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.”—
“I remember reading this book on mythology—like, the mythropes in writing—and it blew my mind that all of that mythology is basically men writing about men and great myths for men, of which there are so many. And then there are only a handful of myths about women and they’re also written by men, so you start to realize that so much of storytelling has been lost in male perspective and you’re either Persephone—innocent, naive, and kidnapped by Hades into the underworld and has to be rescued; or you’re like Athena—unapproachable, vicious and there’s no gradient. And for me, it’s an amazing thing to begin to think about what it means to tell feminine mythology because it needs to be invented, it doesn’t exist; and also, what does inherently feminine storytelling and structure look like?”—Brit Marling for Violet Magazine Interview here starting pg. 202 (via pambeesly)
I fear I’ll die from complications, complications due to things that I’ve left undone That all my debts will be left unpaid, feel like a cripple without a cane I’m like a jack of all trades who’s a master of none
Then there’s my father he’s always looking on the bright side Saying things like “Son life just ain’t that hard” He is the grand optimist, I am the world’s poor pessimist You give him burdens sometimes and he will escape unscarred
I guess I take after my mother, I guess I take after my mother
But I used to be quite resilient, gained no strength from counting the beads on a rosary And now the wound has begun to turn, another lesson that has gone unlearned But this is not a cry for pity or for sympathy
I guess I take after my mother, I guess I take after my mother I guess I take after my mother, I guess I take after my mother
It’s been awhile since I’ve stumbled upon a song that I can connect with so deeply.
“It’s messing people up, this social pressure to ‘find your passion’ and ‘know what it is you want to do’. It’s perfectly fine to just live your moments fully and marvel as many small and large passions, many small and large purposes, enter and leave your life. For many people there is no realization, no bliss to follow, no discovery of your life’s purpose. This isn’t sad, it’s just the way things are. Stop trying to find the forest and just enjoy the trees.”—