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Independent Clauses Posts

Premiere: Juffbass’ Monolith

When my reviewing took a big shift from folk-pop/indie-pop to instrumental music in 2018, I spent a good amount of time explaining that I had just gotten into new things. That was true in many genres: I was not really reviewing trance at that time, and now I have reviewed several of Traversable Wormhole’s works.

But it was not true about post-rock. I have been listening to post-rock almost the entirety of Independent Clauses’ existence: the first mention of the term is in 2004 (although I wouldn’t use the term that way now), and I covered my first real post-rock track in 2005: an early track by Industries of the Blind. 273 of our 3063 posts have the word post-rock in them. That’s almost 10% of our posts! That’s surprising even to me.

So, what I’m saying here is that I’ve listened to a surprising amount of post-rock over the course of this blog, but this is only the second post-rock premiere (and first full album premiere) we’ve ever done. Every day brings something new!

JuffBass’s Monolith is also something new for Juffbass. The solo outfit previously made post-rock only with bass guitar and percussion, creating long, shifting tracks that appeal to my sensibilities as a bass player and as a fan of post-rock. With Monolith, Juffbass has added electric guitar to the bass-and-drums approach, creating an album that pays homage to the soaring aspects of post-rock now available to Juffbass while not forsaking the subtle, nuanced takes of previous work.

There are, of course, two major schools of electric guitar-based post-rock: the slow/dark/heavy onslaught of Explosions in the Sky / Godspeed You! Black Emperor and the soaring/twinkling/major key rush of Lights and Motion et al. Monolith is on the soaring/twinkling/major key side of things. Yet Juffbass’s prior work in an unusual vein brings a unique sensibility to these pieces. While the guitars go suitably acrobatic and some of the guitar pedals/effects will be well-known to post-rock fans, a focus on bass brings a different vibe to the work. To accent the bass, Juffbass (generally) doesn’t fill out the space between the soaring treble and the thrumming bass with dense, mid-range electric guitar; instead, there’s just, well, space. The results are a wide-open, expansive sonic experience: there’s no clutter or claustrophobia, just parts moving together in a wide plain. It’s an engaging take on the style.

The guitar-heavy opener “The End of the Spectrum” suggests that Juffbass is very aware of the shifts in sound from the last album to this one. This is one of the few tracks that has prominent mid-range guitar in it below the lead lines, giving this a very iconic post-rock vibe and putting it at the far end of the sonic spectrum from his bass-only recordings in complexity. (Several of the tracks have counterpoint guitar lines, but less often does Juffbass go for chunky chords more traditionally found in the rhythm section of a post-rock band.) “Rooftops of Montréal” supercharges the cymbals to match a standout guitar melody, making this one a highlight of the outfit’s new sound and the record.

But it’s “Meet Me Where We Can Hear the Trains” that starts to show off what Juffbass’s vision can really be. “Meet Me” carries much of the pensive, slowly-transforming approach from the bass-only work into the guitar-and-bass space. The results are a subtle approach to a gentle groove, with the guitar, bass, and drums working together to create a uniquely evocative experience. Highlight track “Personal Reminiscence” is another example of this working perfectly, as punchy drums punctuate carefully-meted-out guitar notes. The contrast is perfectly landed, making for excellent listening. “Planes II” is a rework of an earlier bass-only track–even with added guitar, this one is bass-heavy and elegant. It’s one for the old fans.

Even though Juffbass has added electric guitars to the mix in this record, this collection of tunes still feels light and easy to listen to. The careful composition and unique mixing make Monolith a distinctive collection. Fans of big, light-dappled, splashy post-rock will find lots to love here, while also being treated to a novel sonic perspective. Highly recommended.

Monolith lands April 26, 2022. Check out Juffbass at SpotifyInstagram, and Bandcamp.

Stop Everything and Listen: Sightseeing by Aaron Fisher and Rob Stephenson

I’ve seen lots of music blogs come and go in the time I’ve been writing Independent Clauses. Lots of things happen to kill a blog: people get too busy with day-job work, people stop listening to the music they used to cover, people burn out, life changes happen, people move on to other interests, cofounders quit, sometimes you get DDOS’ed by Grimes. You know. Things happen.

Anyway, we turn 19 on May 15, 2022. We are not going anywhere. We are still here. It does look a bit quiet right now, but I’m here to say that you shouldn’t worry. The thing is this: even though we have only posted four times since March 1, I have been listening to new music every day. Lisa has been listening to stuff too! Things happen. But! Not blog-ending things. Just stuff.

I say all this by way of apology to Aaron Fisher and Rob Stephenson. Honestly, a huge chunk of the music I have been listening to daily has been Sightseeingthe duo’s debut collaboration. Last.FM (yes, I still use this service) reports that I have listened to this album more than 20 times, which is frankly an enormous amount for me before writing about it. (Four, maybe five times is usual.) Given that I’ve listened to it roughly five times more than I usually do before writing about a thing, it is safe to assume that I like it much more than the usual album review here. Sightseeing is a balm; it’s nine pieces of calm in a ludicrously uncalm world; it’s a rest for the spirit; it’s a collection of carefully turned beauty. It’s astonishing.

Fisher and Stephenson’s pieces offer up acoustic guitars, electric guitars, percussion, horns, and other bits that are easily recognizable as Americana. Yet these instrumentals are far from the standard fare–not by ethos, but by quality. Each of these tracks are enveloping, immersive songs that wash over the listener whether you’re using headphones, car stereos, house stereos, phone speakers, you name it. The deeply felt pieces here translate no matter what level of fidelity you’re working with. (I have, as you may have guessed, listened to Sightseeing on all of those types of speakers.)

Opener “Blue Jay – Blue Night” is a beautiful opening statement, a cascading series of acoustic guitar runs that warm my soul and pedal steel notes that offer a floating glory. The piece will catch the ear of any Americana purist but also those who love meditative music; SUSS fans and Fahey fans can get together on it. “Riconoscere” is my personal favorite, a mellifluously developed piece that revels in its own beauty. It reminds me of Ezra Feinberg’s slowly-unfolding pieces. “Louie” moves in a similar direction, opening with thirty seconds of gentle mood-setting percussion before ambling elegantly onward. (Yes, you can amble elegantly.) The five-minute “Merino Ghost” splits the difference between Low Anthem-style immaculate folk and jazz; the results are stunning.

I could keep going on this record, but I don’t want to ruin all the surprises that this duo has for the listener. This whole collection is just outstanding, beautiful, wonderful. It’s a stop-everything-and-listen recommendation from me, the sort of (gentle) lightning in a bottle that doesn’t come around that often. Wow. Highly recommended.

Jesper Lindell’s borderless Americana shines brilliantly

Jesper Lindell’s Twilights proves music is a borderless universal language that makes us feel connected to the limitless human experience. That’s what makes an Americana songwriter like Lindell being from Sweden so special. Tapping into a gritty authenticity few artists achieve over a lifetime, this young man has found his groove.

The album features a connection to one of the quintessential American rock sonic legacies via Amy Helm, daughter of The Band’s Levon Helm. For those of us less familiar with international artists, Swedish singer Klara Söderberg (one half of sister-duo First Aid Kit) and French rocker Theo Lawrence round out the sound and the lush sonic textures. The ten-song album was written during the lockdown periods of our past two years and recorded by Lindell and Björn Pettersson in Brunnsvik, Sweden.

Influences as diverse as Savoy Brown, The Creeps, and Grand Funk Railroad show in the genius oozing from each note, starting from the downbeat of opener “Western Rain” and strutting on into the tunes ahead. Warm and funky to the core, the bass line grooves wrap lusciously around Lindell’s warm vocal tones. The brilliant “There Comes a Tie” is a love song of heartbreak that is one of the most beautiful expressions of these feelings I’ve ever heard. The production choices here are sheer perfection: a taste of strings and French café transforms this collection of notes into a time capsule. Amazing!

Lindell’s rich vocal timbre resonates with each lyric of “Leave a Light On,” with its flashbacks that bring the great Glen Campbell to mind. Longing and hope peppered with horns fail to distract from the incredible vocal range here. It’s a masterclass in narrative songwriting delivered to perfection. “Twilight” follows, featuring Amy Helm. Embracing the connection to The Band’s classic work, this song’s re-imagination honors the original like a warm fire of familiarity on a cold winter’s night.

“Dance” taps into an uptempo New Orleans vibe with guest Lawrence. The album next wanders into “White Lines” with its introspective darkness. Sonically, the track is rich in instrumentation, contrasting most of the record. Much like Grand Funk Railroad, slide guitar and synthesizers create a new depth. “Christmas Card” is that real lament that we have all been hesitant to write, the gut wrenching truth about what’s really going on.

With “Nights Like These,” a connection to songwriters like John Paul White comes to mind. Connecting the simple parts, navigating life in a relatable way that feels right? Well, that is an art. Closing out the record with songs like “Living Easy” seems the best way to say goodbye to a new best friend, one step at a time. Hearing Lindell’s falsetto opening “Into the Blue” feels like nothing I have ever heard, words seem to defile its beauty.

Jesper Lindell’s Twilights sits firmly at the top of 2022’s best. In hindsight, this album is one of the greatest gifts the pandemic brought me. —Lisa Whealy

Charming Disaster’s Our Lady of Radium

How do you explain what Charming Disaster’s Our Lady Of Radium does to your senses with an auditory experience? Like Thomas Dolby, the Brooklyn duo’s just-dropped release blinds us with sheer brilliance.

The nine songs weave a tale of Madame Curie as told through the imagination of songwriters Ellia Bisker and Jeff Morris. The tales of the radium girls hang from the opening refrain of “Bad Luck Hard Rock” to “Forces of “Nature.” This is Gothic folk finery at its minimalist best. This is a post-pandemic force! 

For many of us, Charming Disaster’s Quarantine Livestream was a refuge against evil. “Elemental” may be the greatest nod to that state of escape, simple and sweet. The album’s homage to Curie and medium Pierre becomes palpable, like the partnership between Bisker and Morris: Authentic angst and rich harmonic theatrics. “Eat Drink Sleep” defies all reason, a waltz of frenzied moments and sonic magic with frogs. It’s perfect, and certainly my new springtime favorite. “Darkened Room” whirls its way towards the end of the record. Surreal sonic textures paint “Radium Girls” with the vibrancy of the Mona Lisa.

To say “Glow About Her” feels dark highlights the skilled juxtaposition that the songwriters of Charming Disaster are capable of. Arranged in a lyrical give and take of circular truths, Bisker’s soaring soprano and Morris’ steady alto/tenor ground the tune. Closing out with the title track, “Our Lady Of Radium” shows how important restraint is in storytelling. Now, please invite me to the Off-Broadway opening! Charming Disaster’s Our Lady of Radium is out now. — Lisa Whealy

Premiere: JPH’s “Everything’s O.K.”

“Everything’s O.K.” by JPH is a look into one of the most intimate processes of a person’s life: going to sleep. While JPH (Jordan Hoban and associates) usually creates minimalist-inspired folk and outsider music, this piece pushes the boundaries of what JPH is and can be. This beautiful, intimate sonic collage is a curated collection of calming noises: lots of shh-ing, gentle murmurs of “it’s okay,” and other delicate noises. (There are some elements of ASMR in here, even if that’s not the direct intent.) This sonic collage has no beats to insist, nor instruments to guide the listener–only the subtlest of rhythms delivered through the many sounds of the human voice.

The highlight of the sonic collage is a sung lullaby (by Hoban’s mother!) layered on top of this gentle assortment of noises: “It’s time to settle down / while Jesus watches over you / and Mom sings lullabies.” The overall effect is one of being comforted, calmed, and sent off to peaceful dreams. Amid the chaos of our lives, this sort of sonic space–expressly about peace, expressly about maternal comfort, expressly about going to sleep–is a rare respite, an almost reverent interlude. It’s an unusual, nontraditional form of sonic beauty. I have definitely never covered anything like it. But it struck me, and I wanted you, dear listener, to hear it too.

Jordan Hoban was kind enough to share some thoughts about the song with me:

“Everything’s O.K.” is special to me. It features my mother singing a song she had written for me when I was a baby. It’s a melody that has always held great significance for me, and in sharing it with others I am inviting them to experience something intimate. The entire album is a journey from tradition to presence, from trauma to hope, and in sharing this melody I am trying to connect the smallness of my experience with the broadness of the world’s story.

A Holy Hour comes out March 25th. JPH will be releasing a limited run of handmade cassettes for the album. Each order will come with exclusive hand-printed art. JPH also plans to release videos corresponding to songs from the album.

Shows:March 24 – Charlotte, N.C., Petra’s

More shows to be announced soon

The Cast Before the Break goes forward and backwards with Where We Are Now

I was in high school from 2002-2006, so one could make some educated guesses at what records defined those seminal years for me. (The Postal Service: Check. Transatlanticism: check. Deja Entendu by Brand New: check.) But Deep Elm: Too Young to Die stuck with me even more than those. The anti-suicide effort / sampler combo was my first introduction to the diverse (and often raucous) emo of Deep Elm Records. Those almost-all-now-obscure bands (Settlefish! The White Octave! Pop Unknown!) contributed strongly to altering my life trajectory from “whatever it was before” to “independent music.” I owe a lot to Deep Elm.

The Cast Before the Break showed up on Deep Elm in 2011, just after Independent Clauses switched its focus from punk/emo/hardcore to folk/indie-pop/indie-rock, so I didn’t catch them the first time. But wow, I am here for them the second time. Where We Are Now is a tour de force of post-00s emo; a record that capitalizes on the virtues of an iconic sound without being defined by them.

Led by the near-mythical three-guitar attack that many emo bands aspired to, Where We Are Now filters emo tendencies through a variety of concepts. The raw, pounding fury is there, such as on the Before Braille-esque charge of “Minutemen” and the howling “Seaward.” But beyond that, acoustic bits foreshadow lead singer TJ Foster’s later Deep Elm band Accents (…also “Seaward,” actually!). The 7-minute “Friends of Mine” features a Jimmy Eat World-esque late-song slow section amid a post-rock song structure. The Appleseed Cast would have been happy to write the patterned/mathy riffs and rhythms of “From a Pedestal.”

All of these impulses come together on standout “Slice of Life.” The song starts off as a delicate ballad, then builds from there into an atypical barn-burner by adding layer on top of layer of guitars and bass. Foster’s falsetto rides the waves of sound beautifully, then nails the landing with the evocative repeated phrase “waiting for your light to show.” Right at its peak, it crashes, closing with a beautiful thumb-piano/kalimba outro. It’s everything they wanted to achieve in the record, compressed into 3:55.

While not as triumphant in tone, closer “Hindsight” is a fitting cap on a record that took 10 years to complete. The piece rolls through acoustic-driven sections and pounding rock sections, never letting the listener’s attention drop. Kicked off by a truly rousing shout, the last 1:30 is a masterpiece of emo songwriting, regardless of era. The lyrics are fittingly expansive and pensive: “I thought I knew it all / who really does?” This is the sort of piece that goes beyond the titles and stereotypes of genres to be an outstanding song, regardless of your priors.

Where We Are Now is a big, ambitious, successful record. The quintet’s songwriting is top-notch, the performances are evocative, and the collection works together as a whole excellently. If you’ve ever been a fan of Deep Elm, from Red Animal War to Athletics to Montear, you need to check this record out. It’s a time machine that goes into the past and into the future. Where We Are Now is out on Mint 400 Records, another label close to my (and IC’s) heart.

Scott Metzger’s Too Close to Reason is breathtaking

If the past few years have taught us anything, it is how to improvise. The mesmerizing Scott Metzger, jam band member extraordinaire, played a sold-out acoustic show at Joe’s Bar in 2018. It was a hint, years before the pandemic ground touring to a halt, that his genius had begun to find a new light. Now, Scott Metzger’s Too Close To Reason embraces us in its brilliantly unique sonic tapestry.

The twelve-song debut release on Royal Potato Family reflects Metzger’s pandemic retreat to Brooklyn, where he embraced his acoustic guitar. The instrumental compositions reflect the artist’s array of influences, as Django Rheinhardt and Chet Adkins are reborn and transformed here. Each note heard on the record is Metger except his fiancée, violinist Katie Jacoby (The Who).

Opener “Appreciate Wattage” feels like an homage to the best of what Joe Russo’s Almost Dead brought, set into a fresh headspace. Nearly ethereal, it drifts into a down-to-earth “Don’t Be A Stranger.” This track wraps its dischordant surprises into progressions that blossom into nearly Spanish-style breakdowns. “Asking For A Friend” claims its place, unfolding a fuller compositional narrative in over four minutes. Nuanced, each restrained lift heightens the immersive nature of this record. 

“Talk Like That” is the best of the record. Smooth, sultry, bling, the tango vibe with jazz style seems sheer perfection. Like breathless lovers, each note has room to breathe, resonating with the journey we are all on. Lulled, “Damage” disrupts us into a fading cacophony. Why? Maybe we should ask the universe for the point of the pandemic. Or maybe, the simplicity of “DREAMROOM” drops into “Waltz for Beverly” as we dance, one step at a time, back towards togetherness.

It’s easy to forget Metzger’s role on stage as a live music improvisation magician  when listening to this recorded incarnation of the soul. “When Katie Smiles” reveals his love for his fiancée, set to music. Touching and authentic, emotion oozes from each measure. Their duet, “Only Child” reveals the power of their connection. This intimate pas de deux feels like we have been invited in, sharing in lovers’ secrets whispered on a warm summer’s day. 

Closing with “At Your Service” realigns us all for the next chapter in Scott Metzger’s story. Drifting back towards traveling music, we all look forward to what will be ahead. But thanks to Manhattan’s East Village and Joe’s Pub, Scott Metzger’s generationally-excellent, standout instrumental album Too Close To Reason is here. The album arrives March 4.Lisa Whealy

Singer/songwriter singles

Someone told me that singer/songwriters are out of fashion right now. Independent Clauses is always here to support those who feel they’re out of fashion. Here’s 10 singer/songwriter (/folk/alt-country/-ish) tracks I’m loving right now.

1. “God’s Country” – Thomas Dollbaum. Damien Jurado has an outsized place in my personal musical history, and so anyone who’s on his wavelength is on my good list. Dollbaum’s deliciously mopey voice and loosely-held-together indie rock is on that wavelength. Highly recommended.

2. “Light of Dawn” – Riches. Beautiful pastoral folk with an expansive approach: the vistas seem to sweep out before the listener. The high-pitched vocals add a unique touch to the arrangement.

3. “Sit Shiva” – Gabriel Kahane. Grief, family, religion, history, technology, and more in a delicate folk framework that would make Paul Simon and Joshua Radin equally happy.

4. “Mrs. Dixon” – Keston Cobblers Club. Langhorne Slim fans will find the jaunty-despite-tragedy vibe here much to their liking. Bits of Beatles and even Mumford and Sons float in and out about the meticulous yet casual arrangement.

5 “Heaven and Light” – River Whyless. A charming folk-pop tune with tabla percussion and vibes for days.

6. “Vampira” – Grace Joyner. This song may be about the real Vampira, but I’m willing to bet there’s a friend Grace Joyner is singing to. This specific type of grief (watching a friend suffer) is given a fittingly gutwrenching indie-pop track, whether it’s a ’50s star or a friend. Grace Joyner’s voice, even multitracked and autotuned, is just wonderful.

7. “Soft Attraction” – Knuckle Pups. Did you like Clap Your Hands Say Yeah in 2007? Did you like The Yellow Dress in 2014? Are you sad that this specific type of dour indie rock is not really in favor? Welcome to the Knuckle Pups bandwagon, friends. There are plenty of us here.

8. “and you’ve got nobuddy” – Evan J Cartwright. This sort of hi-fi, intimate, feathery, spartan work calls to mind Florist. This is searing and endearing: immediately resonant and yet still with depth.

9. “Lost in the Fog” – Sonny Brazil. The wistfulness of Irish folk plus the western atmosphere of pedal steel create a lovely, lilting track that conjures up visions of lonely leavetakings.

10. “Holy Golden West” – John Calvin Abney. Thirteen years ago John Calvin Abney helped me record an album of songs for my family and friends. Since then, Abney has become a road warrior and a master of the songwriting craft. This piece melds indie-pop and alt-country via strong instrumental contributions and Abney’s excellent vocals.

February Singles 2022: 2

1. “Look See” – Ryan Dugre. A delicate, mysterious acoustic guitar rumination that (I swear this is a compliment) sounds like a six-string version of a Legend of Zelda jam. Highly recommended.

2. “White” – I Just Came From the Moon. This is a fluid, effortless mash-up of ambient, trip-hop and jazz that ends up sounding like a thoughtful post-rock piece. Lots of attention was paid to getting the tension and pensiveness just right.

3. “The Prophets in the City (Arrival, Balance, Discipline, Joy)” – The Bogie Band ft Joe Russo. A blood-pumping mix of jazz, hip-hop horns, funk, and groove. This is 8:46 of 100% work from this crew, a never-stops-going collaboration that gives and gives.

4. “Moving Further Than Before” – Talmont. Triumphant horns, hip-hop drums, funky bass, and more create a swirling, enthusiastic vibe. Martha Gibbons’ powerful voice is the cap on the excellent track, giving it an old school soul feel.

5. “The Bell Tolls for You” – J.D. Wesley. The raw soul of singer Wesley weaving his heart through “The Bell Tolls For You” generates a magnetic pull into the monochromatic universe that producer, engineer, and videographer Tyrone Corbett of Corbett Music Group creates. A multifaceted industry veteran, Corbett and fellow songwriters Clarence Penn and Joseph Guida collaborated on this track of haunting lyricism: both transcendent and hopeful. Like Sam Cooke’s “Change is Gonna Come,” Wesley’s spiritual vibe elevates the already outstanding imagery in this track. –Lisa Whealy

6. “Baby’s Breath” – Great Lakes. Warm, comforting alt-country that evokes the great early Dawes records. The vocals are earnest and easy. The guitar tones here are just absolutely perfect. The backline thrums excellently. It even has a magnificent guitar solo! What more can you ask for in an alt-country song?

7. “Radium Girls” – Charming Disaster. Elia Bisker and Jeff Morris return to grace the universe with their eclectic artistry: this one a danse macabre wrapped in stunning theatrics that elevate the poetic musicality.  The duo teases audiences with this delightful immersive experience from the upcoming album Our Lady of Radium. The Marie Curie-inspired, stop action-type animated feel the video portrays lends itself to a horror story feel. The clock’s incessant time-keeping partnered and juxtaposed against a simple bass line points out how each moment slips past us, despite our frantic efforts to show up. Look for all of Bisker and Morris’ projects here: Charming Disaster | Funkrust Brass Band | Sweet Soubrette. –Lisa Whealy

8. “Manatee” – Russ Kaplan+7. An elegant, complex piano composition that balances composerly attributes with the songwriter’s ear for melody.

9. “Ode to Joy – Recomposed” – Nick Box, Alicia Enstrom. A beautiful, unexpected composition that leads the listener on an orchestral three-minute journey before announcing the triumphant, iconic theme.

10. “Comfortable Loneliness” – Hello Meteor. I’m not sure if vaporwave has a positive or negative connotation anymore, but I love the stuff. The faux-classy synths indicative of vaporwave meet serious Teen Daze-esque chillwave vibes for a very good time. Very relaxing and lovely.

11. “Angel” – DJ Python. 10 minutes of subtle groove with flecks of tropical house, ’80s synth, vaporwave, and more. Carefully rides the line between dance and meditation. Or: why not both?

Premiere: David Parker’s “Improvisation 9 (Burnout – Renewal)”

I’ve been cautiously wandering over toward experimental music over the past few years. I don’t think I’ll ever be able to grok the glory of dissonance the way that much experimental music does, but there are tour guides along the way that show me a little better how it works. David Parker‘s “Improvisation 9 (Burnout – Renewal)” is one of those guides.

Parker and guest Jonas Bonnetta (synths/piano) offer a loose, freewheeling jam here on banjo, guitar, and piano. The wide-open form crushes an acoustic Americana piece and reconstructs it into an almost painterly sonic experience. The instruments each have room to roam over a wide, mid-century minimalist canvas. The  improvisational nature of the work necessitates dabbling in dissonance when one or more of the musicians does something that cuts against the work of the others. But the dissonance resolves here, not leaving the listener stranded; the piano does particularly good work in grounding the listener with gentle, subtle melodies. It’s a little more gnarly than most “meditative” music, but I found myself able to connect with it in the way I do some more traditionally peaceful meditative work. It’s a fascinating track.

Parker was kind enough to give us some backstory to the work:

“In September 2021 I spent a weekend recording and producing a new album at Port William Sound with Jonas Bonnetta (Evening Hymns). It was my first time at the studio and working with Jonas. I had come with 8 songs all written and ready to go. On the first day my plan was to open with an improvised session on a few different instruments. This is a practice I’ve learned about through artists like Adrienne Lenker and Sunn O))), and I really like the idea of using improvisation as a chance to warm up for working on other stuff, and then those warm ups end up becoming release-worthy takes.

The songs on this album are very influenced by Daniel Bachman’s Axacan (Three Lobed Recordings, 2021). Two of the song titles – ‘Grief’ and ‘Climate Anxiety’ – are a nod to his dark but uplifting album that is comprised mainly of solo guitar takes and field recordings.

Many of the ideas running through my head at Port William Sound were buoyed along and deepened thanks to the above mentioned book by Henri Lefebvre. Marxism, alienation, fetishism of money, and climate crisis are all foundational concepts that have grounded my art practice in the last year and beyond.”

Every Day Life comes out March 4th. Parker also has other work coming out this year: “I am part of a quartet called the Heart Structure Quartet and we are releasing our 3rd album on tape cassette and vinyl in February 2022! That’s very exciting for us. Later in 2022 I’ll be releasing an album of drone compositions including remixes by some special friends of mine (that’ll be released in July). And then in Fall I’ll be releasing a tape cassette of duets with a good friend and collaborator, pianist/synth player Del Stephen. I plan to do further recording and visiting recording studios this year, working on a lyrical album to be released in the distant future.”


August – House show, Kingston, ON, Canada. Contact David Parker for details.