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by Mikel Rouse

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Fanfare 01:05
Body & Soul 04:44
BODY AND SOUL Visit my page – decorate my rage – be a catalyst for change Hang my brain – sentenced to a life again It’s an endless ride on a one way blame train I say – give the last man a break a place in vain to hide and rain A piece of cake and the love earthquake Body and soul – in the same role When I transform – when I can go norm – maybe be a good sport reform Go through the clouds – baby when I come around would you ever wanna drop this sound? Hats Off – to the man with the concrete hand If you can’t stand what you can’t plan Ever build a better mouse trap? tele-flap jack get her on track get the monkey off my back Better be-lieve momentary relief from sleep with a finders fee – But the referee (role played by me) Never gonna call off sides penny for your thought rides maybe turn your insides outside my mind (can climb) I say – give the last man a break a place in vain to hide and rain A piece of cake and the love earthquake Body and soul – in the same role When I’m forlorn – when I am reborn – and I’m tired and torn and callin’ for reform insert here – through the calm and clear (may I interject abundance of fear?) Shake rattle and roll, from the collective memory hole where the dreams lay claim to the soul Asleep or awake – at the mercy of goodness sake and the love earthquake They’re sellin’ the germ for a minor return And the calm that you feel is a little unreal Collect the headsets and the TV trays and the memories of a dozen days When the motor driven mind is clear you can count your conscience out of here. I say – give the last man a break A piece of cake and the love earthquake
WHEN YOU TURN YOUR FACE ON When you turn your face on and the bargain basement rates on When you go in outside make a play for desire Catapult that flat tire And come up – to shoot the straight line Did you ever hear of on time? Or a dead rhyme? Maybe it’s in the air In the metal of constant care kinda memory management – with just a little hint of playing to the crowd makin’ out loud Bein’ as I come from a little down South and a little Uptown My machine was made for speed and rather than trust the demon seed Take a letter Maria, address it to my wife Tell her I didn’t take her life It took two to tango and three for off-sides And a light that binds When you turn your face on rough and tumble on in head long be a motor driven love song And readjust the date book and allocate a dead hook Don’t forget to lock and look – both ways if you wanna your life in days When you turn your face on if the love you had is all gone Give a little gone wrong I don’t imagine that anyone hung By the Gods of all even and the method begun is a matter of drop the girl and carry the 1 When you turn your face on like a multi-colored wigwam Image like a bright sun Beat and become – with a letter from a Dear John rubbing shoulders with the better being bureau Better be about now Layer it on – As a matter of fact – cause it to charm Make it belong, give it a yawn as the love machine grinds on Be of alone and send a rider to none Beaten like a bright sun enter out of no one Meter with the bridge down make it topless with the right town Edit with your night gown Take it on the chin make a motion to imagine what you thought, however you got caught Message out of hock heartache unlock Give a man a reason and address it to a season ticket – or relearn Reality crash and burn for a lover U-turn over the last remains the song as anyone knows remains the same Baby go long As a matter of fact, get all gone get along gone doggie and head for reruns Take a moment to collect your thoughts and mental blocks And how about all the twisted plots that never resolved and never got caught?
SCENE MACHINE When you got time on your hands behind murder and money and mastermind Hit it upside of the head rewind killers and callers of every kind Capitol memory extra good given the scene and the neighborhood Party and painfully knock on wood greeting and groveling in the mood Scene machine making the rounds Scene machine measuring sounds Scene machine party police Scene machine gender release When the bough breaks the cradle fall Animal stains and magic mall Media monster comes to call coming in sizes big and tall Interview cosmo clear the slate Validate carnage paper plate at or about the single rate Image hotel erotic fate Scene machine video wall Scene machine rise for the fall Scene machine fade into view Scene machine just for the few… Single and subtle and afterlife jigger with olive or twist the knife? Fatal attraction to drum and fife Separate radical future wife Scene machine host of the room Scene machine marrying soon Scene machine party of five Scene machine barely alive
THE WORLD IS OVER In extroverted seasonal appeal there’s a different kind of heart is like a wheel Where people come to play and seek relief from the mega beta blessing of belief Take home open office memo worry beads to the mother/daughter combo set to breed As they reinvent the cattle on the green it’s the last filet of progress ever seen People think they’ll know People think they’ll feel People stop and go People to be real People think they’ll know the world is over People think they’ll feel the world is over People stop and go the world is over People to be real the world is over And the silence fits the hard on that you be an illiterate emotive pedigree Corporation litigation cop a feel in the momentary mayhem that congeal Triple digit in the toilet at your feet window dressing mondo liter and a beat Says the father to the only son derail get a move on get a fix on how to fail Look above you, it’s development foreseen by the mountains out of molehills out of means Bottom feeders and their wives come up for air and create a modern landscape of despair And the capitol surrounding their remote is the method of their madness and their vote Has the landscape taken over its reward or has judgment made a house call overboard?
Interlude 1 00:41
MISSING WOMEN When I talk inside on a humble ride then I’m gonna fix on a dead matrix And I will create and I’ll navigate turn the inside out, what I’m all about And what’s in the trunk is a missing hunk of a life that’s gone, life goes off, goes on… In the matter born of good grief and scorn is it lingo free, do I dance with glee? And oblique behavior, shame on me Cut a rug, a rifle, eulogy But I give the gift of life surround Cut me a break, it’s love I’ve found If I give a lot and I take what not out for all I need and the time to bleed I will sacrifice my own paradise to be in your arms and your three alarms But you raise your head; better off dead? I’m confused, confounded; has love rebounded? I take the high road and graciously unload negativity free from therapy I’m single minded and single celled And I’m fixed on a moment that never rebelled The night is calm as my secrets touch The essential problem is I love too much And the way it feels? No words can say How a little love can change your day Mysterious calls like shadows of sound embracing retreat in a soul rebound
DO NOT BREAK DOWN In the site of then in the can be making better men Get up over Zen, be a better friend. In the corner of offend: a tapas living end. Interpersonal appeal and keep it real cop a condo feel, encounter age related zeal. Every healthy check-up is a steal. Until access new pain-over active weather vain Run away life is undertrained non adventure nothing gained. Do not break down Do not break down Travel bouts with fear, lookie here… I got a mix of comedy clear and then I steer toward new year-new way to hear I’m sure that nothing will sell, so what the hell. When the world fell (replaced by cosmic gel) cyber take time will tell… oh well Beginners luck we agree, disaster for a fee Siesta world wide city and more then likely we’ll see In fact we’ll pay to see the tragedy. And why not? It’s a pleasure without a plot and given all the time we’ve got we’ll set the clocks back or not and sell the difference for a lot. And pony up to bar the last remaining scar enriching capital, the lager of the mall Ruby red, a case for dead Believers head the survey said.
Later 03:14
LATER On the table where I live and love and breathe Pour it one time, pour it two time, I’m in need Take home living and the TV avant garde And for fifty years Americana Card Pour another, I could talk for hours still Finding obligation listening a thrill? This was my time now it’s your time get the drift? Do the bonerific bondage for a gift In diesel I’m in Motorola mood indigestion and the hope of lonely food Call it curtains in denial indiscreet I am phony full of fire and defeat I make music for the sedentary set Geriatric, what you see is what you get No more tape rewind, no longer sync machine No imagination here, no groove, know what I mean? Gidget giddy get it up and get on board Of the cash cow, Mitsubishi for the Lord If it’s holiday you’re thinking what’s for me? You can marry what you murder and be free Did you bury did you really carry on? Did you master implication, did you con? Over acting on an momentary thought Crystal comfort in the real estate you bought
Gum Life 05:10
GUM LIFE Carry the hopper back in the wilds of smack and variety meats, in the place to be Carravagio and me we agree In the space of a week we’ll see how the hope out of poverty… Calypso and me and the radio beam for all the world to see If I counter with a wordless strain keep you up for days In the magic of Marais A Shrilankin dome that we’re calling home with a platinum relief (chroma-color thief) In the space of a week we’ll see as we climb out of poverty Baudelaire and me and the televised spree for all of you and me Graceful and under attack, watch your back there’s cold in them there hills From a life of dread to an unknown bed A musician lives upstairs In the space of a week with me and a gesture to poverty Boudelaire and me and the radio free for all the world to see
Interlude 2 00:53
Pure Sugar 04:14
PURE SUGAR Pop jargon adult kindergarten philosophy Pierre Cardin He who is without sin cast a hard on Full throttle CK1 in old bottle step up and be coddled give a shout out to remodeled Mode outrage les caravan de’ new age American in Paris wage turn apocalyptic page Pure sugar shoulda woulda coulda been a Buddha get my vibe right theater of uptight (right!) Pure sugar meteor meshugena in the limelight try to get your mind right polyester ignite (right!) I’m gonna reembrace amoeba Possibly date a Libra masturbate in ether pay the receiver Bend the river publish till I perish stand in line for John Tesh meet for lunch at two-ish God giver suck up all religion everybody is forgiven to listen to Celene Dion and deliver Milk carton Ricky beat off martin make a b-line for the coffin pop les miracle forgotten
BOUNCE TO DISC If in fact I get a bumpy get it up and outside where you want me: when you touch me be a pleasure puppy. Give a grease placebo, bueno me amigo I been up inside your ego, in the place that we go. You think this is funny? If you think this personality is sunny Honey, show me that you want me Personal stratigo in the place that we go baby sans the ego, flip the platter over easy here comes ring-a-ding-o. Upside and down your chin I wanna show you all the angles where the vision dangles. Could it be your attitude that puts me in the mood? I don’t remember when I’ve given someone this much latitude. Don’t split your sides yet I got more in store for you so forget automatic lovers and their mopeds ski slope and then elope. I got the athletics covered irreplaceable beloved like the pope Baby bounce to disc, take a risk mounting music from a fist take the group you’re with and cross ’em off the list Baby, dance to win and begin to imagine what you’re in another decoy on the road to other men. Super savings – ain’t misbehaving I been half way ‘round the world engraving kinda rearranging. Maybe motion sickness multi color princess taken out of context it’s a miracle I’m in this. Nights of Cabiria Fellini needn’t fear me. All the images in cinema are dead and nowhere near me. Light break down to number digitize your slumber life becomes a fresco out of movies dumb and dumber Heads up I got a better way of seeing if you don’t know what I mean take a number human bein’ Baby, bare as a bone and all alone the flow is on… You take a ride on this jalopy when the motor oil is gone.
PROFIT SOCKET If I let you touch my profit my profit socket Will a life go on and off it like a rocket? If I wrestle with rejection my intersection Will I vote in the election? pro erection If I over easy outlaw my lonely south paw Will I miss the empty glass jaw and the hack saw? If I redefine the unborn my shot at lovelorn Will my exercise in well worn become still porn? If I let you touch my profit my intersection Will a life go on and off it pro erection? If I wrestle with rejection my lonely south paw Will I vote in the election and the hack saw? If I over easy outlaw my shot at lovelorn Will I miss the empty glass jaw become still porn? If I redefine the unborn my profit socket Will my exercise in well worn like a rocket? If I let you touch my profit my lonely south paw Will a life go on and off it and the hack saw? If I wrestle with rejection my shot at lovelorn Will I vote in the election become still porn? If I over easy outlaw my profit socket Will I miss the empty glass jaw like a rocket? If I redefine the unborn my intersection Will my exercise in well worn pro erection? If I let you touch my profit my shot at lovelorn Will a life go on and off it become still porn? If I wrestle with rejection my profit socket Will I vote in the election like a rocket? If I over easy outlaw my intersection Will I miss the empty glass jaw pro erection? If I redefine the unborn my lonely south paw Will my exercise in well worn and the hack saw?
Thai Seige 05:06
THAI SIEGE We are two brothers. We are bulletproof. We’re hit-and-run Christians, and raising the roof. Fundamentally gunmen, a notorious cult. God’s Army reporting confusion consult. Chain smoking guerrillas like twelve year old twins. A group of believers recovering sins. Westerners scramble their blood alcohol. Explosions and gunfire awaiting your call. Hospital hostage predicting with shades, the time and direction of enemy raids. Born in the jungle, commandos at five my brother laid land mines rebellion alive. Kids full of fire, the story complete with 200 members, and God’s county seat. Baby-faced brothers, exploding cigars… The forces of nature cascading in cars. Hostage offensive and medical care and faith in predictions that soon would be there. Christians have risen a victory grave. An iron fist rebel and how to behave. Swearing forbidden like kids in the hall a national union and comedy call We are two brothers. We are bulletproof. We’re hit-and-run Christians, and raising the roof


The multimedia barrage of Cameraworld combines music composed by Rouse and a feature film by Cliff Baldwin, who used a digital camera to capture iconic images of American society, from a suburban mall to a congested freeway. Rouse’s music will be played in digital surround sound as performers, including Rouse, dressed in Temptations-style suits, sing and move in sync in front of a large screen displaying Baldwin’s video.

“In ignoring storyline and placing emphasis on visually dynamic subject matter, the visual component of ‘cameraworld’ evolves organically,” notes the “cameraworld” Web site. The production offers more of Rouse’s rock and rap than his earlier, theme-heavy work.

“I’m classically trained, but I came out of rock ‘n’ roll and jazz, and my chamber ensembles played clubs in New York,” Rouse said this week shortly after arriving in Gainesville. “The idea behind ‘cameraworld’ is to put a band back together and to do the bus and van tour again, not just touring art centers but clubs and black box theaters.”

“Cameraworld” promises to offer “a new digital entertainment approach,” said Michael Blachly, director of the University of Florida Performing Arts. “He’s a remarkable artist, and we saw an opportunity to bring a young, creative composer who integrates music, theater and film in a new, experimental light to Gainesville. I think it’s going to be of real interest to our community, especially our student community.”

“It will be unique for our audiences,” he added. “People might not walk out saying, ‘That was the best show I ever saw.’ In fact, they might say, ‘I didn’t really get it.'” But, certainly, they will be saturated with sight and sound and motion. Blachly is thrilled to host the show’s premiere and, thus, allow Gainesville to be at the forefront of unique new work.

Blachly saw Rouse’s “Dennis Cleveland,” the second in the composer’s operatic trilogy, in Los Angeles. “Dennis Cleveland” was a modern opera setup as a talk show with Rouse playing the show host. In 2000, Rouse released “Funding,” a musical and visual work that followed the lives of New Yorkers through turbulent economic times. The work is available on DVD.

And while the music for “Funding” tends to be haunting and, at times, slow, “cameraworld” producer Michael Mushella said the music for the new show has a driving dance beat that might move people out of their seats. “It’s gonna make people want to move,” he said. “This is not a passive event. If people are compelled to move, they should.” Mushella described “cameraworld” as a “blend of pop and hip hop; it’s sort of an urban groove pop track … It is unlike anything he has done before.”

“A lot of the stuff I’ve been doing the last 10 or 15 years is influenced by hip hop,” Rouse said. “It started when I was working on the first opera ‘Failing Kansas,’ which is a spoken-text opera that I used a technique that I sort of invented called ‘counterpoetry’ where I would write multi-rhythmic lines of counter-point in different metric structures – five against seven against four. “But I wouldn’t have them sung, these rhythms; I’d have them spoken, so it was a really jarring effect. It kind of sounded like the chatter that you have going on in your head all the time, only I put structure to it.”

“He uses counterpoetry, which is not that far from rap, so there’s a real timeliness to his work,” Blachly noted. “He looks at a way of bringing new people into the theater by merging traditional work, by looking at it in a new way.” Rouse studied at the Kansas City Art Institute and the Conservatory of Music at the University of Missouri at Kansas City. He then moved to New York City, where he studied world music, particularly from Africa.


released May 28, 2001

© 2001 Mikel Rouse
All rights reserved
Published by Club Soda Music (ASCAP)


all rights reserved



Mikel Rouse New York, New York

Mikel Rouse is a New York-based composer, director, performer and recording artist hailed as “a composer many believe to be the best of his generation.” (NY Times 2002) His works include 25 records, 7 films (including Funding and Music For Minorities), and a trilogy of media operas: Failing Kansas, Dennis Cleveland and The End Of Cinematics. ... more

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