rreplay’ ‘falling through frames’ out now

replay’s new album falling through frames available now on

[Amazon] [Spotify] [iTunes & Apple Music] [Google Play] [SoundCloud]

A dream, after drawing too many charts.  Surreal. Or too real, not sure.  Images: inside frames.  Sounds, though, fall through.  People are reassured by containers, they keep the insides from leaking out, they keep the picture safely separate from the world.  Machines require frames and frequently need reminders to respect their boundaries.  When machine frames fail, people find it jarring in vision.  Then the machines have to be gently, algorithmically nudged back into compliance.  Can’t go around jarring the humans.  At least not all the time.

In sound it can be more interesting though.  In a physical structure, like a house or a window, falling through frames tends to be a catastrophe, a crash.  But in in music falling through frames, even a crash, can produce unexpected delights.

In a film, a frame of someone falling is a still picture of one step in an extended sequence.  Most frames viewed by themselves look just fine.  Only when the thing is put in motion does the falling through frames happen.  And if the image falls through while the movie is moving, it simply falls out of the picture.  But sound, that is a different story. Sound is always in motion, and even in movies, much of the sound happens outside the frame.  How is that so?

rreplay’s new album, a dance of fingers and machines, of algorithms and soul, destruction and creation, does all this falling through frames but with our ears, a little like the sonic version of Dali’s timepiece or Escher’s windowsill

Enjoy rreplay again and again!


Eric Parker.  Bass, drum programming.

Rich Rath, Electric guitar played through laptop computer, drum and loop programming and general mangling.

1. floaters (5:13)Falling Through Frames - blue cover -Distro 10-noblur
2. bosunsweet (2:55)
3. elephant walk (4:02)
4. lucid dream (2:01)
5. to tahrir (5:01)
6. more lost (4:44)
7. back before going (6:41)
8. atmospheric phenomenon (2:32)
9. pareidolia (3:38)
10. connection fail (1:57)
11. where weld dwelled (3:22)
12. itchy (3:31)
13. scancore (3:52)
14. we suppose (3:50)
15. waterburn (4:48)

All songs improvised live in the studio by Rich and Eric.  Tracks 3, 6, 7, 9, 12, 14 recorded at Eric and Karen’s in Somerville, MA or South Boston, Everything else recorded at Rich’s studio, Honolulu, HI.

Cover Image Stained Glass by Karen Suyemoto

Eric and Rich play live through a single laptop running Plogue Bidule with a zillion vst plugins, almost all of which are used on the guitar and drums.  Eric mostly runs a beautiful Pedulla fretless directly in and almost directly out again.  ALso to be found:, a Wacom Bamboo pen tablet transformed into a synth by way of Cycling ‘74’s Max, controlled by host of controllers including but not limited to: Behringer FCB 1010, Keith McMillen SoftStep, Source Audio HotHand, Mercurial Innovations Group STC 1000, Korg nanoKontrol2, stealth switch 3 footswitch, Axon AX 50, Godin xTSA, Rich’s own RhythmEcho.  Mixing by Rich and Eric takes place mostly in Cakewalk Sonar with some help from Celemony Melodyne, Izotope Rx5, and the great open source editor Audacity.  


Available now on [Amazon] [Spotify] [iTunes & Apple Music] [Google Play]

rreplay – where weld dwelled

I told you not to play with that band saw near my bass…


kind of gets under your skin…

To Tahrir

OK, so we successfully completed the 8 songs in 8 weeks challenge….actually it was 52 in 52, but we had a meltdown, took a week off to fix the long distance mixing tech, and have decided that we’ll opt out of the 52 in 52 challenge, declare victory, and leave the field.  We are sure you will greet us as liberators! Anyway, I’ll keep posting new stuff, but not sticking to the one a week schedule as it was not working out.

The music: Driving squall, sort of like East Coast weather this week, but with a fundamental optimism, like the first few weeks of the Arab Spring, when things were chaotic and anything was possible, before things went South.

#4 and #5 from rreplay

more lost
Thinking about how much suburban homes look like motherboards, I missed my turn.  We missed last week’s installment, so here are two new rreplay tracks this week.  “more lost” ostensibly “about” driving in Somervill, MA, where this was recorded, and “we suppose,” because we wanted to call it that we suppose.  Hope you did not miss us too much!

rreplay – lucid dream

Third installment of the weekly track series. Quiet sweet guitar and bass. One of Rich’s favs.


Gonna try and put up a rreplay track each week. This one floats away on guitar and bass then transforms into the bomdiddybom bewaka before exploding, after which the pieces all float down. Named after the things in your eye that float around looking like they are there but aren’t.

Live from the Uncanny Valley on SoundCloud

rreplay’s new album, Live from the Uncanny Valley is available for streaming on SoundCloud:

Give thanks

Yes, It is time to give thanks, not for pilgrims getting fed so they could survive another year to get the great American land ripoff going in New England, but for a brand new rreplay tune, atmospheric phenomenon.


Two new experimental tracks from rreplay are available.  Pop the player out in the background here and come back to read while you give them a listen.

They are from the more experimental end of our stuff.  I think I was having a hard drive problem and had to use a bunch of stuff I don’t normally use for jamming, and we had no drum loops.  The first, short piece is modem and dial tone sounds worked through a sampler that I played via my guitar.  The second uses chipsounds and something called scanned synthesis.  One of the big breakthroughs in the 1980s synth scene was wavetable synthesis, where you could construct one cycle of  a sound wave of any shape you desired, load it into memory,  and then play it at any pitch.  While it opened up new possibilities for synthesis, it also had its limits, the most telling being that the wavetable is  static, while the timbre and thus waveshape of acoustic instruments varies over time.  Scanned synthesis (pdf) attacks this problem by having the wavetable change over time using  shifts to the wavetable so that the sound evolves.  The shifts are slow vibrations that vary over time,  modelled on struck, plucked, and bowed vibrating objects (like a string, for example), and lately on multi-dimensional creations that exist in more than four dimensions.  The result is much livelier, natural sounding synth where the tone evolves with the playing.  Strings are actually a lively area of math and theoretical physics work right now, and I think some of the concepts from string theory are working their way into the synthesis method (pdf).

As usual, lots more to listen too at way.music.  Please give us a listen.