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Minutiæ

by George Hrab

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1.
Instrumental
2.
Trust Me 05:39
trust me just buy one more thing trust me now with my advice trust me just buy this one thing your life is solved with this device stun gun fearing, chicken spearing, red sweater machine muscle flexing, questions vexing, best i've ever seen pasta mixer, bald head fixer, sculpt your abs and thighs dehydrator, regulator, change before your eyes trust me just buy one more thing trust me now with my advice trust me just buy this one thing your life is solved with this device you know they're fake applause you know they're fake applause you know they're fake applause, dummy shouting knife boys, please your wife toys, no place for bugs to hide punching dummy, saran wrap mummy, so thin it's only got one side carpet squeegee, ask luigi, ground in dirt won't budge slam-man punching, no fat munching, flushing out the sludge (flush it) trust me just buy one more thing tell the kiddies tell the wife trust me just buy this one thing trust me and i'll change your life here comes the english guy here comes the english guy here comes the english guy, dummy man harrassin', fat assassin, pills do what they say hair extension, fact retention, eight minutes a day grapefruit peeling, used car dealing, juice down to the core makeup lifting, pasta sifting, spills soaked off the floor credit selling, peanut shelling, eyebrow guy must scream (juice it) bumper washing, chamois squashing, half the fat of cream walls to cover, call your mother, glide in place all day teeth get whiter, fuel burn brighter, pets will learn to stay trust me just buy one more thing trust me now with my advice trust me just buy this one thing your life is solved with this device trust me just buy one more thing
3.
Triage 05:49
Instrumental
4.
Soyuzivka 00:43
I got a gal with a look in her eye, and a sweet tastin' pie that she keeps on her windowsill, it gives me a crazy thrill and I can't sit still, but I gotta go to soyuzivka I tasted the pie then I looked in her eye, it was time to fly so I told her g'bye, 'cause labor day weekend was about to arrive and I had to got to soyuzivka she looked at my gherkin, said that she'd have it workin' and I wouldn't be jerkin up at the 'osela', she'd play with my fella and it sure would be swell-a so I didn't go to soyuzivka
5.
Instrumental
6.
7.
8.
the process in motion, it takes days to hide the weaks drowning in choice ocean, the right option rarely speaks ends the session, starts depression ignore axe devotion, ignore placing worms in beaks you look in the mirror, you wonder just what to do it's hard to see clearer, when bullshit obscures the view no use playing, no one's staying you struggle to hear her, but the muse rarely speaks to you but as time keeps proceeding, the more i despise it less with frequent repeating, the chaos loses its mess no more taping, celebrating turns out there's room at this seating, i wonder which table's best takin' a chance with the money and the credit, pushin' buttons on the box to even out the debit fakin' and shakin' and pushin' meters to the limit countin' ev'ry penny ev'ry dollar ev'ry minute set up get up fed up with the biz sittin' at the gig wond'rin' if that's all there is got a birthday gift drumsticks and a mic my Honda blew up on the Jersey Turnpike I made it to the studio one day late I do believe in karma but I don't believe in fate writin' and bitin' and fightin' with it ev'ry day i set up my drums in a whole new way hi-hat up the middle, toms on each side the muse can be a bitch but she don't know where to hide relax count stacks, don't forget to call i borrowed Slavko's strat, but i used his Les Paul memorisin' charts until it's fully automatic got more music in my head than there's tall in Primatic listen to the rhythm that i give 'em on the multi watchin' ev'ry meter like the Phil' watched Solti tanglin' my chord pushin' buttons on the board try not to be ignored keepin' track of who scored hope the people that will hear this will be just a little floored even though i know inside of me they prob'ly will be bored not doin' this for them but i'm doin' this for me don't care which way the wind blows 'cause i like it when it's stormy not asking you to say okay or even be forgiving i say you gotta make a life before you make a living the process still in motion, it takes months to hide the daze afloat on choice ocean, the right option sometimes stays starts the session, ends depression enthuse axe devotion, revel at the choice of greys good thing there's so many greys good thing for the shades of grey
9.
Stigmata 05:24
Instrumental
10.
sketch
11.
12.
Instrumental
13.
there is no magic, there are no vampires, there are no werewolves, there are no witches, there is no bigfoot, there are no haunted houses, there are no fortune tell- ers, there are no dowsers, there is no evil eye, there is no bermuda triangle, there are no crystal powers, there are no ghosts, there is no touch therapy, there is no telekinesis, there are no alien abductions, there are no chakras, there is no psychic surgery, there are no past lives, there are no auras, there are no channelers, there are no psychics, there is no communication with the dead, there are no faith healers, there are no alien autopsies, there is no reincarnation, there are no devils, there are no angels, there is no luck, there are no miracles, there is no destiny, there is no fate, there is no hell, there is no heaven, there is no satan, there is no god. and in the end, that's more fair, isn't it?
14.
hank you for calling. your call is very important to us. If you are currently using a touch-tone phone, press one; if you are using a rotary phone, press two. If you know the name of the party you are trying to reach, press one, if you do not know the name of your party, press one anyway. To hear your options again, press three. You have either pressed one or have extremely fat fingers. Please enter the first three letters of the last name of your party. Try again, schmuck, we have no one named ztj. That's better. If you have chosen Fred Smith, press one, if you have chosen Todd Smithee, press two, if you have chosen Jane Smithson, stop calling; she's notified the police. You have chosen Fred Smith. To speak directly to Fred, press one, to avoid the awkwardness of actual human conversation, press two, to hear the latest gossip about Fred, press three. You have pressed three. To hear about Fred and his new secretary, press one, to hear about Fred's fondness for black leather, enema bags, and jello, press two, to hear an excerpt from Fred's latest counseling session, press three, to talk directly to Fred's neighbor who actually saw the entire incident with the squirrel, press four, to receive a full color photo of the outfit Fred wore to what he claimed was a regular party with some of his old army buddies, press five. To hear your options again, press six. You have pressed six, but i don't feel like repeating myself. If you're too stupid to pay attention the first time then screw you.

about

[from the original 1999 liner notes]

This album sounds completely different from what I intended.
Well, not completely different, but a lot different. The original
concept that I thought up—while trying to sublimate my pain one day
while jogging—was to do an all improvisational album. I had liked
the title track from my last album [sic], which had been recorded
almost as an afterthought. I decided to go in and quickly record some
pure improvisations. This idea didn't really have a chance of lasting
long, for a number of reasons. Primarily, one is NOT in the studio a hell of a lot more often than one IS in the studio, so it's best to use funds
and time wisely and non-frivolously. Secondly, during the late spring/
early summer of '98, I set up a little pseudo permanent 8-track
studio in my apartment, and just began experimenting (Up to that
point, I had never used my Tascam 488 recorder regularly, because I
never had the patience to set it up each time I wanted to use it.)
What followed was such an explosion of songwriting that I had to
rethink what I wanted to do with my studio time. I decided then, that
together with just a number of improv pieces, I would also throw in as
many new tunes as possible (plus one old one, but I'll get to that). So
in early July I went up to Queens and came out with… MINUTIAE

"To you it's minutie, to me it's the best part."
Lord Axton Hall, 1856 - 1909
-Inventor of the Rotating Glass Obliscope

My sincerest thanks fly out in all directions but they squarely hit:
Slavko Halatyn (Engineeros Maximus), Roman "Mon-Joe" Hrab
(Artis Supremus), Chris Friedenberg (Photog Extremus), and Donna
Mugavero (Designatum Monumentimus). And, also, but, as well:
Matris, Patris et Sibilus (Ma, Ta, and Lesh.)

Secondary - yet just as relevant thanks go out to my show
bin-nis compatriots for whom track #6 is dedicated. Namely: Nick
Roberti and all the members of Mood Swings; Eric Mintel and
all the members of The Eric Mintel Quartet; Mark Walsh and all the
members of the Mark Walsh Band; Gary Rivenson, Kevin Vannoy and
all the members of The Philadelphia Funk Authority; Boris Wirstiuk
and all the members of Kristal; and Iryney Kowal, my Dad and
all the members of Tempo. Oh, guess what guys ... we have to go
through the kitchen.

Whereas the defendant in said claim (HRAB) wishes to demon-
strate all possible thanktitude towards every advocate of legal
persuasion (the term "every" being hereby limited to legal
professionals engaged on the side of truth, justice and the right to
bear humor) that has helped the defendant since the beginning
of all this silliness, he hereby relates sincerest gratitudinous
genuflections toward: primarily, Joseph Vena; but more directly
and ongoingishously: Ken Roos and all the fine people at Wistler,
Pearlstine, Talone, Craig, Garrity, & Potash, LLP; and all of the
great humans hard at work at the Philadelphia branch of Volunteer
Lawyers for the Arts. You have all been hereby served.
Inspirational thank yous go out to the incredible Bill Bruford
and Tony Levin. (It was after seeing these gents play at
the Theater of the Living Arts that I decided to finally book some
studio time... again.)

This album is lovingly dedicated in memory of the Blue Honda
(1985-1998) who so valiantly gave her life during the making of
this album.

1999 Geologic Records 1999 You Call That Music
Written, performed and produced by George Hrab.

credits

released June 15, 1999

Recorded July 7-9, 13-14 and mixed 15th & 16th, 1998. Written, performed and produced by Geo. Masterfully recorded and engineered by Slavko Haltyn at BeSharp Studio, Astoria NY (except for the flown-in guitar solo in Triage, and the crazy laugh in Litigious Bitch, which were recorded July 2nd in the Naked Room at Geologic Headquarters.) Mixed by Geo and Slau in between swigs of ginseng tea.

Cover/interior art: Roman Hrab; Design: Donna Mugavero, Sheer Brick Studio; Color Photography: Angelo Caggiano, B.W Photography Chris Friedenberg

1999 Geologic Records 1999 You Call That Music
Written, performed and produced by George Hrab.

THIS IS ALBUM NUMBER TWO

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George Hrab Bethlehem, Pennsylvania

George Hrab is a multi-instrumentalist, singer, songwriter, story teller, science advocate, producer, composer, & vigilant defender of the Theory of Gravity. He’s produced seven studio albums, 800 plus podcasts, two books, one concert DVD and is determined to keep making more and more stuff everyday. ... more

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