This is a limited edition, private press, forty five seven inch single that we put out in collaboration with Alana Amram. Her single is on the other side. It's a double A side or a double B side depending on your mood. The artwork is done by Gregory Stovetop. this was the first song that we finished from what became the Disturbing Wildlife full length LP, before there was a record deal. i believe there were only 250 made and Alana grabbed half. this is the only signed one currently in circulation.

Recorded 2013–14 with Michael Leonhart at Candyland in the West Village, plus overdubs at various locations incl my own Church of Electric Dirt. Guests include Scott Metzger, Nels Cline, Tim Kuhl, Robbie Mangano, Stuart Bogie, and maybe Yuka and Miho from Cibo Matto—i'll confirm once I have the credits. This is a test pressing; the label carries a somewhat illicit image, easily identified. I painted it with “traffic safety vest” archival ink borrowed from my partner, Sarah La Puerta. The album is Disturbing Wildlife by Invisible Familiars. originally released in 2015 on Fat Possum / Other Music. test pressing comes with a photo of the houseboat where the album was conceived and a hand-typed / signed origin story- both also one of a kind!

here's a one of one: an instrumental improvisation on a theme (later to be recorded with lyrics), which i played on a Wurlitzer electric piano at Horse Barn on 12/12/2025 in Kingston, New York, recorded by Joey Weiss. this cassette is the one and only recording of this instrumental version!

This is JR's magnet he made, one of a kind.

It should be recording. This is JR's picture; I'll edit it later.

“Cherry” is a story song about a manager of a wildly surreal department store that sells jackets cut from hummingbird leather, tunics woven from clouds—any fabric you can dream up. While running the floor he’s secretly involved with an employee named Cherry. The lyrics act as the store’s sales pitch: customers enter and Ethan, Wanda, and the whole crew treat them like royalty, even lifting shoppers onto a palanquin and parading them through endless racks. The song ends at the register, the manager ringing up these impossible garments while trying to keep his cool with Cherry watching. It’s a quick, decadent narrative—part fashion fantasy, part hush-hush romance—built on the groove we laid down in Logic. Only one tape made! Recorded Dec 12 2025 By Joey Weiss at The Horse Barn.

I wrote Beach Blues at the Sou’Wester in Seaview. Initially, the song was about myself and how I was feeling inconsolable, but then it also related to at least a meld of two different partners that I've had. It's called Beach Blues because it's about being on vacation, when it's not good enough even when you're at a beautiful place sometimes. This is a one off recording of this song. And it was recorded at Scenic Burrows with Cory Gray in January 2026.

This is the test pressing for the record 'Seein’ Things' by Fronjentress. That image came to my mind when my friend Cory was telling me a story about the current news.

This is a thrift store painting that I found and was immediately drawn to because she's clearly so beautiful. And when you flip over to the back side of the painting, it says “More energy. Dear Biggie, here is your mother's portrait of you. I just want to give it to you.” with a weird signature. So this was the painting that inspired me to write the hit song, Your Mother's Portrait of You. And it was used for the cover art of the second Fronjentress record.

This handmade spalted maple candle stand and candle burn on the stage in front of me as I play solo guitar sets.

Here’s the set of acoustic guitar strings I used on the cassette recording of the Pink Crane. These Augustine strings aren’t the gauges printed on the cover; I had Augustine custom gauge them. Inside each envelope are the actual gauges. Those are the gauges I use—the way I play my guitar, the way I string my Healy 12 string. Charge

First track is "forest lights"— solo acoustic fingerpicking in open C at Joey's house Friday afternoon. This is the first recording on my new Trevor Healy 4M custom 12-string acoustic. The second song is “Pink Cranes” comprised of finger-style harmonics.

I drew the design for this poster for The Velvet Teen’s homecoming show on our 2015 US tour, the lettering title is the intestines. My friend Jason Taylor printed it in Santa Rosa—he’s a great printer, and I really dig the result.

I drew this while The Velvet Teen was on tour opening for a band called Covet in Vermont in 2022. I was freezing at the merch table with time to kill because no one was buying anything, so I sketched this cool rocker. This year in October 2025, when we needed a T-shirt design for some shows, Judah used that rocker drawing, which I think is hilarious.

This tape’s a solo demo of “Last Fathers” recorded at my house in Santa Rosa using Logic. It began as two songs I merged into one. This demo was tracked in late 2024 and the final version finished this year. The art is just my hand-sharpied doodles.

Love this shirt. During the Para Llevar USA tour, we drove through West Virginia, and went off route 30 minutes to visit the mothman museum. What a cool story!

I bought this cowboy hat in Sheridan, Wyoming while selling Internet in a little cowboy town to fund the para llevar tour—gotta pay the bandmates, gas, and hotel rooms. I toured everywhere with this sombrero and love it. It fits and molds to anyone’s head, looks great on everybody, and I think it'll look good on yours.

This guitar is special to me. I bought it in Zihuatanejo, Mexico four years ago. It starred in my 'energy of light” video where I played beside crashing waves and rode a donkey on the beach. It's also the same guitar used to record my most-played song 'Incognita.' It holds magic and is precious to my journey as a musician.

I painted this as a guitar pick prototype that says "Andrea Maddox and the Hey Y'all's." We produced about 100 picks and 100 stickers, and I bring them to our shows. It's small, cute, and people love it. It sits on the merch table. I made the display from scrap wood and leftover acrylics—it was fun to make on a simple wooden plank.

This is the t-shirt screen print for our first EP Long Drive Home, recorded at Joey’s Horsebarn. It his is the first test print, signed by me!

Movin’ On is a song I just wrote about dating, meeting someone new, being really into them, wondering if they're into me, and dealing with their lack of communication. If you want me, talk to me; if not, I'm moving on—I’ve got one foot out the door. We recorded it for Ghost Note’s single series at Joey's Horse Barn, where we also did our EP and a live studio session. Joey and I are now working on a solo project featuring me on keys, my main instrument though I don't play it with my country band. On this track are Matt Berger on drums, Cory Gray on piano, Bella Kosmacher on fiddle, and Joey Weiss on bass.

We're at the edge of some beautiful place, and the owl, who's the star of the animation that I just made, is flying overhead. I'm curious to think about what's happening inside that house at this moment. It feels pretty magical. Maybe people are sitting at a table and playing cards, eating ginger cookies, and drinking tiny coffees. There's probably a dog laying in front of a fire, and there's an owl flying overhead.

This is another rock Cairn. It's also sort of similar to the other painting inspired by awe—of nature and a reverence for it. Again, the idea of a rock cairn feels ancient and memorializes some sort of spirit that has lived. These pieces were used as background in a stop motion animation short that I made recently, which will be featured here on Ghostnote. I took a picture of this painting, printed it out, then cut out pieces to use as background in the animation. I like repurposing my work to have different lives.

This painting is inspired by the idea of rock cairns. Back when I used to do archaeology, and we would be wandering around Central Oregon scanning the ground for evidence of human culture, we would come across rock cairns, and I would think, "Oh my God. This has been here for so long, and this is somebody's memorializing someone or, you know, making some sort of structure that says “I was here and I was thinking about something or someone” But I also have been feeling really connected to nature lately and really into planting native plants in my yard and just thinking about how we humans want to control everything and how, for example, planting natives in your yard is a way of saying, "I'm not in control. I'm letting go and letting the earth be be the leader, " which is what us humans should be doing. So that's the inspiration for this painting.

An old friend shared this song with me when I was having a hard time. That friend is now somewhere else, we don't know where! Not gone, but not around like before. Whenever I hear these lyrics I kinda take stock of everyone in my life that I care for. And I think about how crazy it is that we're all here at the same time, and instead of being something else, like a cool rock or something, we’re us, I don't really think God is real. It's okay. (Recorded by Cory Gray at Scenic Burrows, Vancouver, WA December 4th, 2025. Only 1 tape made.)

I made this mask when I was, like, 16. I was a a TA at the in the ceramics class at my school. So that basically meant I cleaned up after people, and then I got to make whatever I wanted to. And I made this weird gender bending little red riding hood wolf character and then glazed it and then painted it also with acrylic paint. And I wove the rope. At one point, I had attached it to a hood, and I did wear it, but it's very uncomfortable. It's heavy, and it hurts my face.

This is a painting of my partner, John Paul Harrison Rapp- who is also a musician. It shows him in the Halloween costume he’s kind of becoming known for every year. He doesn’t really like to dress up, but it’s pretty easy to paint on a bandit mask and you’re instantly in a costume, so that’s what he goes with. He also loves books; that’s why there are books behind him. He’s a big reader, always has been. We’re both readers, yet lately I’ve drifted toward audiobooks—don’t know what happened to me in the past five years, but that’s more my style now. He still likes real books, and most of the stuff in our apartment is books at this point.

“Insatiable” is one of the first songs I ever wrote and recorded, so it's very old. I originally recorded it on a cassette 4-track. For the lyrics, I used a piece I'd written describing a dream experience. The piece wasn’t intended for a song so the singing came out in a unique way (to me). This song has always stuck with me. I thought it would be fun to re-record it, and I think Cory captured it really well.

It's called Alone with My Thoughts, another spray-painted background with the sun—or maybe the moon—shining on a golden tree. Golden grass and little wheat-looking plants grow around it. It represents being alone and absorbing your own creative magic. The plants aren't a specific species, just leaf shapes I like to draw.

The sun is setting in some ghostly golden landscape. Spray painted sky, a tree and it’s shadow ghost. Stars and sprouts appear as night descends.

This is a handmade leather guitar pick my crafting puppeteer dad made, and I signed it. I’ve actually played several of my guitars with this pick. I wanna say he made it within the last fifteen-ish years, though I can’t quite remember—my memory’s not very good. A leather pick gives a sound that’s sort of nice for bass or a thicker acoustic guitar. It’s durable, so you can throw it in your purse and you might not lose it as easily as you would a normal pick.

Cassingle! “Feel Like Makin’ Love”. This is, you know, my party hit. If I'm at a party and wanna play a sing along, people enjoy this one. Never recorded it before, this is the only recording of it. And it was recorded at Scenic Burrows with Cory Gray in December 2025 with Sam Brewer on the drums and the bass and some lead guitar. We tried making love twice, but the first try was the best.

These are handwritten lyrics to the song Danger, which I wrote while living on 39th in Hawthorne—you know, maybe I was falling in love a little bit, maybe with the city, maybe with a person. Back then my guitar player at the time, Jeff, added some noodly guitar parts, and they really made the song. I have good memories; it reminds me of old Portland and of first moving here after coming from Asheville, North Carolina. The track ended up on Dirty Radio, which came out in, like, 2011, I think.

This is a cassingle of a song called "Coronation." It's a tune I wrote in the dead of a pretty intense Idaho winter—really bitter cold. The piece is about the coming of spring and hope in a new season, so it carries a sense of warmth breaking through. It's just acoustic guitar and vocals, and that's pretty much it. I recorded it at Scenic Burrows in Vancouver, Washington in December 2025, then dubbed the track to tape cassette.

This is a cassingle (tape cassette single) of a song called Rabbit Stew by Tispur. Rabbit Stew is a pastoral tale about a dog that gets lost chasing a rabbit. It’s a testament to my upbringing in Southeastern Idaho on my family's farm.

This is a Polaroid from a cassingle session with Cory Gray at Scenic Burrows in Vancouver, WA on December 3 2025. In this picture im playing my first full size acoustic guitar that I got when I was about 15 years old. So I've had it for a long time. And it's an Art and Luthiery Canadian guitar. It's got a nice black lacquer finish, which I carved into at one point in my early twenties, and a helicopter is flying over the moon. Very low.

I don't know what I have to say about this thing except it's not Miles Davis. I really don't know. It was an evolution—like most of these -until it finally revealed its identity completely. I'd like to talk to this person, but they're not really looking at you, kinda preoccupied, so I wouldn't bother them. I do really like solar shields; I can't actually wear standard sunglasses. If I wear them, it has to be the full coverage. Otherwise, you're seeing two different things at once, and I'd rather not.

This painting is Mount Saint Helens thinking about “it”— a pre-eruption, thought bubble of what’s to come. Inside there’s a hammerhead shark; They haven’t evolved for forty million years, so the hammerhead hit its peak design and like the mountain has been that way for millions and millions of years, They’re both, in my mind patient but potentially catastrophic, destructive forces— patient killers waiting it out just below the surface.

About fifteen years ago I found this jawbone in Eastern Oregon and glued it to this board. I added dried-out bottom-of-the-bucket paint—great texture, kinda bone-like yet still soft. For years I saw a vague face, the jawbone serving as the jaw. After living with the piece forever, I finally knew what it was: the jawbone is the Titanic and those ridges are smoke stacks. A long journey to that epiphany, and yeah, some things take a really long time.

This acrylic on wood painting is titled Jimi Hendrix's Meandering Blues—and we've all been there before. Oh, that's funny., I have blues and greens, all the feelings. I picture myself as the floating cube, trying to avoid the blues. Completed in 2025. (17.5x21.5)

This is goofy brand Lee and Nancy sand in a can. Good for the beach, the sandbox, glass, flocking, castles, clams, touching, and more. I made this in about 2016 in Slab City as part of a project where I found discarded aerosol cans in the desert and brought them back to life. I was part of an experiment called Sunfort. Before that, I was the caretaker at Salvation Mountain, on the National Registry of Folk Art Historic Places. It's a man made art mountain by Leonard Knight, a work built over thirty years from hay bales, adobe, and hundreds of thousands of gallons of paint.

This painting is called Light Green Fella—basically all the emotions and thoughts when you’re feeling green, inspired by a Michael Hurley song. It’s sort of Kermit too, I guess, with Kermit down in this pit in the bottom left. It’s all the emotions and thoughts that one has while feeling green in this fucked-up world and all the shit going on. Acrylic on canvas, with a homemade frame out of old-growth doug fir.

This is Down With Wilco, my biggest Minus 5 seller, recorded in Chicago with Wilco (The Band). It came out a couple times as a double vinyl, but has been out of print for a long time. Last year Yep Roc wanted to do a reissue, and I made it more like the original record. It only has one song different from the original CD, and everything is from the actual sessions, whereas the double album had extra tracks that were stretching the concept a bit. So this is the purest version. It sold out instantly because it was a Record Store Day thing. I barely even got a copy of the original release, though I did snag a couple test pressings.

It's a test pressing of the five-record box set I put out in 2013 with Yep Roc Records. The original box set was limited to 750 copies. So it's kind of rare in itself, but, this is one of the test pressings. So there's five LPs inside it that are just marked by letters Sides A-J. 57 songs or something like that. All new at the time in 2013. It was mostly recorded in my studio at the Dungeon Of Horror. At least all the songs were finished and mixed there. A few were done at Type Foundry with Adam Selzer. But we only tracked like six or six/seven of the songs, you know, in the live setting. Otherwise, I had people do drums in my basement or do tracks in far off places, but mostly it was done in my basement. Some players on this record are Jeff Tweedy, Peter Buck of course, Linda Pitmon, Joe Adragna, Jim Talstra, Ezra Holbrook. God, there's so many people. Dennis Diken and Jim Babjak of the Smithereens, Chris Mars!, Mike Mills of REM, John Ramberg, Kurt Bloch, Laura Gibson, Wesley Stace, Tucker Jackson (one of many excellent Portland pedal steel purveyors), Jenny Conlee. Ian McLagan and Bill Rieflin -- rest in peace, my dear friends. And Casey Neill, Jesse Greene. The usual assortment of quality.

I've done three volumes of Neil Young songs since the pandemic. I started doing it just as a activity because I was locked inside -- and what could be more fun than playing Neil songs? Pretty soon I had a whole double album worth of stuff, and then I thought, maybe I should write a couple songs about Neil or inspired by Neil. So I did those, and I added those to the the first record. And then I've done two more volumes since then, and one of them has, like, five or six songs that I wrote myself, inspired by Neil. Suddenly it's 2025, his eightieth birthday, just a couple days ago. And, I thought, well, I'm gonna do two original songs, and I'll call it Neil Young Vol. IV. I had planned on doing a seven-inch for his birthday, but no way I was ever gonna get that together in time. So I just recorded these two songs last week (with help from Joe Adragna) and put them up on Bandcamp, and this cassette will be the only physical manifestation of it, for now anyway. Neil & Crazy Horse had a song called Fucking Up, so this is Fucking Up 2. It's about getting old, you know. But staying young too. And the other song, Requiem for a Horse... I mean, I may be jumping the gun because I don't know that Crazy Horse is dead or anything like that. Of course they're not, but, you know, I felt like maybe their days playing with Neil might have come to an end. Maybe - I mean, I don't know. It's open-ended song though. It may be called a "Requiem", but the chorus is “the horse lives on and on and on” So, you know, it it could go either way. And either way, it's beautiful.

I made this candle holder using a carving method called sgraffito to make the eyes and the teardrops, when paint a colored slip onto the clay and carve out images. I like making ceramics when I don't feel necessarily inspired to create music. It's nice to still be doing something creative, and it's a nice time to have, like, a meditative quiet time that is necessary for writing music. So I feel like they kinda help each other.

Here we have another stoneware bud vase. It's it's got but one one little bow. I was trying to make a bunch of different kind of designs for for bud vases. Something that you couldn't find in a store. A nontraditional shape. This is a shino glaze, which is a Japanese glaze that’s a really traditional old formula that people have been using for centuries.

This is a stoneware flower vase that I made. I used is a high fire clay. It was fired to cone 10, so it's the highest fire that you can do. That’s what makes it a stoneware. It's the most dense type of ceramic that you can make.

I collaged this piece of music together from a long set of modular-synth improvisations I recorded in 2018 on a small Eurorack system I borrowed from a friend. In 2019 I sifted through the material and shaped it into a coherent piece. The chime-bell sounds at the end come from a Yamaha TX-802 FM synth. We dumped it to tape at Scenic Burrows Studio in 2025. The tape label is made from the another piece from the Xerox Moire series and cut and hand applied to the tape shell. It’s watery, bubbly synthesizer music.

This was kind of an experiment in flute making. It's one of my early attempts at making a multi-note flute that played an actual scale. It's got four finger holes. Three in front and then one thumb hole in the back, so it plays a five note scale. I just placed the holes where they felt sort of natural and made it kind of intuitively and tuned each note by changing the size of the holes. The overall length determines the root note- the lowest note it'll play, and then the position and size of each of the holes changes the pitch. It's an end blown flute with a notch in the end of the tube that you hold to the base of your mouth so that your chin kind of closes the end of the tube and leaves an opening that you blow over with kind of a focused stream of air. It is made from the kind of plastic tubing that you can run hot water through and it and it's still potable.

This was research and development for the art I used for some lathe cut records that were cut on clear acrylic squares by Gorby lathe cuts, based in Milwaukie, OR. Since the disc itself was clear plastic and it was in a clear plastic sleeve, I wanted to print on clear pieces of acetate, these interference patterns, and then have a different pattern printed on the label of the record so that when you took it out of the sleeve, it would do a Moiré kind of animated pattern. I made it using a copy machine starting with the original source material of a security envelope turned inside out and then kind of hand-manipulated with each iterative copy and superimposed on top of itself through multiple copies on the same piece of paper.

This cassette has 2 unreleased demos for the upcoming Abronia record called called “Shapes Unravel” which is set to come out. 02/20/2026. They were recorded at Red Lantern Studio down on Russell Street in Portland, OR. Band members are Robert Grubaugh playing the big drum, Danny Metcalfe on bass, Rick Pedrosa on pedal steel & percussion, James Shaver playing guitar, Keelin Mayer playing saxophone singing. And I play guitar and sing backup vocals.

We needed a poster for a show when we were playing at Turn, Turn, Turn, and I asked my mom if she wanted to do one. I don't know if I even told her or she just came up with a lizard on her own. I don't remember. Watercolor and ink on cardstock. 03/05/2022. Abronia, Zebra & Idaho Joe Wilson at Turn Turn Turn in Portland, OR.

I made this piece during a time when i was touring a lot with Ghost To Falco around 2010. It began as packaging for a limited-run CDR that I sold on tour, and I kept going with the art after the discs sold out. The cardstock probably came from my mom’s house in North Carolina. I’m pretty sure it’s acrylic paint. Instead of brushes, I would pour a lot of paint onto the bottom of a metal pot or sheet metal, press it onto the cardstock, then lift it so the paint pulls into little veins. After it dries, I add another color. The method has grown more involved, and I’ve made larger works since, but this was the genesis of the process. I’d rather not say what I see in it—I like to leave it open to interpretation.

This cassette holds two unreleased versions of a song called “Softer and Slow”. I wrote it while walking between my house and the bar over a few nights; that weird part came after the bar. It’s got a sort of Grateful Dead festival part as the bridge. You’ll just have to hear it to find out. I’d kicked it around in my head for years and finally recorded it at Scenic Burrows in October 2025 with Cory Gray, with Dan Galucki on drums and Sunny Galucki on boxing gloves and background talkery. The tape cover is a sharpie rendition of a salmon I caught while fishing in the Sandy River with Cory.

This is another alternate cover for the Sport Fishing USA record “So Long”And this is a photo of me standing looking out on the Pacific Ocean. This is on the trip when I first moved from Ohio to Seattle in 2015. And it was just a beautiful spot somewhere in Northern California or Southern Oregon, I think. I can't remember where exactly it is. Midwestern boy sees the ocean for the first time. That is the first time I saw the ocean. Sport Fishing USA was a band with my brother, Brendan, and our friend David Byrne. We were rock n roll power trio. We played in Ohio for years, and it was my first band where I played songs that I had written, and this is the last record that we put out. “So Long”

This is a digital print of a photograph I took in Northern California. It’s from the same photo series I used for the Sport Fishing USA “So Long” album cover. I had originally planned to paint the lettering onto an album-sized blow-up and use that as the cover, but I abandoned the idea; I still have those drafts. The paint on the print is acrylic. I don’t know the exact location in Northern California where it was taken.

On this cassette is an unreleased track that was recorded after I got back from a tour playing a lot of country rock stuff. I basically wanted to do my take on Henry Flynt's "Lonesome Train Dreams" with some Joe Meek style producing. Since my full name is Enrique, I decided to call it "I am Henry too" as a homage to Henry Flynt.

This is a mask made from various things, including some old rulers from Fred Meyer and finger joints from a box for the teeth. The eyes are just old fir with some staples in them, some random pieces of hardware, the nose and jaw are bone. Got some decorative hinges. The background wood is oak. I believe that oak came from the Stoller winery. And it is from a tree that was fell there. I either made it earlier this year or late last year. I can't remember. So late twenty twenty four or early twenty twenty five. And who is this person? Oh, man. Whoever you want it to be. You know? It's like, I don't know, man. Is he sizing you up? Is he really? I feel like he's kind of sad, but, also, maybe has stuff to make him appear more intimidating.

This painting is the cover for my solo record Too Heart, Too Earth, coming out on November 2. It’s a painting I worked on over 2025 for the FarSound project. The surface is, I believe, an old cabinet door from a good old house I picked up, with stained plywood serving as the background. The medium is acrylic paint—just plain acrylic paint. I painted the entire piece myself, truly all by myself.