R.S. 'Honeybuns' McMillan
'to surf the chaos of a game of chance with sound'
I began improvising, channeling, and composing my sounds in 1991 in an attempt to transcribe my paintings and
writings for music. Thinking visually gave me all the space necessary to follow a subconscious flow of ideas into
this wave, to surf the chaos of a game of chance with sound.

and so... so far, as of today... everything is played and recorded by me, Robert Scott McMillan...in homemade lo-fi
style. Similar to the way that most early to mid- 20th century recordings were made, (usually one or two takes),
many of the tracks within my songs are immediate reactions.

2004 has seen the addition of one band member, Camille Graham. She plays cello. She has a lovely singing voice
as well. If all goes to plan...we will play our first concert as a piece in a collaborative multi-media art show in the
coming year.

This music is from my guts. It is a blues, but certainly not in the traditional sense. If you hear it and get off on it,
you obviously have your own twisted sense of musical taste, beauty, and humor...and I am your fan.

R.S. 'Honeybuns' McMillan

This is my blues album. The bulk of these songs are about hopelessness, despair, failure, broken relationships, all weighing down on my will to carry on. There is a theme running through this work relating to the presence of manipulative and deceitful people who try to use others for their own benefit only, but who ultimately fail (at least in the world of these songs). This theme is very significant in that these kind of people can enter your life when you least expect, and least of all from those who initially appear genuine, helpful, and compassionate. Heavy themes based on hard lessons. On the whole this collection of songs is about being deceived and kicked when you're already down and about finding ways to make light inside of darkness. They were recorded between April and November of 1995 on a 4-track, thrift shop tape recorders, and/or two- tracked through a stereo and portable tape recorder. Before I pressed the record button, these songs did not exist. The music was not written, and was recorded quickly and directly, documenting the intimacy and immediacy of the moment(s). The words were written w/out thinking about them too much, or were collected from conversations. The object was to just get the songs out, and down, mistakes and all. They are improvisations; sonic paintings.

total running time: 35:47

R.S. 'Honeybuns' McMillan

ALTERNATE REALITY LULLABY is a mixture of some music from a little earlier but mainly from the same time frame that the 'channels' songs were recorded. It introduces the instrumental pieces and the collaborative recordings that happened and is a bit of a laugh at times. Some of the instrumental pieces I am especially fond of because of their visual sensibility and portrayal of some shiny beauty. I wrote 'dirty future' and co-wrote 'i put the me in miso' in Vancouver between the fall of 1995 and spring of 1996. Dirty future is a dark little number about my increasing sense of alienation from the plastic nature of city life. Dougal pulled off an awesome bunch of improvised lyrics on 'i put the me in miso'. The rest was written in the summer of 1996. Who knows where the country song came from - "doin' 91 down highway 101"...a little help from a bottle of wine. 'Lenny' is an another oddity with its' peculiar oyster-eating-on-the-beach-down-the-road references to 'The End' by the Doors. The bass lines for 'isms' were recorded in the summer of 1991, with two drum tracks added in 2001. 'Penetrating' is a sitar influenced piece that leads into the chilled out guitar duet, 'sun goes down'. 32 minutes of music= two lullaby's with and alternate reality sandwiched in between. MIxed in 2001, re-arranged in 2004.

* extra vocals, harmonica: Aaron Vidaver
# main vocals: Dougal Graham

total running time: 32:12

R.S. 'Honeybuns' McMillan

( a story of love, deception, and other blues...)
This title is an anagram that I made from Pink Floyd's ' The Dark Side of the Moon'
It contains four re-worked songs from the 'channels sessions' combined with
some new songs, and the three part instrumental 'womb'. This recording is a slightly
more elaborate approach with the addition of guitar, drums, and bass, giving
the songs a band feel.

R.S. 'Honeybuns' McMillan

With the exception of 1 song, 1 song with one line, and 1 song with lyric-less vocals , this is a primarily instrumental album. The theme revolves around returning to the west coast, to spend time trying to heal my, at this time, very recent back injury. This album features the 11min18sec composition "thirteen variations for feedback". This piece was inspired by a daydream of sounds in late Summer of 1993, and hearing the sounds of outer space being broadcast on tv while (name of spacecraft goes here) passed by the planet Jupiter some time in the early Fall of 1998. Fall of 1998 recording sessions,
first mixed in the spring of 2000.

total running time: 31:44

R.S. 'Honeybuns' McMillan

APOCALYPSE VARIATIONS: the hopes and fears of all the years
is a one session collection, a short story of solo piano improvisations, laid down in the summer of
2001. Further editing was done, but kept to a minimum. When i listened to it back the first time,
I heard the influences of Bach, Satie, Eno, Shipp, Duchamp: spec. "la mariee mise a nu par ses
celibataires, meme. erratum musical." and "musical sculpture"(realized by the s.e.m. ensemble).

R.S. 'Honeybuns' McMillan

Guitar, drums, bass, and effects were constructed around a
22 1/2 minute improvisation with guitar and delay:
prog- trance, shiny, spacy, spiralling. like the title says...

total running time: 26:12

R.S. 'Honeybuns' McMillan

was recorded in march of 1990 with my friend Aaron. I'm still working
on it. The list here is from section F. more info coming soon

R.S. 'Honeybuns' McMillan

multi-track delay guitar instru-mentals. If Brian Eno had written
Apollo: Atmospheres and Soundtracks with a guitar...

total running time: 28:31