“I published THIS IS WHAT I DO – VOLUME ONE in 2011. It was intended as the first of a three (or five) volume collection of works that would be difficult to source, or material that would be otherwise unpublished… …Three years later, VOLUME TWO was recorded, assembled and published in October, 2014.

I considered ending this series with the round number of Volume 20 but it didn’t feel like the right thing to do, especially without announcing the end at the time. I wasn’t sure then, but I’m sure now.
With VOLUME 21, I will say goodbye.” – Jason Lescalleet 3/19

I’m usually interested in output. A lot of the music I c-

ome across is from a group with one or two songs. And I

think we do live in a time of singles, once again. Which

has it’s benefits and it’s drawbacks. Eclectic tastes. Or

fickle inspiration.

For obvious reasons I find myself interested in artists

that produce regularly. Producing only when you’re inspi-

red is a cop out. When you don’t want to do something i-

t’s probably the best time to do it. But, kings and dukes

may be hanged for insolence, but who hangs a fool for tal-

king?

As I mentioned before, I have unusual tastes and like

everyone else opinions on everything. I do appreciate peo-

ple that produce. This Is What I Do is very interesting.

It starts like a high fidelity field recording. A stereo

field recording. The sound of another reality that meshes

really well with this reality.

Highly enjoyable but intense at times. An example: walki-

ng into a large conglomerate store to peruse the wares.

Very lush orchestral piece begins. Heavenly angelic. Cho-

ir. The contrast between walking into this lush angelic

sonic realm and the very open relicant conglomerate realm

was disconcerting. Though pleasant, in a twisted way.

I’ve always been interested in why people are interested

in orchestral music. Or another other absurd music. After

researching I discovered a lot of classical music was

accompanied by actors, dancers, and that music was an ac-

companiment to a larger production. I understood this nat-

urally. Something I always understood. I knew this was a

popular form of entertainment, in many ways the primary

cherry on top of the cultural creampie.

There was a sudden realization that listening to classical

music often tells a story. That the music itself is struc-

tured as a story. Where instruments represent characters

or certain characters will have themes. Certain instrume-

nts will mimic environments. For instance, the crash of

cymbals may be accompanied visually by a tree being struck

by lightning. A tympani is thunder. The music can set a s-

cene. It contributes to a scene.

I particularly liked This Is What I Do because it’s like

a story. Where different sources are mixed to tell a st-

ory. A more interesting form of DJing or DJ culture. And

the idea that these are presented regularly is pleasant.

Like a newspaper. Or the Compass. Or the Hassle.