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JBB: An Artblog!
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"Pulled From The Ruins"
Origins: Writing "Bored & Mean Again"
(For the reasons why I’m posting and writing this, and for a bit of backstory, read this post first)
Following the release of our "newest" song, "Bored & Mean Again," I thought it might be interesting to post the recording of us writing this new version of the song. Basically, it was me, Drew, and Shay at rehearsal. We had just finished up practicing one of the songs from our last album. My mind was drifting. I started thinking about the lyrics of the original "Bored and Mean"--realizing they were coming back to me again in my own life. I started messing around with the riffs on the piano. Then, the rest of this happened.
If you're curious, listen to the embedded link below or directly on Soundcloud if it doesn't work for you:
Creepily Detailed Notes:
00:48: Start playing riff, after finishing up a rehearsal of “Come & See”
04:49: Start getting into the chorus, but with different, improvised lyrics
07:48: Finish up first take. Drew recognizes it, but can’t place it. Tyler explains that it’s “Bored & Mean. He says they can try to “twist” it into something new.
08:21: Take Two begins.
12:15: Take Two ends. “I like that,” Tyler says. “That’s pretty good,” Drew says. They begin again.
12:42: Take Three begins, and then fades out
13:12: Final rehearsal take before recording and adding Chris in. This is the sixth take.
A YouTube soundtrack/PL for "An Unknown Compelling Force"
Because there's no Amends song for this week's episodes of "The Ruins of Tropicalia"—and because TROT's Interlude is a bit darker and stranger than other parts of the story—I've put together a playlist of the songs from other artists that inspired the writing of "An Unknown Compelling Force." Many of these are linked directly within the text of the story. The feel of the songs alternates between dark, sinister, beautiful, and weird as hell--hopefully reflecting the story it soundtracks.
It probably wouldn't hurt to listen to it while reading.Of course you can do that here for free or on the mobile apps.
(Although impossible to add to this playlist, the entirety of NIN's instrumental Ghosts I-IV albums were also vital to writing An Unknown Compelling Force.)
"An Unknown Compelling Force" 1. "Copy of A" by Nine Inch Nails 2. "Jigsaw Falling Into Place" by Radiohead 3. "Debonair" by The Afghan Whigs 4. "Echoes" by The Rapture 5. "Four Minute Warning" by Radiohead 6. "The Gardener" by The Tallest Man on Earth 7. "Reflection" by Tool 8. "Passenger" by the Deftones 9. "Hoppipolla" by Sigur Ros 10. "Searching for the Ghost" by Heartless Bastards 11. "Wave Motion Gun" by Marcy Playground 12. "No Sex For Ben" by the Rapture 13. "Nothing Else Matters" by Apocalptica 14. "Your Hand In Mine" by Explosions in the Sky 15. "Last Flowers" by Radiohead 16. "Reptile" by Nine Inch Nails 17. "Fljotavik" by Sigur Ros
Origins: Writing "When She's Gone" (Addendum)
(For the reasons why I’m posting and writing this, and for a bit of backstory, read this post first)
This post is completely unnecessary. But I promised we would embarrass ourselves. And this is more embarrassing than any of the over-excited, cliched comments we've made on the other tracks I've posted.
This is a dead end. This is an example of trying something and failing. We had written the bulk of "When She's Gone" a couple days earlier (see the post on that), but apparently we decided that a pop song wasn't poppy enough so it needed to be popped up more to its poppiest extreme. Thankfully, we didn't pursue this route after this recording. But we tried it. I'll admit that. And here is the evidence.
There is so much wrong throughout this whole clip. So please listen.
The final version of what this song turned into is here, and if the clip doesn't load below, listen directly on Soundcloud.
Creepily Detailed Notes:
00:22: Drew: “Everyone just play what they play, but then change it a little.”
04:02 - Trying to figure out what each other is talking about when mentioning a line/measure
At 5:22, the nightmare starts. Drew does the “ah, ah, ah’s.”
Around 5:52, start debating on how often it should be used and where. Tyler is unconcerned with the conversation haha. Mostly the other three. That’s his MO. When he doesn’t care about something, or is against the idea, he just ignores it and hopes it goes away. Very healthy.
6:40: Phil Collins joke. “In The Air Tonight” drums. And then Tyler perks up and starts taking the Phil Collins thing seriously.
At 8:22, we are still fucking talking about Phil Collins
08:56: Drew actually says, “Walking in Memphis, baby.” All of us are guilty here.
And at 9:22, Shay’s drums certainly sound like Phil Collins.
9:59 Drew: “Can you play faster without speeding up?”
At 10:13, Tyler gets undservedly cocky.
At 14:22, everyone starts trying to harmonize together. And it’s hilarious.
At 16:00, that’s enough. Punching out here. Enough’s enough. Show some mercy. This went on for another 30 minutes. And then we just stopped. Eventually we gave it up.
Ends with Tyler asking, “I need to figure out how I can take a…” Drew asks, “Piss?”
Origins: Writing "When She's Gone"
(For the reasons why I’m posting and writing this, and for a bit of backstory, read this post first)
This song is Chris’s (our bass player) baby, which I find hilarious, because it’s also his least favorite song. But Chris came up with the bass hook during a random rehearsal and Drew pounced on it. We loved the song, and saw it as a chance to do something different. Chris is not a fan of pop music, to say the least haha. When you birth a monster you have the choice to bite the bullet and raise it, or leave it in the street and hope it doesn’t come back looking for you years later with vengeance in its eyes. Chris helped raise it. And it became a kind of beautiful creature.
This is also another example of Drew’s automatic gibberish machine when he’s finding a melody to sing paying off in spades. He spits out lyrics that somehow rhyme and occasionally make sense. There’s a certain point in this recording where he sings, loudly, “I’ll make it up when she’s gone.” I remember hearing that when he sang it and got chills. I knew that’s what we could center the song around. I thought about all the possible meanings of the phrase.
This is a condensed version of three or so initial takes/tries. It’s one of the clearest examples we have of a song’s structure emerging almost naturally.
You can also hear Drew’s dog Layla in the background. She would bark every time from this first time on that we played this song. She was less of a fan of it than Chris.
Listen to the final version here. If the file below doesn’t load, listen directly on Soundcloud.
Creepily Detailed Notes:
Between 00:20 and 00:40, Chris starts to get the main bass riff.
1:20, Tyler tries to mess around on the guitar.
1:45 is really where it first starts to get recognizable. Chris’s riff is solidified.
Drew stops at 2:33 to ask if it’s being recorded. When we start up again at 2:49, the bass riff is completely there.
At 9:24, Drew sings “I’ll make it up when she’s gone”, and then Tyler immediately/finally switches to the piano.
Machine gun drums start at 9:55, and then Drew triumphantly announces “I’ll make it up when she’s gone” at 10:06, and we all crash in to gear.
Change recorder at 10:47. Take two starts right after, and it sounds really close. At 11:09, the piano riff struggles to emerge. And again around 11:36.
At 12:12, a good, unused lyrical rhyme, “I’ll make it up when she leaves.”
At 12:20, the bass and keys start playing off each other for the first time. Light guitar gets added in.
At 14:00, the piano riff is halfway there.
Take 3 starts at 16:47
Tyler says he’s gonna try something at 17:01. And at 17:10, hits the riff completely.
At 17:52, Drew sings “under this lovely charade” and then says, “ooh, remember that one.”
21:30, first piano solo.
The Eighth Try
(This is a very short story I wrote when traveling in Nicaragua a couple years ago--TT)
“Why’d you come here?” she asks flatly. She’s bored with my answer before I even open my mouth. I have to try something different this time. I go with the weirdest version of the truth.
“This is my, let’s see, I think eighth trip back, my eighth try. I thought this is as good a place as any to start, get right into it.”
She smiles obligatorily.
I continue, “I want you to remember me fondly, that’s all. I want to be a pleasant standout among your travels, an occasional memory that makes you smile every once in a while whenever you remember something I said. But I know it won’t happen. You’ve met three dozen people in six countries over four months, all more memorable than me.”
She nods. “Yeah, my parents think that way about Central America, this entire part of the world. Running rampant with drug smugglers, revolutionaries, and kidnappers.”
Watching her laugh is still as enchanting as I originally remembered. Even more so this time, when I can fill in the gaps of imperfect memory with the details of wistful desire. Her lips tremble, her cheeks rise, her eyes brighten and she allows me to hear the sounds of forced amusement cascade from her mouth—the gift of allowing me to believe I’m keeping her entertained.
The truck bumps along the jungle road. The eleven of us are jostled roughly every few seconds. The wooden benches smack unsympathetically against our backsides, the steel bars behind us cold to our touch as we try to hold ourselves in place. The moon is nowhere to be seen, but the sky is so clear and bright with stars we can see the Milky Way even through the canopy drooping over the road. When the road widens and the trees retreat enough and she turns to me at just the right angle, her face is actually illuminated by starlight.
She wears a light gray sweater over a black tank top, black leggings, and tennis shoes. Her long curly brown hair drapes majestically over her shoulders. Her face is familiar and comforting, even if I can’t quite make out its details in this low light.
We’re on our way to see sea turtles lay eggs and hatch on a deserted beach under a new moon. That’s all that matters, really.
“How long are you here for?” she asks.
“Until I can see your face clearly enough to memorize its outlines, so I can look for you tomorrow, and remember it for years.”
“Nine days?” she asks, aghast. “That’s barely enough time to realize you’re gone.”
I laugh and shake my head. “How long are you here for? Wait, let me guess. You’re from Britain, so that must mean you’re here at least three months.”
“Four,” she says. “One more to go.”
“You’ve been all over the continent?”
“Yeah. Started off in Buenos Aires. I was there for two weeks to take a Spanish refresher. Such a beautiful city. Did the Gringo Trail basically. Chile, Bolivia, Brazil, Peru, Ecuador, Colombia, then up here. I fly out of Cuzco next month.”
“Needless to say, I’m jealous,” I say. “Of all of you, actually.” I gestured at her temporary traveling companions on the other side of the truck—a redheaded Irish girl, a skinny London guy, and another girl from the north of England like her—but I meant it even more generally than that.
“We don’t even have it as good as the Aussies,” she says. She points to the other truck in front of us, whose dust we’re currently breathing, where her Australian friends are. “Not only do they get paid leaves, they get paid 118% of their salary, because traveling’s expensive.”
“Jesus Christ,” I say.
I stare out at the jungle for a few seconds while I try to think of the next thing to say. I catch snippets of my friends’ conversation on the other side of me.
“But seriously,” Warren says to the Londoner across from him, “what are the economic drivers of conservation? They must be there. It can’t just be altruism.”
Embarrassed, I turn diagonally towards her, trying to physically block their conversation.
“I want new friends,” I say. “Or I want my old friends back. Or no friends. I just want to take off, like you, all the way to the southern tip of South America and work my way up on my own time. I want to see the world again with forced fresh eyes, like you.”
She shrugs and cocks her head. “That’s a tough question of course,” she says. “But if I had to pick a favorite, I guess I’d say Peru.”
“That’s where I want to go most.”
“You should, obviously.”
“Did you see any of the Amazon?”
“Mmm, a little. Not as much as I’d like. Some people I were traveling with went on a trek, but I hate flying and to really get into it, you have to get on a little plane. I couldn’t do that.”
That’s adorable, I think. I don’t say it out loud. Two trips back ago I did, and that’s when it got weird that time. I understand why.
“Are you managing to stay under budget?” is what I come up with instead. Goddamnit.
“Not really,” she says, laughing. “But I’m not too worried about it. I sold my house before I left. So I’m okay.”
“Wow,” I say. “That’s a bold move. What are you going to do when you get back?”
“I don’t know yet. Probably get another job in insurance. I need to start sending out some emails to people I know. Maybe I’ll go back to school.”
“What would you study?”
“I don’t know that yet either.”
“Isn’t that what you’re supposed to be thinking about down here?”
“I’d rather not,” she says.
My turn to shrug and sit in silence for a while.
After a couple minutes, she turns to me, initiating this time. I smile before she even opens her mouth.
“Where in the States are you from? Where were you born?”
“I live in Colorado, by the mountains. I’m from the Midwest originally. When my mom’s water broke, she and my dad were watching Casablanca. I never actually saw the movie until a few months ago. Warren and Steve and I are staying in a hotel in town across from the beach called “Casa Blanca”. I’d really like to show it to you. I want to be lying next to you in my bed there when the sun comes up. Doesn’t that sound like something that should happen, I mean, if the events of my life are something more than random? Don’t get me wrong, I don’t want to feel ashamed of anything. I’d be happy if we do nothing but lie there and talk...” Jesus. There’s gonna have to be a ninth trip. That was worse than a cliché…
“York” she answers mercifully.
“Is that in the North?”
“Yeah.”
“If my phone hadn’t been stolen in the last time I’m pretty sure I’d surreptitiously look up York on Wikipedia and ask you some question about York that would make me sound like I’m worldlier than I am. Probably something about the Romans.”
“Probably,” she agrees.
“I spent a summer in London.” Shit. Why do I say that every time?
“Really?” she says, humoring me as always. “Did you like it?”
“Loved it,” I say again. “Went to Scotland a couple times. Loved that even more. The further north the better.”
I would slap myself if I could.
The truck brakes, and everyone in the back pitches to our right. We splash across a stream pouring over the road. Someone leans through the bars and takes a picture.
“I’m sorry I felt it necessary to tell you I fancy myself a writer and that I’m in a band. I crowbarred that into the conversation to try to impress you. The London thing too, obviously.”
“It’s okay,” she says. “Sometimes we all get carried away.”
Wait, is she actually answering me? Did she actually hear what I actually said this time? What’s she saying? I get over-excited and start spilling my guts a mile a minute.
“I’m lonely a lot,” I say. “but I’d never admit that to anyone but you, here in the jungle at night. I hate my job, but I’m too afraid and too lazy to quit. Well maybe I just hate it some days. I’m afraid of failing and I’m afraid of succeeding, so I watch too much TV. I use the distractions of this century as an excuse… You’re the most beautiful insurance analyst from the north of Britain I could have possibly dreamt…”
“Looks like we’re here….”
The truck in front of us comes to a stop in front of a small building. A couple uniformed rangers stand on the porch.
“All right,” I say.
We all pile out of the truck.
Ana, our local guide addresses us. “Remember,” she says, “no camera flashes, no flashlights. Pedro and I have the red lights which won’t bother the turtles. The beach is this way.”
Ana points her light down a path through the jungle. I can hear the pounding surf.
I get frantic. I know I’m about to lose her for a while. The beach is long, the sky is wide, and the turtles will be out in full force. She’ll have much better things to do than listen to me babble. I need to try one last time to impress her, to make this time last.
“The turtles will be amazing of course,” I say as fast as I possible can. “We’ll see a few mothers laying eggs, and we’ll see a bunch of babies being hatched. The stars will be even more unbelievable. When we get back here, you’ll be the last one to squeeze back on this truck. Your Aussie friends won’t make it again. We’ll get the driver to take off fast, so we don’t eat the dust of the other truck on the way back. It’s a good thing we do, because bandits will throw a log down in front of the road to stop the other truck. They’ll come out of the woods with masks and guns and knives and they’ll rob everyone of everything. I won’t find out about it till tomorrow afternoon when I’m on a sailboat off the coast. I’ll run into you tomorrow night at The Iguana. We’ll both be drunk. We’ll talk a bit more, go to another bar together, and you’ll hug me tonight and kiss me quick on the lips but I’ll stay frozen in the road not knowing if that’s a sign or a custom, and then your friends will whisk you away and that’s the end.”
I stop to catch my breath, and look at her expectantly.
“Yeah, I know,” she sighs. She looks at me directly for the first time. “I’ve been through this as many times as you.”
“Wh-what?” I stammer.
“You’re not really getting any closer, especially not by spoiling surprises,” she says. She pats my shoulder. “But by all means keep trying if you want.”
She steps away and heads over towards her friends. I look down at the ground for a moment, ashamed. Then I glance over at her again. She glances over her shoulder at me. It’s dark, but I’m pretty sure she’s smiling.
“They’re green,” she says.
“Of course they are,” I say quietly.
“Of course what is?” Warren says, sidling up to me. “Christ, are you talking to yourself?”
“I guess so,” I say.
We head off to the beach, but before we get there I slip away to try again.
The truck rumbles down the jungle road.
“… Where were you born?” she’s asking me.
“I was born with my two-dozen brothers and sisters, huddled in damp, grainy darkness. We clawed our way to the surface where terrifying giants with red lights and alien eyes ushered us onward towards the thundering unknown… towards the dark sea, full of sharp teeth and strong currents and darkness, where we’d have to learn to swim and hold our breath…”
I see her smiling. It feels different. This is neither clouded nor colored by wishful memories. It feels almost like new. I lean in a bit closer.
The old idea of the vitality of the universe was evolved long before history begins, and elaborated into a vast religion before we get a glimpse of it. When history does begin, we see evidence of one underlying religious idea : the conception of the vitality of the cosmos, the myriad vitalities in wild confusion, which still is held in some sort of array : and man, amid all the glowing welter, adventuring, struggling, striving for one thing, life, vitality, more vitality : to get into himself more and more of the gleaming vitality of the cosmos. That is the treasure. The active religious idea was that man, by vivid attention and subtlety and exerting all his strength, could draw more life into himself, more life, more and more glistening vitality, till he became shining like the morning, blazing like a god.
D.H. Lawrence, Etruscan Places
Origins: Writing "Make It So"
(For the reasons why I’m posting and writing this, and for a bit of backstory, read this post first)
This song became "Make It So" also from our second album. It was written and recorded on 5/28 and 5/31/12, with Drew, Shay, and me. Total recording time (and time it took to write) is 52 minutes. Edited down to 26 minutes, including a take 3 days later with Chris tacked on the end. All except for that last take are sequential and on the same day. First 16 minutes are unedited to show whole process. After that, it’s details mostly.
This song is a great example of Drew's insane ability to sing gibberish while finding the structure and melody. And sometimes pieces of that gibberish stick. By the end of the third take, he was singing, "Why don't you make it so?" on the chorus, and I'd be lying if I didn't start imagining Sir Patrick Stewart.
You can hear the final version here. If the file doesn't load below, listen directly on Soundcloud.
Creepily Detailed Notes:
00:05 Drew starts playing the riff
At 00:17 Tyler starts trying to join in
At 00:38, Drew stops and is about to move on. Tyler tells him to play that again while he figures out the hook. And then we launch into an almost recognizable first version of the song, even though Tyler flubs along, trying to find the right notes.
At 3:15 is the first attempt at a chorus, after which Tyler immediately screws up the riff
At 04:47 is the first attempt at a solo
At 05:37, we end the first take and Tyler says, “That actually might be something. It’s catchy as shit… It sounds like a blues song that turns into a pop song.” Drew corrects him, “No, it sounds like a pop song that turns into a blues song.”
Take 2 begins at 06:00. The riff starts to improve and become recognizable. At 06:20, Drew says, “I like that riff.”
At 06:52, Tyler tries to change the riff for the second half of the verse.
At 08:16, the chorus riff almost punches through for the first time. But Tyler still can’t get it.
Take 2 ends at 09:05.
At 09:15, Drew suggests Tyler take over the rhythm part when Drew solos. Takes Tyler about 45 seconds to learn the chords, but for how simple they are, that’s about 40 seconds too long.
At 10:21, we start working on the turnaround.
Take 3 starts at 10:59.
At 13:25, Tyler and Drew switch for the first time, essentially completing the basic structure of the song.
14:12 Drew: “Did you feel that when we were just pounding there? Oh Yeah.” Shay said, “That should be the song title.”
At 14:25, Tyler tries an aborted idea for Drew to incorporate some of the hook into Drew’s solo. But Drew can’t because it’s not in the blues scale.
15:25, Drew points out we should switch rhythm/riffs during the second parts of the verses.
15:57 Take 4 begins. First Edit, just removing the couple minutes of that take.
Fell apart at the end, so at 16:05, Tyler suggests they come back to the chorus at the very end.
Take 5 starts at 17:00. Edited out.
17:41: Tyler: “It’s a good sign when you’re out of breath for a pop song.
Take 6 edited out.
18:42, Take 7, complete. Tyler varies the riff on the verses. And the chorus riff is almost there. And Drew sings “Make It So” on the chorus.
22:10: Drew: “Is there anything we can do better?”
22:13: Tyler: “Another one pulled out of the ether.”
22:15 : Related it to another abandoned song.
22:40: Rehearsal two days later (5/31) with Chris.
Our second new song is here!
<a href="http://theamendsband.bandcamp.com/track/zeroes-and-ones-trot-single-2" data-mce-href="http://theamendsband.bandcamp.com/track/zeroes-and-ones-trot-single-2">Zeroes and Ones - TROT Single #2 by The Amends</a>
Origins: Writing "A Certain Speed"
(For the reasons why I'm posting and writing this, and for a bit of backstory, read this post first).
"A Certain Speed" ended up the second song on our second album. You can hear the final version here, and it's also attached to the back half of the Soundcloud file below.
The basic songwriting process, wherein most of the song was completely written (except for some lyrics), took 32 minutes, spread over two back-to-back recordings. That is a weird thing to be able to pin-point.
I edited the original 32 minutes down to the file below. Un-edited versions are available upon request if you're a psychopath. Timed comments are interspersed throughout, and pasted below the file. If it doesn't load for you below, you can watch directly on Soundcloud.
Creepily Detailed Notes:
00:00-00:17 Finishing up an early version of “It’d Be Nice”
At 00:30, Tyler randomly starts on a riff that comes out of nowhere. Shay immediately starts playing along, and then at 00:53, there’s a pause and Drew starts singing.
At 01:17, the chorus kicks in and Drew sings pretty much exactly what ends up on the final version. The fourth version of the main verse riff remains sloppy and unfinished for a while.
At 03:54, we finish up this very first take. Drew says, “I like this riff.” Tyler says he has to do something more with it and messes around a bit. The band starts up a second attempt pretty much right away. The second version isn’t much different than the first so at 04:53, there’s a fade-out (about 3 minutes is cut from the original recording here, where we just repeat it a few times).
When we fade back in, we start to get excited about it. Drew says something about either his toenail or his guitar tone haha. Tyler recognizes that “the first few notes are basically Lonely Boy (by the Black Keys).” But we quickly agree it’s totally different after those first three notes.
There’s another fade-out at 05:11, which is just a couple minutes of everyone screwing around. Coming back, Tyler expresses concern about the bridge— that it sounds too much like another song, which would ultimately become “Tick Tock”.
At 05:40, it fades out because Tyler starts a new recording so that he won’t have to find all this in the middle of a long recording. Only a few seconds pass here.
From 05:45-6:50, we practice the bridge. We fade out again as Tyler teaches Drew the riff so he can add to the bridge. About five minutes pass here.
At 06:57, Tyler’s still trying to figure out how to differ the bridge from “Tick Tock”.
From 07:00-9:15, we run through the whole song— the best version of the day, and as Drew says right after the end of it, “We’re almost to a total song.”
In fact, the only things that will really change in the final version are: a) Tyler cleaning up the end of the verse riff, b) Drew’s guitar accents between the verses, c) adding to the bridge d) verse lyrics, and e) adding the bass. Otherwise, it’s pretty much exactly how it ends up on WWCB.
After 09:15, Tyler spends some time trying to “smooth out” the riff. Shay helps.
At 10:32, we’ve skipped a month forward to (5/31), right before we were heading into the studio. This is the next recorded version, and it’s now (minus some lyric changes) the same as WWCB. Chris’s bass is added into the mix, the riff is “smoothed”, and Drew’s guitar accents are in there. In the recorded version, Shay starts out the song.
The Amends "reappear" with a brand new song from The Ruins of Tropicalia (shuffles slowly out of room...)
Origins: Writing Amends songs
Bands these days are lucky*. The easy access to decent quality, mobile recording technology allows us to chronicle everything. In theory, you can leave a recorder running throughout every rehearsal. You can capture every ephemeral, tossed-off riff, every spontaneous lyric. Technically, there need not be ghosts anymore. No haunting, nagging regrets about that great hook none of you can recall. No. spur-of-the-moment jams that no one is able to remember. Everything can be preserved. Everything can be revisited.
As it turns out, The Amends preserved quite a bit, and I’ve been revisiting it lately. In case you couldn’t guess from the title, some of “The Ruins of Tropicalia” is about origins and foundations. It’s about understanding and accepting our histories— both collectively and personally. Identifying influences and not shying away from them, but using them to build something new. For that reason, I thought it might be interesting to re-visit the writing process of some of the songs from The Amends’ first two studio albums.
So once or twice a week throughout the course of TROT, I’m going to post some of these (mostly spontaneous and accidental) songwriting sessions. We ended up capturing the actual moments when several of our songs were scooped out of the ether and turned into something tangible. Sometimes it happened in the middle of playing a different song, or jamming mindlessly. Other times, the recorder was turned on minutes after one of us came running in with a new idea.
An argument could be made that this is a purely masturbatory exercise. But what isn’t, these days? In many ways, it is. I started listening to these old recordings because I was personally interested in how we made what we made. And exposing the raw, unfiltered origins of these songs is a bit embarrassing. Sometimes we get too excited, or pleased with ourselves. Other times we mention other bands a little too frequently.
Putting aside (yet acknowledging) all that, I decided to send these recordings out to the wires because there’s a chance a few of you (whether fans of ours or not) may stumble upon this and be genuinely interested to listen to the entire, raw, songwriting process.
I took these old recordings and edited them down to (semi) consumable lengths. Some are still inexcusably, self-indulgently long. I’ve never claimed to be a good editor (says the guy who edited and compiled TROT). I’ll embed these files here from our Soundcloud. I’ll put notes in the “timed comments” on SC, but I’ve found it to be a little janky, so I’ll also paste the notes below the song.
I hope some of you get something out of these songs— whether it be inspiration, hatred, pity, or something in between. First up tomorrow will be "A Certain Speed" from our second album.
(Picture below is of Drew in his creepy basement, where most of these songs were written)
*And very unlucky in other ways: No money, no centralized industry, and the public’s thinned, flighty, ADD-riddled appetite…
The Ruins of Tropicalia has launched!
The first chapter/episode premiered today; the first new Amends song premieres tomorrow. Read/listen online here.
Or get the free iOS app here, or the Google/Droid app here.
Do you really think you can just put it in a safe behind a painting, lock it up and leave?
Although we The Amends provided an actual soundtrack for "The Ruins of Tropicalia," it turns out that there's already a song that perfectly captures many of the themes of the book. "Start A War" by The National.
At least it does if you're in a similar place as me-- where you've lost interest in metaphors and must take everything literally.
"We expected something, something better than before. We expected something more."
Walk away now, Merard, and start your war.
Guest Post on Guiltless Reading
I wrote a guest post on the great blog, Guiltless Reading, about the origins of "The Ruins of Tropicalia". You can read it here. And here's a quote from it:
"It’s hard to tell people about your book when you don’t want to tell them what it’s about. It’s hard to explain your book when it’s not exactly a book at all. It’s hard to objectively discuss your motivations and inspirations as a writer when an alternate version of yourself is also a character crawling across the pages (or at least lurks within the code of an e-reader). And it’s hard to sell a book when it’s free..." (Read More)
Guiltless Reading is also graciously helping to promote TROT by sponsoring a giveaway of Amends t-shirts and physical albums. If you're interested, scroll to the bottom of the post for details on how to enter the contest.
"The Ruins of Tropicalia" premieres 6/24 at http://theruinsoftropicalia.com