About Us


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And, of course, TSURURADIO!!!


Graphic Logo by Drew Brockington

Hi, I’m Aaron aka “Tsuru” and I’d like to talk about this whole Tsuru-thing Baby & I have got going on…

But first, I’d like to answer the question we get asked all the time…. “what’s a ‘Tsuru’ anyway”? This is usually followed by “and how the hell do you pronounce it”? Well after a couple years of this, it’s about time we put this to rest, shall we? Hopefully, we shall…

Tsuru is Japanese for Crane. It’s basically pronounced like “sue” as in “I’m getting sued by the RIAA”, quickly followed by a “roo” as in “kangaroo”, the “T” is relatively silent. Or, as I like to say, it’s pronounced “sü to the rü… yo.”

So, why use a Japanese Crane as our namesake for all our musical, design, and artistic endeavours? Great question…. The crane has been an ever-present “theme” in my wife & I’s relationship, beginning with the story of the Crane Wife (an ancient Japanese morality tale of love, trust, loyalty, respect, and appreciating what you have or it will be gone… forever) that was captured ever so perfectly by The Decemberists in their 2006 LP by the same name, continuing when I proposed at a little indoor picnic before we headed out ot a magical Decemberists concert (where we got commemorative t-shirts) and stays present in all our projects today (including my half-sleeve on my left arm).

Cranes are loyal, mating for life, they are represented in Greek, Roman, and Asian cultures as a bird of joy, of light, and youthful happiness, as well as symbolizing harmony & peace. One look at any of the family of sites, and you’ll see we strive to never take life too seriously, preferring personal happiness over popularity or wealth. And yeah, we intend to “mate for life”.

When TSURURADIO first went online on January of 2007, I wanted something that represented my love of music and the love of my life, and when it finally popped in our collective heads, it was just too perfect. Since then, my incredibly talented wife, Meghan Willis, who I always referred to on message boards and on my site as “TsuruBride” started taking her amazing designs online, first to Etsy, then facebook, twitter, and even tumblr to show her friends and fans what’s going on, it only made sense to keep the TsuruBride moniker that she’d become known as to the readers of TSURURADIO.

As if that wasn’t enough, eh? Earlier in 2008 I FINALLY got my photography porfolio back online, after a number of years in obscurity, first over at Born In A Bottle Rocket (now a portfolio for a specific series I’m working on), as I was hesitant to share my real name in association with TSURURADIO so I buried it in the link love section of the site, but as my wife & I’s anonymity began to vanish, and my desire to have a more updatable format for my photography grew, TSURUFOTO was born! HOORAY!

Next up was getting my photography in a shop to make it available to you, to help support the Tsuru Family, and, who knows, maybe stop working for “the man” one day. Etsy, with it’s huge users and it’s desire to create a community of small artisans and craftsfolks, was so wonderful for baby, it was a perfect home for the TSURUFOTO shop and sure enough, TSURUFOTO: Etsy Edition was open for business!

Add in the twitters & the facebook, and finally, a tumblr to tie it all together, and things were looking pretty good!

So I hope this explains everything… what lies next? We have no idea, but I’m sure whatever it is, we’ll make the adjustments, let you know about it, and enjoy the hell out of it!  Why?  Cuz dat’s how we roll!!!

Oh and hey, feel free to drop me or the Mrs a line if you want to model for me, got an idea for her, or just want to say “hey”, we’d love to hear from you! Until then…

Aaron & Meghan aka Tsuru & The Bride

5 comments for “About Us

  1. blxl
    March 18, 2010 at 2:32 PM

    You might find this interesting.

    We refer to it as “Analog Music from a Lost World” — previously unreleased post-punk experimental rock from 1981, unlike anything else recorded before or after.

    “It’s amazing!” — Gibraltar Encyclopedia of Progressive Rock

    “Here’s something lovely and odd from the Free Music Archive: the Karen Cooper Complex.” — No Rock and Roll Fun.com

    “…some hefty grooves, and plenty of ‘holy shit” moments’. It’s a spacious but highly rewarding listen, and I wouldn’t be surprised if some label makes an effort to press this on vinyl in the near future.” — ongakubaka.blogspot.com

    Jason Sigal, Managing Director at WFMU said:
    “This is amazing stuff and we would be honored to feature it in wfmu’s curated portal on the free music archive. I’m very sorry for our slow response, we have a lot of stuff to wade through to find gems like these.”


  2. July 20, 2010 at 8:17 PM

    Longtime reader first time caller. Thank you!

    If you haven’t, (I’m in no ways affiliated) listen to

    Hadestown by Anaïs Mitchell
    featuring: Greg Brown, Justin Vernon, Ani DiFranco and Ben Knox Miller

    tells the story of Orpheus gone to get his Eurydes in Hades. Dubbed a folk opera.
    Know you’re a Decemberists fan, The Tain was something. This is another something wonderful.

    I will swear to it.

  3. July 27, 2010 at 4:54 PM

    I appreciate what you are all about. And the music you are reviewing (Iron and Wine, Arcade Fire). The group I play with has just moved to Madison to focus on our art and music and we are looking for a “loving community” for feedback and exposure. We would all appreciate any posts or feedback you could give. Thanks.

    Whim, Po and Emili

    for quick tunes (I’d start with “Aldalome” off of the album ‘Whim Po and Emili’ and “Shadow Puppets” or “For Me” off of the album ‘Maybe Baby’):


    for the website:


  4. Guest
    February 22, 2011 at 6:03 PM

    Peter Buck, Sara Watkins add energy to surprising Decemberists’ show in Seattle
    A review of The Decemberists’ Feb. 18 concert at Seattle’s Paramount Theatre by Charles R. Cross

    By Charles R. Cross
    Special to The Seattle Times
    Music & Nightlife RSS feed
    Concert Review |

    There are certain things that any fan of the Decemberists would expect at one of their concerts. You would expect acoustic guitars, mandolin, accordion, fiddle, and Colin Meloy’s soaring voice. These things, and more, were abundant at the band’s sold-out concert Friday night at the Paramount.

    There are also things you would reasonably not expect at a Decemberists show. Those might include Supertramp’s “When I Was Young,” Fleetwood Mac’s “Tusk,” and the image of a red bra resting on Meloy’s head. Yet these oddities, and more, were also part of Friday’s show.

    Meloy did give fair warning. “We’re going to start with the practical songs, and move to unpractical,” he said. And then the band went into an intimate “The Apology Song” from the 2003 EP “5 Songs.”

    Throughout a generous 17-song set, they touched on all their albums, but it was the six songs they played from the chart topping “The King is Dead” that received the best crowd response.

    The applause was loudest when R.E.M.’s Peter Buck joined for two songs. Once a Seattleite, Buck now lives in Portland, like the Decemberists, but he was heralded like a hometown boy. He added a tasteful guitar layer to “Down By the Water” that sounded off “Out of Time.”

    Buck wasn’t the only guest, as Sara Watkins of Nickel Creek was in the line-up for the entire show, adding vocals and fiddle. Meloy turned lead vocals over to her for “Won’t Want For Love,” and she sang the part as if she’d been in the Decemberists for years.

    The show’s highlight came next with a 15-minute suite of “The Crane Wife,” all three parts of the story-song. Meloy’s voice, always rich, was particularly strong on “Part Three,” with dreamy xylophone added by Jenny Conlee.

    Then the show shifted gears, and a vaudeville show ensued. Meloy started the Supertramp tune, and then switched spots with drummer John Moen for “Tusk.” Then he began pulling women’s bags onstage and riffling through them, and the bra flew. It was raucous turn that was humorous, but also peculiar.

    But Meloy couldn’t let it end there. “We’re going to pull this together,” he said with his always hint of sarcasm. “The rest of the show is going to be all ‘pro.'” He was good to his word though, as they encored with a gorgeous “June Hymn.” It was what the crowd had wanted, and expected.

  5. February 4, 2018 at 1:39 PM

    Hi there, fascinating all of it!
    I play with Simply Saucer, Canada’s proto punk cult band but I have a secret life as an adventurous singer songwriter as well. Here’s a link to my new self titled solo album.
    Cheers/Edgar Breau
    Edgar Breau

    Edgar Breau

    Flying Inn Recordings

    Edgar Breau may be best known as the founder of Hamilton, Ontario’s cult ‘70s psych/proto-punk band Simply Saucer, but he has forged a parallel path as a solo musician. Schooled in folk song traditions, literary fixations, and the fingerstyle guitar playing of John Fahey, his output stretches from 2004’s Canadian Primitive to 2012’s Patches of Blue. These albums have showcased Breau’s bewitching melodies, yet none have given them the lush arrangements and filmic ambience they so greatly deserve… until now.

    Breau’s self-titled tour de force was painstakingly completed over three years by producers Adam Bentley and Jordan Mitchell (The Dirty Nil, Single Mothers, Greys) in their backyard shed recording studio, TAPE. Welcoming a Hamilton rogues’ gallery of guests, it includes contributions from Blue Rodeo drummer Glenn Milchem, Hawks guitarist Mike Eastman, plus Simply Saucer members Kevin Christoff, Colina Phillips, Ed Roth, and Mike Trebilcock (The Killjoys). Finally, Gaven Dianda (The Flashing Lights) added the ethnomusicological flourishes of Afghan rabab, sitar, and other medieval instruments on “A Penny Fare To Babylon.”

    Beginning in Bentley’s living room, the first song Breau recorded was album opener “He Wishes His Beloved Were Dead”, inspired by W.B. Yeats’ 1899 murder ballad poem of the same name. Fleshed out by cellist Anna Jarvis (The Rest) and upright bassist Chris Jamieson, its most mesmerizing contribution came from vocalist Colina Phillips (Alice Cooper, Bruce Cockburn, Anne Murray), who performed wordless murmurs as the ghost of an R&B singer coming back from the dead.

    Edgar Breau’s vibrant palette ranges from the stark “Martha’s Back” to the string-laden “My Dark Star” and the epic studio construction of centerpiece “Mount Idaho” (crammed with over 60 instrumental tracks). “That Was The Week That Was” draws on influences from the British Invasion pop of The Kinks and pastoral folk of Fairport Convention, juxtaposing with the cosmic country of “Why Does It Have To Be This Way?”, which concludes with an outro of free-form guitar wrangling in the vein of Bill Orcutt. Throughout their lengthy recording sessions, the producers continued to add what they call “otherworldly sonic sculpting” with instruments such as the ARP string ensemble, kalimba, and an Autoharp treated in John Cage fashion with stones dropped on to simulate the sound of explosions.

    “Adam and Jordan have different backgrounds than other producers I’ve worked with, so they understood the language of where I’m coming from,” Breau concludes. “Strings were definitely going to be part of it, like Nico’s Chelsea Girl, a thicker sound with impressionistic arrangements. I wanted this album to be cinematic, a painting.”

    – Jesse Locke, author of Heavy Metalloid Music: The Story of Simply Saucer

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