Arlea Forbes-Prater’s “Andy” was one of two works interpreted by visual artist Lauren Blankstein.
Green Light Cameras’ “All That Remains” was one of two works interpreted by visual artist Henry Simonds.
Gina Bonati’s “Windblown” was one of two works interpreted by visual artist Kate Temple.
Sebastian A. Bach’s “redrigrednu” was one of two works interpreted by painter Amanda Shears.
I must also say, for the record, that Mr. Bach took on the daunting task of mastering the 80 tracks that comprise Ball of Wax 64 (i.e., he’s the reason you’re not running for your volume settings with each new track as you listen through). As such, I am officially declaring him a Ball of Wax Hero, which is a thing I just invented but that doesn’t make it any less of an honor. (Seriously, dude, thank you.)
Anne Phalen’s “Build Me a Home” was one of two works interpreted by visual artist Pamela Petro.
Brittain Ashford’s “I belong outside” was one of three works interpreted by painter Kirby Jackson.
Lindsay Clark’s “Static” was one of two works interpreted by painter Annie Allen Clark.
Peter Colclasure’s “Riverbed Revised” was one of two works interpreted by painter Kristi Ponder.
Zachary Stern’s “Silent Night” was one of two works interpreted by poet Luisa A. Igloria.
I don’t normally review my own tracks, but this isn’t really me writing a review, so I guess it’s okay. My contribution to TELEPHONE, “Memory Is a Strange Thing,” was one of three works interpreted by textile artist Carlyn Clark.
