2003 recording of electric bass/vocal dunt.

2004 bass/vocal album from Jandek, with three long tracks including the 30 minute title track: “Jandek plays bass again, claims to 'no longer exist,' sings about drinking ‘mechanically produced beverages,’ and announces plans to 'think about breathing.' Recently he took a walk. The music seems improvised but is satisfyingly varied and tracks the varying moods of the vocals closely. During the long piece, moments of abjection or desperation occur, but they pass; mostly the voice we hear is lucid. He's levelling with us. When he sings 'I won't drive my car for the rest of the day,' it's a fact. The most harrowing moment comes during the last track, a love song that turns threatening: 'please take my bait... I want to eat you up... you'll never get away, you won't want to... you don't have a life, you live in me.' The music plunges down to the bottom of the bass' range, but by the last line, the point of view has pulled back again to encompass 'the grand scheme of things.'” - Seth Tisue.

Stunning looking DVD of the first solo acoustic/vocals London show from Jandek, as close as you’re gonna get to a live version of a ‘classic’ stripped down Jandek performance. Recorded at St. Giles In The Fields, London, October 18th 2005. There’s an undeniable thrill in being able to see Sterling Smith perform alone, it’s like having alla those early records laid a little more bare. Excellent.

DVD edition featuring both sets from this trio show with Sterling Smith on guitar and vocals, Chris Corsano on drums and Matt Heyner on bass, live at Issue Project Room, Brooklyn, New York, September 7th, 2005. The sound is closer to the 'classic' Neilson/Youngs live blats but with a more straightahead garage/punk feel, with Sterling playing some of his oddest electric guitar downs while Heyner moves from groaning electric bass monoliths across the first set to quiet, semi-audible acoustic bass on the second. The second set is consequently the weirdest, with the extra space generated by Heyner fully inhabited by very minimal guitar work from Sterling and some oddly dramatised lyrical set-ups. Corsano plays it pretty straight for the bulk, riding behind Sterling's guitar like a steamroller, and at points the vocal delivery combines with the overall bounce of the rhythm section to birth something that seems to owe more to The Minutemen than any sort of avant blues tradition. The songs are great, moving from devastating emotionally wrought confessionals through to funny situational set pieces and Sterling really stretches out on vocals and is obviously enjoying the performance.