Why revisit this album now? Well, I made some music videos. You might not call these videos \u201ctechnically sound\u201d or \u201call that interesting,\u201d but you have to remember I consume a lot of THC. Wait, that\u2019s later. The buttoned-down way to talk about my process here is I take a lot of walks. Shit, before moving to West Ridge? I walked everywhere<\/em>. While I\u2019m walking, I\u2019m noticing things. Little things that I think are cool, or little experiences I want to preserve. I can\u2019t, though\u2014when I go back and watch these videos, I do not get fully transported back to the initial experience of wonder that made me reach for my camera. My first thought is, \u201cI\u2019m glad Past Me gave Present Me this little memory, that I can now experience again anew.\u201d<\/p> One motivator for this project was a Defector<\/a><\/em> article from Corey Atad, called \u201cGood, Bad, or Invisible, CGI Makes Movies Unreal.\u201d<\/a> Here\u2019s a pull quote that sums up a lot of how I felt trying to do this:<\/p> In one of cinema\u2019s earliest recordings, Auguste Lumi\u00e8re and his wife Marguerite are seen feeding their baby daughter Andr\u00e9e. The footage, shot by Louis Lumi\u00e9re, lasts only about 40 seconds or so. Presented as part of the Lumi\u00e8re Brothers\u2019 first-ever commercial public film screening in a 10-film program on Dec. 28, 1895\u2026the short made an impression that has persisted more than a century. A perfect representation of what the Lumi\u00e8res called “Actualit\u00e9s,\u201d… Maxim Gorky and Georges M\u00e9li\u00e8s would both later describe their experiences attending that first screening at the Salon Indien\u2026recalling the particular fascination they and the rest of the audience had in seeing leaves on trees in the background moving in the wind. There, at the birth of cinema, the medium made itself indispensable\u2014not by showing people something they\u2019d never seen before, but by capturing something of the quotidian and making it present.<\/strong><\/p><\/blockquote> So yeah! Think about phrases like \u201ccapturing the quotidian and making it present\u201d or \u201cin 1895 leaves on trees moving in the wind but seen on a screen<\/em> was basically a miracle.\u201d Then consume some THC, full-screen the YouTube on your computer, put on your most noise-cancelling headphones, and let\u2019s watch some music videos.<\/p> if not a river<\/strong><\/p> Regarding the epigraph: I didn\u2019t read Dan Beachy-Quick\u2019s <\/a>This Nest, Swift Passerine<\/a><\/em> while I was writing this album<\/a>, but I was trying to channel it. This album is the last thing I wrote before my son was born, and it was written with a lot of late nights trying to enter into an altered and transcendent consciousness. I\u2019ve said before that I believe all art exists out there in the aether somewhere, and you just gotta go find it. These songs are me trying to dive and swim really deep into the art ocean, often with Jasper \u201cJack\u201d Daniels as my co-engineer. For a lot of reasons, this type of record can\u2019t be made again. Still, it\u2019s what I\u2019m most proud of as far as solo work goes. May it groove and soundtrack your day pleasantly. <\/p> blue-fingered dawn<\/strong><\/p> This song feels spare and effects-obsessed in a way I wouldn\u2019t write now, but these are two of my favorite riffs I\u2019ve ever written. Pretty sure I was listening to a lot of Minus The Bear writing this song. Who writes a minor key beach song! I do. <\/p>![\"the](\"https:\/\/substack-post-media.s3.amazonaws.com\/public\/images\/899b583d-ac34-4f2e-b416-ab9be3ad1c71_700x700.jpeg\")
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