Mike Garrigan Podcast

Mike Garrigan

That guy from Collapsis and Athenaeum talks about stuff.

  1. Experiment 18: Waltz in Spades

    Jun 7

    Experiment 18: Waltz in Spades

    This episode follows the creation of a new song built around the Stylophone, a small electronic instrument first introduced by Dubreq in 1968. The prompt led to an experiment with the instrument’s buzzy, unstable tone and its connection to retro electronic texture. The song was written during May 2026, while preparing full backing tracks for Porchfest. A halftime/doubletime drum feel helped shape the track’s rhythmic foundation. A May 10 Failure concert at Cat’s Cradle became a major influence on the arrangement. The episode traces the band’s impact, from Magnified and Fantastic Planet through their reunion albums, with attention to how Ken Andrews and Greg Edwards balance melody, structure, atmosphere, and weight. The production approach centered on giving each instrument a distinct role. The drums create movement, the distorted bass carries melodic weight, the guitars occupy the upper register, and the Stylophone functions as a central voice. The final arrangement includes a distorted bass line, upper-register guitar textures, a guitar part doubling the Stylophone riff, and a post-bridge harmony line. The episode also connects the song to Ulysses by James Joyce, especially the minor comic figure Mr. Breen and his nightmare phrase: “The ace of spades went walking up the stairs.” “Waltz in Spades” imagines that nightmare as a song: fluorescent lights, bodily unease, absurd violence, dream logic, guilt, memory, and an unresolved revelation. The result is a Stylophone-driven nightmare waltz shaped by Failure’s arrangement lessons and Joyce’s strange comic darkness. Send me a Text Message.

    30 min
  2. Experiment 17: Hard to Remember

    May 1

    Experiment 17: Hard to Remember

    www.mikegarrigan.com  In this episode, I take on a prompt that felt personal from the start: create a song featuring your grandfather’s handmade folk harp. That harp has been sitting quietly in the corner of my garage studio—Two Egrets—for years. It’s not just another instrument. My grandfather, James John Garrigan Jr., built it by hand while my grandmother Nell was nearing the end of her life. Because of that, it carries something deeper than sound—it feels like an artifact of love, grief, and endurance. What You’ll Hear in This Episode The story behind the harp and why it feels almost sacramentalHow I transformed a single harp note into a playable synth using iZotope Iris 2Building a track from scratch with:Harp-based samplingNative Instruments Drum Lab rhythmsLayered acoustic and electronic texturesWhy the entire song sits slightly out of tune (on purpose)The unexpected lyrical hook: “It’s hard to remember”The Creative Turning Point The song’s meaning came into focus through Bright Lights, Big City—a story about grief, escape, and rediscovery. That influence shaped the emotional core: Sometimes life makes us forget something essential—that we are, at our core, good.This song lives in that tension: Forgetting vs. rememberingEscaping vs. facing realityDistortion vs. clarityProduction Highlights Built from a single sampled harp note, stretched across a keyboardChoruses lifted with live drums + pulsing synth bassSubtle microtonal tuning shift (~38 cents sharp) for an off-center feelLate-stage decision to embrace distortion—pushing vocals and instruments to the edgeLyrical Themes The slow erosion of identity through grief and distractionThe pull toward numbing out vs. waking upA return to something steady and trueKey line: “The truth don’t change, however strange.”Send me a Text Message.

    17 min
  3. Experiment 16: If You Say So

    Mar 7

    Experiment 16: If You Say So

    In this episode, we start with a familiar rock-and-roll question: are you a Beatles person or a Rolling Stones person? Inspired by a line from Pulp Fiction—where Mia Wallace suggests people fall into either the Beatles or Elvis camp—we explore a slightly different divide: the polished brilliance of The Beatles versus the raw, attitude-driven energy of The Rolling Stones. From there, the conversation traces the long shadow the Beatles once cast over the Stones—from early covers like “I Wanna Be Your Man” to the era of Sgt. Pepper's Lonely Hearts Club Band and the Stones’ psychedelic reply, Their Satanic Majesties Request. That shadow finally lifted with the swagger and originality of Sticky Fingers—and soon after, the band’s unlikely exile to the south of France, where they created one of rock’s most mythic records: Exile on Main St.. Listening closely to that album—its loose grooves, rough edges, and moments of strange transcendence—becomes the inspiration for a new song, “If You Say So.” This episode walks through the creative process behind it: living with Exile on repeat, experimenting with fast shuffle rhythms, recording on an old jazz-style drum kit, layering Telecaster guitar and bass, and even briefly resurrecting a harmonica that hadn’t been touched in twelve years. Along the way, we explore the musical choices that shaped the track, from replacing a harsh harmonica line with a saloon-style electric piano to embracing the small imperfections that come with keeping a scratch guitar take in the final mix. Finally, we look at the meaning behind the lyrics. Written from the perspective of a swaggering, Mick Jagger-inspired narrator, the verses make bold claims about skill, endurance, and virtue—only to be quietly undercut by the chorus: “If you say so.” What emerges is less a rock anthem than a snapshot of an inner tension between ego and skepticism. Part music history, part studio diary, and part reflection on creative process, this episode explores how inspiration travels—from a legendary double album recorded in exile to a small, imperfect song finding its own voice. Send me a Text Message.

    20 min
5
out of 5
6 Ratings

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That guy from Collapsis and Athenaeum talks about stuff.