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@whatgreatlarks-blog
New track from forthcoming EP.
Hey all. I posted a new track on the soundcloud page for my electronic band, kindglass.
It’s part of a new EP that I’m hoping to put out later this year (with a collaborator no less). Been told it sounds like a Danny Brown beat and HORSE the band by different people.
Seattle’s Old Iron is a great example of the variation that’s found its way into every shade of contemporary metal. On their newest album Lupus Metallorum they incorporate the plethora of approaches that made their debut memorable: chugging riffs locked to the bass drum; dissonant melodic le
Thanks to the fine folks are Post-Trash for publishing my first official review of Old Iron’s Lupus Metallorum. This is a dope album and a dope website. I recommend both!
Provided to YouTube by Warner Music Group Follows · Tigers Jaw spin ℗ 2017 Black Cement Records for the United States and WEA International Inc. for the worl...
Well, I suppose the “larkS,” as in plural larks, end of the name of this blog hasn’t really been happening has it? I’d like to correct that. I’ve decided to start doing some music writing in addition to the poetry and stuff I’ve been posting. I’ll try and do one every few weeks or so, though my intention is to start publishing reviews and music writing elsewhere first. But for now, here’s my somewhat tardy review of Tigers Jaws’ new album spin: In spin, Tiger Jaw’s newest album, Ben Walsh and Brianna Collins take their signature brand of pensive indie rock and subtly tighten the already tight package. The first album written without the input of former singer/guitarist Adam McIlwe, the spacious instrumental interludes and extended intros that were mixed into their older material occur less frequently in favor of songs that are a touch pared down, a little bit slower, and, for the most part, a little bit quicker to the punch. The band’s zoomed-in focus is complemented by a stripped-down production courtesy of Will Yip (Title Fight, Whirr, Nothing) featuring cleaner guitars and quieter drums than previous Tigers Jaw releases. The sparse production leaves both singers’ voices sounding more measured and, ultimately, more exposed than they have been on previous album.From the short two-bar piano interlude that introduces the chorus’s vocal melody in “June” to the breathless repetition of the line “right now, you’re happiest when you’re alone” in “Bullet”—arranged so that the end of the phrase practically falls on top of the first word of the next repetition—to the final guitar riff of “Window” that repeats for over a minute to close the album and give listeners a moment to imagine the echo of the vocal lines repeated over the riff before, every note pushes the songs to completion. The tightly woven interplay between the instruments and vocals contributes to the album’s unrelenting focus and works to keep listeners engaged in the album’s atmosphere of forward movement and self-doubt in a way that also pulls listeners deeper in.
A short sampling of lyrics illustrates why the album’s atmosphere is so effective. Take, for example, lines like “Burn a candle to my skin / Turn the handle, let me in / I cannot be your guardian anymore” from the mid-album track “Guardian,” or the lines “I should have listened to you when you said / ‘Nothing will make this easier’ / I should have listened to you when you said / ‘Running won't get you away from this’” from the album’s opener “Follow.” The main thrust of those sentiments, the feeling of which is maintained by the repetitiveness of the instrumentals, is that people are not ideal(s), not capable of saving (anyone). From the vantage point of these lyrics, that reality is inescapable, and the melancholy behind that sentiment only gets deeper as the listener progresses through whole of the album.
The only moments that (slightly) break the atmosphere in the whole album are a few guitar leads that harken back to the more emo-styled leads of earlier material (think “I Saw Water”). What distinguishes even these most backward-looking moments from past efforts, however, is the way that they sit in the mix: the leads are relatively clean (though a touch more distorted than the rest of the guitars) with lots of reverb. This gives these leads an ethereal shoe-gazey that keeps them consistent with the sound of the rest of the album.
Fans of the band’s past efforts and listeners looking for thoughtful indie rock should enjoy this album. It’s definitely Tigers Jaw, but the music in spin is just a little more focused, like how, as you get older, you get a little quieter at parties, but you’re better at making good conversation.
PS, they’re now with Manchester Orchestra and Foxing. I’m probably gonna go to the Tampa date.
Listen to ep1 by kindglass #np on #SoundCloud
Check out my first ep for kindglass.
Some new songs should be coming soonish. Perhaps a little less peppy than these ones. A mix of instruments. Some 808. Some made with 8-bit videogame synths. Hope you dig it.
Marie Davidson 'Adieux au Dancefloor' Release Date: October 6, 2016 http://minimalwave.com/articles/article/marie-davidson-adieux-au-dancefloor-lp
Been super into this album since I heard it a few weeks ago. Really good, old school EDM sounds put it into a little bit of a weirder structural context. This is probably the most straightforward track on the album. Super worth checking out.
Listen to kindglass | SoundCloud is an audio platform that lets you listen to what you love and share the sounds you create.
I’m starting to make some serious headway in my electronic music project kindglass (tying in my poem nerdness with my music nerdness, the name, of course, is boosted from a Gertrude Stein poem. Going to be releasing my 2nd EP very soon so if you’re into that kind of thing, check out what I have and stay posted!
#NowPlaying 17 songs for the coming of 2017.
Started adding stuff to this again a fter a long haitus. Some variants on shoegaze (contemporary and not) and some new old post-punk stuff.
Richard Aldrich
Favorite indie presses? Favorite book length poems?
Hey all. I’ve been thinking a lot about where to send my first collection of poems. I’m wondering what are your favorite indies? Some of the presses I’m thinking about, particularly ones that embrace/emphasize project books at the moment are: Action Books Ugly Duckling Presse Futurepoem Poor Claudia Tarpaulin Sky Omnidawn Ahsahta Canarium Books Nightboat Books Where are you all excited about? Oh, oh, and on the trail of that question, I’ve been really excited by book length poems lately and/or books that are a few long poems. What are some of your favorite collections that do this? I read Taylor Jacob Pate’s “Becoming the Virgin” recently (Maria Negroni’s “Mouth of Hell” is sitting on my desk with a few other books I bought through Action’s subscription) and really enjoyed the experience of the long poem a grounds for immersion. Carrie Lorig’s The Pulp Vs. The Throne comes to mind in the later category. Also Lynn Xu’s Debts and Lessons (thanks Gail!). I bought a used copy of Danielle Pafunda’s Manhater (thanks Zach!) which I’m looking forward to picking up. Again, what excites you?!?!
Huge congrats to my good friend Zachary Doss who just Puerto Del Sol’s poetry contest. Great journal, great editorial choice.
At the Sarah Lawrence Poetry Festival a few weeks back, I picked up a copy of Simone White’s chapbook, Unrest, which was published this year by Ugly Duckling Presse. In it she writes, “My brother called on the phone. I could hear the music again. I needed to talk, but not now and not about [...]
“I have been writing about the power of forgetting all year. Forgetting as a saving grace or the bliss of forgetting. Forgetting, to me, is different from not remembering; it’s more active. It’s a powerful stance against the tyranny of the past, its persistent imposition. Despite psychotherapy’s insistence on the healing powers of recovering memories, the converse has been true for me. The repression of memory can open up a literal space in the mind for something else to take its place. In place of the wretched condition.“--Dawn Lundy Martin
since last week, 2 selections from each of kate bush's first 3 lps (rest of discography to come). a noise rock song from a band that got picked up by a major label in the post-nirvana rush to sign noise rock bands. gordon lightfoot.
Some versions of songs i like better than other versions. Some songs with synths and without. Some songs that sound like other songs, y'know.
Since the last update, we've got some dumb hardcore, some smart hardcore, some dumb indie rock, some smart indie rock, and a deep cut from my very favorite band.
