Back home to San Francisco I go with a dazzling and spectacular new song from talented producer Blackbird Blackbird. From the get go, Young, which features beautiful vocals from SoCal artist Britt Warner, grips me in its vice with ethereal, pulsing, organic production. Young literally glows with a vibrancy and immaculate vitality that lives up to its youthful name. The incredible, engrossing release made its debut on Major Tendons, a mixtape curated by Poet/Writer Melissa Broder. Excuse me as I try to catch my breath from these sounds oscillating vigorously through the whole of my being.
On replay. Great if you want some energetic/uplifting beats.
You don’t seem to be interested in re-creating our daily lives, but instead in presenting something you’ve called “the ecstatic truth.” You want to present something recognizable in an unrecognizable way.
Well, recognizable on a much deeper level, where you recognize yourself all of a sudden. I’m trying to find these rare moments where you feel completely illuminated. Facts never illuminate you. The phone directory of Manhattan doesn’t illuminate you, although it has factually correct entries, millions of them. But these rare moments of illumination that you find when you read a great poem, you instantly know. You instantly feel this spark of illumination. You are almost stepping outside of yourself and you see something sublime. And it can be something very average, some small thing that everybody overlooks. For example, in Grizzly Man, Timothy Treadwell filmed himself. He’s in the Starsky and Hutch mode and reenacts them and does something and he jumps and runs away and the camera is rolling. Twenty seconds later he returns as Starsky and Hutch and switches the camera off. And in these 20 seconds there is only reed grass wafting in the wind. And all of a sudden I notice something very big out there. An image that wanted its own existence. That’s so powerful and so strange and so illuminating that I had to show it in the film. And everybody overlooked it and I have to point it out. It’s something very, very strange and it can be the most insignificant, which all of a sudden acquires something deep and almost illuminating of your existence. You’re deep inside into the nature of things, into the abysses of the human soul.
Irish singer/songwriter James Vincent McMorrow captures us with raw, new track “When I Leave.” The one-off track follows McMorrow’s sophomore album, Post Tropical, and is offered as a free download.
Of the new track, JVM writes:
I’ve been recording when I can over the summer, on the floors of festival dressing rooms, in hotels, I’ve been waiting for everyone to fall asleep so I can track vocals in the back lounge of the bus. Making Post Tropical definitely lit a fire. There’s no plan for any of it, I have an album in the world and it is rightfully taking up a lot of my energy, but I’ve plenty energy to go around, I’d like to start putting out some ideas while the ink is still wet, I want people to hear them, to know what they are when we play them live during the autumn Euro and US tours.
Disclaimer, They’re not polished, nothing recorded on the road ever could be, a lot of time spent removing crazy back ground sounds from vocals etc. That’s the point though I guess, snapshots.
When I was in college I’d go out a lot, but I wasn’t the guy that was the centre of everyone’s attention, I was usually standing awkwardly in the corner. But just because you’re standing in the corner doesn’t mean you don’t love to dance. That’s what this song is about I guess, dance like no one’s watching.
“It doesn’t interest me what you do for a living, I want to know what you ache for. It doesn’t interest me how old you are, I want to know if you are willing to risk looking like a fool for love, for your dreams, for the adventure of being alive. I want to know if you can live with failure, yours and mine. It doesn’t interest me where you live or how rich you are, I want to know if you can get up after a night of grief and despair, weary and bruised to the bone, and be sweet to the ones you love. I want to know if you can be alone with yourself and truly like the company you keep in the empty moments of your life.”—Jon Blais (via knoos)
After a few rounds of assorted liquors, some slowly receded to silence to observe the majority who were more amplified in silly merriment.
Even when drunk, she remained a skeptic but tonight - especially tonight - she felt a little bit unsure, particularly with certain heartfelt sounding words. Alcohol loosens the nerves so maybe there was some truth behind “I’m going to miss you so much”.
“The tricky thing if you’re an aspiring filmmaker is, I think, if you’re young and particular the danger is always being clever. That cleverness is a facility some of us have and we like to show off and show off how smart we are, it’s a very dangerous kind of seduction because, it’s sort of like when you have an answering machine and you leave a clever message and after a little while you get a little tired of it, you know, it doesn’t have much staying power. The issue is, what is it you’re in love with? What is it that compels you? What is it when you’re alone and you’re not with all your cool and hip friends, what is it that really stirs you? That’s the stuff. You know that’s going to be compelling. What is it that embarrasses you, that you fear to expose about yourself, your feelings about others or about the world in which you live? It’s those intimate feelings that one has that I think bear the best fruit for you.”—