At This Very Moment:

300 copies of Lindby’s next album, Erikson, are being duplicated/pressed and will arrive in less than one week’s time!

Six Years Ago (Senior Year of High School):

We find my good friend Matthew and myself in AP (Advanced Placement) Psychology: loving the class for its GPA-enhancing multiplier (our high school graded on a scale of 120 instead of 100, and AP class grades were multiplied by 1.2 while “normal” classes were only multiplied by 1.0) and loathing it for its numerous projects.

Both suffering from “senior-itis,” we resorted to our standby project plan: make a video instead of following the normal project guidelines. Earlier in the year, in AP Government, we made a 20 minute short film about an act of legislation that would replace the country’s current military with pirates.

While the video only contained about 20% of actual legislation and other government-related content, the other 80% of fluff and pirated-related action was entertaining enough to score us both an A and have it shown to every other government class for the next few years.

Back in psychology, our teacher wasn’t too fond of this video-in-place-of-a-paper idea. Fortunately, we had the pirate video to persuade her.

Our project? Make a video about Erik Erikson and his Stages of Psychosocial Development.

Long story short, we made a scene (some rather odd and involving adult diapers and the like) for each stage of development, but we lacked a method of summarizing it all into a nice, neat package.

We needed an Erikson montage: a musical, Erikson montage.

So I sat down and came up with what I thought an absurdly basic and silly song but was still somewhat catchy.

I pondered recording it and putting it on the blog, but I think I’d run the risk of giving the wrong impression about the upcoming album. Instead, I’ll just share the lyrics:

Erikson, oh my Erikson

You Made up the Erikson

Stages of Psychological Development

You really had to sing psychological development quite quickly (not to mention that we didn’t even realize that the word was actually psychosocial – our research was not that of academia caliber), and it certainly wasn’t a wordsmith wonder either.

Nonetheless, the first incarnation of Erikson was born. Now it would sleep – undisturbed for almost four whole years.

Roughly Two Years Ago (The Beginning of Lindby’s next album):

Lindby had just finished up an EP, For The Love of Sven and Porgy, at the UTA recording studio. It had turned out alright but was essentially just a revamping of five older songs.

We were ready to make something new.

Of course, the ironic bit is that we made something new by returning to something rather old.

One day, Goodrich and myself were perusing and sifting through old material in the hopes of finding something worth revamping/rehashing.

As luck would have it, we came across Erikson. Goodrich knew about Erikson but hadn’t been in the class with Matthew and myself (otherwise he certainly would have been part of our group and would have assisted with both the film and song). Upon hearing it again – for the first time in years – he commented on how it was decently catchy.

After a bit of discussion, we were both struck with the idea of researching all of the famous Eriksons of the world and creating a song for each of them in a different genre. We would keep the same chords/structure (for the most part) and use the individual’s life story to help assist in defining the genre and lyrics.

From that very moment, we knew the album would simply be:


The Next Two Years (Recording the album):

For the next two years we did the following:

  • Wrote new songs
  • Revamped old songs
  • Discarded many songs
  • Transformed old songs in a new songs that were so different that they were almost unrecognizable
  • Explored a number of different genres including (but not limited to): reggae, fugues, bossa, electronic, and more
  • Lost a vocalist to Seattle
  • Lost a drummer to Houston
  • Gained a drummer
  • Said drummer also makes beats, remixes, and is also trained in recording (which means an additional set of trained ears during the tracking and mixing process of an album)
  • Recorded in a number of different rooms while Goodrich continued to build and expand his studio
  • Hired brass players for the first time to play on two songs
  • Goodrich spent countless hours mixing and mixing
  • Our painter friend, Stuart, and Goodrich’s wife/graphic designer, Katie, created all of the album art
  • We took the album to a professional mastering house for the first time (this basically  means making the album sound better [ie deeper, punchier, and clearer] instead of just making it louder)

But after all of that (and a few other small items like college graduations, a number of moves, a marriage, and an engagement) we find ourselves back at this very moment – where 300 copies of Erikson are current being pressed/duplicated.

Early Next Week:

The albums will arrive, and this is what we shall see upon opening the box:


I won’t spoil what the cover means. It’s a mystery best solved by you, the listener.

Friday, June 22nd at the Cellar (The Album Release Show!):

After six years, the night has finally arrived: the release of Erikson.

Here are the details:

Location: The Cellar

Time: 10PM-1:30AM

Cost: Free

Album Cost: $10 (includes a free sticker of the album cover!)

Lineup: Lindby will play straight through Erikson; Riyad will play an acoustic set; Lindby will then go back on for a full set of originals and covers

Further information: Facebook Event, Lindby Facebook Page

I hope to see all of you on the 22nd for a night of rock and roll, jazz, classical, and much more!


Hello all!

The blog is finally back up and running after far too many months. I’m planning on posting a list of all of the musical/life events that occured over the past two seasons (I miss the Texas winter and spring more and more as we slowly approach surface of the sun temperatures), but I figured a purely musical post would be appropriate to get the ball rolling again.

Anyways, on to the music:

This past Monday, Lindby’s bassist and my good friend, Kyle Claset,  gave his Theory Capstone Presentation. For those of you who haven’t delved too deeply into the world of Music Theory majors, a capstone is the equivalent of a senior recital.

Performance majors put on concerts to show their skills. Composition majors (like myself) have a bunch of different people perform their portfolio of works. Theory majors write epic papers (backed up by powerful powerpoint presentations) and argue a certain, specific point in a certain realm of the musical world.

As an example, Kyle tried to persuade his audience of professors and peers that a new type of sonata should be acknowledged and classified alongside the existing five types. The meat of his argument came from providing musical examples that fit into multiple categories and could not be constrained by one classification.

It was certainly a compelling argument and really got me thinking about the nature of compositon versus theory. Creation versus definition. Chaos versus order.

As a composer, I have a natural bias that would have me leaning towards the idea that compostion came before theory. The first mental image I conjure up is that of our ancient ancestors sitting around creating rhythms with primitive drums and perhaps singing in form or another.

However, if I look at it from Kyle’s point of view, I would have to admit that the very act of defining rhythm and providing even the most basic of structures would reside in the world of theory.

It’s very much in the vein of which came first, the chicken or the egg.

Kyle and I have actually discussed how the ideas of composition and theory are essentially at war with each other. Composers create what they feel/think sounds good. Theorists try to make sense of it and define it. Of course, even though they’re at war with each other, one could never exist without the other.

And upon further thought, this conflict between the two arts actually helps both of them progress forward towards further innovation.  Composers always want to break new ground and come up with ideas that have never been tried. This partially stems from the fact that theory has defined and classified what has already been done. If a composer succeeds at this goal, then theorists suddenly have a plethera of new work ahead of them. It goes hand in hand, and one fire basically feeds the other.

It’s ying and yang. It’s life and death. It’s order and chaos. It’s the power and drive of opposites.

It’s theory and composition: the backbone of the musical world.