter.

And the ever-fabulous Kate Boswell will be playing “Ethical Approval” on Warminster Community Radio’s Dark Train tonight 10pm BST / 4pm CST, along with a guest mix by Fragile X.

Brainvoyager’s Electronic Fusion and The Moderns

Lots of chances to listen to some C.M.S.O. this weekend. Brainvoyager’s Electronic Fusion features three tracks, playing on Modul303, Radio Dark Tunnel, Sci Fi Radio USA, and Electronic Music Radio Chile:

And Kevin Press of The Moderns included “Ethical Approval” in this week’s episode on Radio Regent, now available on Mixcloud: