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Jan 16, 2008 |
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Influences
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pink floyd, hawkwind, robert fripp, peter gabriel, gong, lol creme, kevin godley, brian eno, dr. didge, stephen kent, psychic tv, throbbing gristle, |
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Sounds Like
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early pink floyd, fripp and eno, foghorn on acid, |
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Record Label
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backwoods hooch |
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| Hobbies
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| Views
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artists define the world, therefore artists can change the world
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Male
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| Status |
Single |
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Untitled Document
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Tin Can Luminary, Artist Bio.
John Hardin began his musical path as a bass player in Akron OH. He played in the guitar-rock band the Dharma Bums the punk/Goth band the Relics and the prog./space music band Safe as Milk. John and his left-handed Rickenbacker bass were a regular in Akron/Kent area clubs like Bauhaus JB’s and Mother’s Junction in the 1980s. He also established a studio in his home and produced his first recordings. These include: Remote Control Man and Song of David by the Relics and Nedra Eastwood Survives Surgery by Safe as Milk as well as his first solo compositions.
Having left Akron in 1988 the 1990s again found John working the club circuit with his left-handed Rickenbacker bass. This time with the Boston based band Industrial Gypsies and the circuit was from Portland Maine to New York City and included some legendary clubs including The Middle East T.T. the Bears, and The Rat in Boston and Ken’s Castaways and almost but not quite, CBGBs. According to John:
“We broke up the night we were scheduled to play CBGB. We never went on that night or ever again after that.”
After the breakup of Industrial Gypsies John focused on activism devoting time to:
Mass. Cann. The Massachusetts Cannabis Reform Coalition an organization he helped found.
Greenpeace where John worked out of their Boston and Amherst MA offices doing fundraising and outreach work.
CAN Citizens Awareness Network and CAP Citizens Against Pollution, two New England citizens groups fighting pollution from nuclear power plants. These two organizations commissioned John to produce a series of video documentaries about pollution problems related to nuclear power plants. Nukebusters TV a series of 6 half hour programs and Nukebusters, a feature length movie resulted from this collaboration.
John continued to produce music in his studio and expanded his production skills to include video. Through the Nukebusters project into which John was able to occasionally inject his music and a series of experimental videos called Hallucigenia
Sparsa which served as a vehicle for his music. John was able to put his solo studio recording projects in front of an audience for the first time on cable TV
At that time John released his first cd as a solo artist also called Hallucigenia Sparsa. According to John:
“At that time I played electric guitar a lot and with the right effects I could make just about any kind of sound I wanted with it. I wondered if I could do it live. Also about that time mainly as a result of what I learned working for CAN and CAP I decided to invest in photo-voltaic solar panels and get of the grid. I also assembled a versatile effects system and began composing pieces on guitar in one take.”
Some of those tracks became 1-G-707+FX John’s second cd released as Hallucigenia Sparsa. The name is shorthand for the music’s formula: 1 musician a Roland G-707 electric guitar plus effects.
By 1999 John had assembled a mobile solar powered sound system and recording studio. That summer he embarked on a national tour documented on the third Hallucigenia Sparsa cd titled Never Turn Your Back on the Sea. That extended tour culminated with stops at Burning Man and Treasure Island Trance an experimental music expo. on Treasure Island in San Francisco Bay. John mastered Never Turn Your Back on the Sea in his mobile studio parked at the time in Death Valley National Monument over the winter solstice before the turn of the century. It was during this tour that John discovered Humboldt Co. CA and he moved there early in 2000.
Suffering from a chronic wrist injury John severely curtailed his guitar playing in 2001. that same year he acquired an oxy/acetylene torch and tought himself to use it. He began making elaborate candleholders out of recycled tin cansp. They quickly eclipsed his music in popularity and by 2002 he was booked to a full schedule of festivals and making his living not from music, but from his craftsmanship.
In 2003 at the Grass Valley Word Music Festival John met David Blonski A didgeridu player and craftsman. They made a trade. Dave got a nice assortment of lanterns and John got his first Didgeridu. He immediately set himself to learn to play it.
In 2003 and 2004 John remastered and re-released some of his original music from his New England days in the form of two cds titled Radar Shopping Cart and Smilin’ Buddha much of this music had been featured in video projects but never before on cd.
In 2005 John recorded his first cd of didgeridu music. Titled Space Didge it was the last he would record as Hallucigenia Sparsa before adopting the moniker of Tin Can Luminary. About the name change John says:
“The name Hallucigenia Sparsa came from a fossil I saw in the Smithsonian. It is the latin name of a strange looking sea creature from the Cambrian Era. I like the name Tin Can Luminary better now first because my tin can luminaries are so popular and second because ‘hallucigenia’ sounds like ‘hallucination’ which means ‘seeing something that isn’t there’ while a ‘luminary’ simply sheds light.”
In 2007 John released his first studio cd as Tin Can Luminary titled Hand Made featuring John playing electric didgeridu as well as theremin electric guitar, drums and percussion, keyboards as well as an orchestra instruments made from recycled junk. In the Summer of 2007 John made his debut performance on solo electric didgeridu at the Mateel Community Center’s Summer Arts and Music festival at Benbow State Park. He also performed at the Irie Boogie at the So-hum Community Park. John also released his first cd of Electric Didgeridu solos called Live Electric Didgeriu Vol. 1 John’s tin can chandeliers in 2007, were featured in art shows at The Morris Graves Museum in Eureka CA, at the Altered Esthetics Gallery in Minneapolis MN and at the Gallery of Functional Art in Santa Monica CA.
John is currently very busy. More at:
www.myspace.com/tincanluminary
Tin Can Luminary’s Electric Didgeridu Music:
The Gear
Tin Can Luminary makes his unusual music with an equally unusual collection of equipment. This includes didgeridus and microphones an effects pedal board that holds a dozen separate boxes all wired together and a pair of amplified speakers. With this system he can subtly enhance and dramatically alter the sound of each didgeridu infinitely. The effects include: filters and oscillators normally associated with synthesizers compression, distortion and equalization like electric guitar players use analog and digital delays chorus, flange and reverb. According to the artist:
“It’s not an unusual assortment of effects. There are many single boxes designed for guitarists that include all of these effects. I found none of these multi-effect processors appropriate for my didgeridu music because they didn’t allow me to adjust the effects easily while I played. Guitarists generally need both hands to play guitar I can easily play didgeridu one-handed and often use the other hand to twist an effect control knob to morph the sound rather than switch it. So I built my system to have all of the control knobs at my fingertips in front of me.”
The modest system produces amazingly rich stereo sound that engulfs the listener even outdoors, far from a power supply. “Energy is a big issue for me. My studio is off-the-grid solar powered, and I don’t ever want to rely on PG+E for power for my music. So my live rig has it’s own internal rechargeable batteries. It can also run on 12v dc 110v ac, or a modest solar array. I can play for many hours on battery power and it just takes a few hours of sunshine to recharge it.”
More at: www.myspace.com/tincanluminary
What does an electric didgeridu sound like? The artist responds:
“Part of what I like about the electric didgeridu is that it is outside of our cultural frame of reference so people respond to it directly without prejudice or expectation. I really like the way it sounds I don’t really understand why. To actually describe it though you might imagine Fripp and Eno’s No Pussyfooting with a lot more bottom end or perhaps a foghorn on acid. It is ambient music so it does not preclude conversation reading or thinking your own thoughts but does provide a stimulating field for active listening. I also believe the didgeridu sound has a healing effect on the body and a soothing effect on the spirit. I’m eager to show off the candlelit chandeliers with the didgeridu music. Both candlelight and didgeridu music can alter consciousness on their own the combination of them together magnifies their power.”
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Spanish Translation by Google
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