no, only fees earned from licenses go against that recoupment total until it's paid off. i get semi-annual accounting statements that show what i've earned and where i'm at. i'm never expected to pay on this balance out of pocket like a car loan. it sounds like dastardly Big Music Business but it's typical and our advance in '06 was fortunately pretty small compared to the one they gave Lorde last year.

it's taken this long for me to eat into it because the only thing they've had to pitch over the last several years was brazil's last album (philosophy of velocity) and that label went under so they couldn't track down the master use copyright, severely limiting the possibilities. this autobody stuff is thankfully re-kickstarting the paydown process. finally.

From the back roads and bare-lightbulb-lit garages of Indiana comes the cassette tape-era fetishismo of Autobody.

Channeling Deep Purple (if they grew up on punk 7”s and DIY ethics), Dirtbombs (if they grew up on a steady diet of LA death rock) and grindhouse film (if Russ Meyer had grown up in Harmony Korine’s Xenia, OH), Autobody combines the rawness of lo-fi punk with the nihilism of swamp blues, drenched in the gratuitous noise of the loudest amps on earth.

Autobody’s 2009 debut EP Trash was recorded with one microphone and borrowed equipment and consisted of the blistering punk rager “Ulcerated,” the anthemic swagger of “She’s On Fire” and the venomous organ outro of “Witch Doctoress.” Also included was a noise-laden cover of “7-Up and Whiskey,” a song released by his grandfather, Starday recording artist Jimmie Zack in 1956.

Following up on Trash, Autobody released the acclaimed Lifetaker EP - five songs of thumping noise rock that provided the score for a handful of dark highway stories about spectral muscle cars, shamanic truckers and apocalyptic shortwave radio stations. Despite still driving completely under the radar, the EP’s title track received national attention in campaigns for Coppertone, Brand 47 and film trailers.

2014 brings the release of Indiana, Autobody’s most extensive collection yet. The maxi-EP is another meaty cross-section of Autobody’s influences, from the pounding two-drumkit war dances of “Juggernaut,” “Bleed Out” and “Electric,” to the mangled garage punk of “Ripped,” to the sludge-oil heavy blues of “The Way to Dusty Death.”

Before the year is up, Autobody will have also released a full length called Young Tobacco, and followed it up with another EP called Witches.

absolutely man! i'll throw in the sweat stains for free!!

City Water is an Indiana-based composer, producer and conceptual artist whose music is founded in ambient minimalism and neo-classical piano. Darkly poetic and lyrically sparse, each release is a collection of introspective moods and haunting soundscapes.

The debut EP “1” consists of six tracks, from the Satie-inspired To Sleep, the haunting drone of Pulse and the weightless assemblage of Signal, to the despondent Mountains and The Scream, to the funereal coda Firmament. Influenced by artists such as Harold Budd, Goldmund, Dead Can Dance and Bark Psychosis, “1” is a cryptic and melancholy confessional wrapped in a fever dream of hazy delay and warm saturation.

City Water’s upcoming second EP, titled “2,” takes a turn down a dark alley of sparse and minimal jazz, incorporating elements of freeform and drone into a Lynchian pastiche of wind, trees and piano.