I have had several music projects over the years, and created music for video games, film, dance, and live theater.
NEW MUSIC
Virginia Beach’s Seamonster resurfaces after 12 years beneath the waves with "Window Seat", a quietly mesmerizing new single, accompanied by a long-lost instrumental from 2007.
Like the introspective comic strips cartoonist/musician Todd Webb is known for, "Window Seat" is a study in observation, tracing unexpected memories through everyday objects. A subtle two-note pulse hums in the background, mirroring the lyric’s electrical box, while icy ukulele plucks evoke winter air and pine needles scattered on the ground. When he sings, “I can see my breath,” the words swirl like a spectral echo, carried on the breeze.
Inspired by a workshop with legendary producer Brian Eno, the song was written and recorded in a single afternoon - a spontaneous return to the creative process that first defined Seamonster’s lo-fi magic.
The B-side, "Callie’s Dance", carries its own story. The bouncy instrumental was originally commissioned years ago for a dance performance and features a cello contribution from a visiting friend that, in Webb’s words, “brought the song to life.” Long-forgotten until director (and past Seamonster collaborator) Chad Hartigan requested it for an upcoming film, the track emerges at last, bridging the past and present.
Does this signal more Seamonster on the horizon? Webb confirms: “There is a new record.” And this time, it won’t take another decade to surface.
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Seamonster
active 2005 - present
primary musical outlet - for fans of The Magnetic Fields, Galaxie 500, Yo La Tengo
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Oahu
active 2012 - 2024
ambient improvised electro-acoustic sound project - for fans of Brian Eno, Taylor Deupree, John Cage
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Fox Hands
active 2009-2011
experimental weirdo pop project - for fans of Animal Collective, Panda Bear, Atlas Sound
What are people saying about Seamonster?
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"It was a happy coincidence that brought me into the world of Seamonster’s wide-eyed songs and delicate, homespun arrangements: bedroom folk-pop for day dreamers and sleep walkers alike."
Robert Schneider, The Apples In Stereo
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"Webb paints a musical canvas - elegantly, flaunting a quirky charm - dreamy, strange and consuming."
Gold Flake Paint
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"Simultaneously beautiful and jarring, familiar and strange, occasionally haunting, and frequently whimsical, Baldessari is a fully realized collection of songs representing an artist at his prime."
Variance Magazine
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“A lush orchestra of 'miniature noises' which unfolds most spectacularly in the presence of [Webb's] voice.”
Decoder Magazine
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"A lovingly stitched together [album] of fuzz-toothed and computer-transmuted folk... a crisp and beautiful balance of unique textures."
Turntable Kitchen
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"Sublime and beautiful."
YVYNYL
#dailybleeps
Every day from October 28, 2015 to October 28, 2020 I posted a video to my Instagram page featuring an ambient score.
“Todd Webb has, over the past roughly 2,000 days, posted roughly 2,000 #dailybleeps tracks online. They have populated his YouTube and Twitter accounts, but their primary home on the internet range has been Instagram. There, bite-size videos playfully themed around squash (the fruit, not the sport), and going outside (as determined by an Oblique Strategies card), and frogs, among numerous other topics, feature micro-compositions of what feel like the sonic equivalent of a zine aesthetic: either minor-key chipper, or up-tempo maudlin, and utterly delightful.”
Slow Waves & Simple Sounds
OAHU is my ambient electronics musical project. The Simple Sounds portion (second disc) of this OAHU release features a selection of 40 tracks from the first 4+ years of #dailybleeps and functions as an audio scrapbook of the project.
From the liner notes for disc two of the OAHU album Slow Waves & Simple Sounds:
I began recording #dailybleeps on October 28, 2015. The process is simple: I film something I see each day and before bed I record a soundtrack for that video and post it online to my Instagram page (@toddbotdotcom). I use a different setup every day and improvise the scores as quickly as possible. It has been great fun watching the pieces accumulate over the years and I’m very excited to finally release a physical document of some of them. The titles match their original videos. For instance, Buddha Watching TV accompanies an art piece by Nam June Paik, Kirby in the Backyard was made while visiting my friend Steve Roden - his dog Kirby was outside wanting to join in. Not That I Mind is a personal favorite as it soundtracked a collaborative video with the poet Aram Saroyan.
What people have to say about Oahu
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"Adrian Todd Webb’s Oahu project is a whimsical departure from his other pursuits as a member of the electro-folk-pop band Seamonster, Illustrator / Cartoonist, and the Editor of Nine Things magazine. Plant Life is island living encapsulated in multi-tonal ambience. The title side slowly grows from simple chord to big distorted sun saturated beast over the length of the tape; a meditation on nurturing, patience and the behemoth potential of nature itself. These are the harmonies of organisms linking together to develop, spread and survive. Ant Colony begins on a percussive note and pulls some of that Seamonster flare into the fold. An unexpected noisy, acidic groove that mimics the busy, bouncy work that goes on in an ant colony. Synths symbolically jabber and bustle like the commanding and responding creatures of the mound. Oahu finishes the tape off with Redwood, a droney bit of business built for the scenic experience. A muted, foggy piece that pairs well with stargazing through the slits in the treetops."
Cassette Gods
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"On Plant Life, Oahu has sculpted [three] tracks of hypnotic escape... drawn out tropical drones, subconsciously evoking vibraphones and chirping birds. The second [side] pictures a forest at both the micro and macro level as suggested by [the] titles, 'Ant Colony,' [and] 'Redwood.' [Plant Life] taps the essence of minimalistic ambience."
Whurk Magazine
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"Three tracks, one full length on the front, two on the flip, experimenting with crispy overloaded fuzz. The title track (on A) a looping wonderfully placid melodic sequence. Breezy, overloaded, blown out beauty. Washed out production, feels like a faded polaroid. Maybe it’s the cover image, or not, but it has this overexposed oceanside vibe to it. Something to close your eyes to and wash away with. On the B side Ant Colony applies a ragged layer of percussion, taking things slightly uptempo and off kilter. The closer, Redwood brings both tracks together in a lengthy amalgam of pulsation caught halfway between beats and ambient, and sort of rhythm created by subtraction. Where the movement of the melody is the percussion. Super chill listen. Nice and brief, no frills. Awesome tape."
Guide Me Little Tape
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"Oahu’s Mountain Rain / Garden Flood is made up of two complimentary electronic pieces. Both ambient compositions are exactly fourteen minutes and fourteen seconds, constructed with a tinkerer’s arsenal of synthesizer modules, iPad apps, and a Korg KP3 sampler. The pieces are aptly titled: while “Mountain Rain” gently washes over you like a static shower, “Garden Flood” is a continuous looped deluge of digital blips, beeps, and boops, gaining and losing textural layers as it progresses. Rotating between placidity and near-sensory overload, they create a cycle. As one piece finishes, you yearn for the next."
Whurk Magazine
What people had to say about Fox Hands
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"Glistening Panda Bear-esque summer-morning pop from Virginia Beach’s Fox Hands… I highly recommend you run off and grab a copy of the fantastic Peoplenoswan EP… one to watch!"
Beach Tapes
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"Right off the bat, this EP is all fuzzy beams of tropical light. Like Willy Wonka’s Fizzy Lifting Drink, one sip and you will be floating above the ground. Utilizing the looped sample format, Fox Hands manages to take a simple concept and make it utterly sublime. Waves of reverb echo all over the place as warm waves of color and noise gently massage your eardrums. The EP’s best moments even remind me of good ol’ Panda Bear."
Cactus Mouth
