All This Could Be Yours was produced as a limited edition cassette single in Detroit and Bay City as part of my Cranbrook MFA thesis work in 2010.
The single featured the original song and a dubby remix, and both are available to download. Digital downloads of the album come with two bonus 11" x 17" poster PDFs.
I recently came across a box of 20 of the original tapes, dubbed on a stereo in the spring of 2010, and thought I'd make them available for sale. They come with a fold-out double-sided poster of depressing photos and fun facts about post-industrial decay!
Some wanky excerpts from some stuff I wrote about it:
The database-shaped alternate economy of underground music, born from the “site” of oppressive capitalism and nurtured within the physical spaces engendered by the means of production after the Industrial Revolution, offers a potential counter-argument to that very same capitalist system, using its own tools and methods in a new, organic way. The Bay City Bullshit project allowed me, in my own way, to use the cause and effect of capitalism as a staging ground for something new. In that same vein, the project has offered a way to investigate the potential state of “aftermath,” of post-ness, that has characterized the late twentieth century and early twenty-first century.
This is obviously based on the decline of American industry, a fact that most clearly has affected Detroit, as the archetypal heart of American industrial production, but it also affects places like Bay City, which undergo their own postindustrial apocalypse and have their own sense of post-ness. For Bay City, this apocalypse took the form of the loss of the logging and shipping industries, translating into a population decline in every census since 1960. This state of postindustrialism forms the specific backdrop for the Bay City Bullshit project, in which economic decline and small-town apocalypse serve as a kind of primordial origin story for a pop star persona which “owns” that apocalypse, turning it into an emblem, a status symbol, a source of historical pride, a front.
Its visual style and reliance on obsolete technology (cassette tapes, photocopiers, 35mm photography, one-hour-photo development at the grocery store), coupled with its connection to ever-changing subgenres (the blackletter text of heavy metal, the photocopied nature of punk zines and album art, the musical traces of dub and bass music) that contain within them a recognition of their own temporality, means that this project points out its own built-in and inevitable decline.