riptide

“A man who is not afraid of the sea will soon be drownded, for he will go out on a day when he shouldn’t.  But we do be afraid of the sea, and we do only be drownded now and again.”

-John Millington Synge (1871-1909)

Joshua Clark Orkin

it was the nature of things

“His mind was freshly inclined toward sorrow; toward the fact that the world was full of sorrow; that everyone labored under some burden of sorrow; that all were suffering; that whatever one took in this world, one must try to remember that all were suffering (none content; all wronged, neglected, overlooked, misunderstood), and therefore one must do what one could to lighten the load of those with whom one came into contact; that his current state of sorrow was not uniquely his, not at all, but, rather, its like had been felt, would yet be felt, by scores of others, in all times, in every time, and must not be prolonged or exaggerated, because, in this state, he could be no help to anyone and, given that his position in the world situated him to be either of great help or great harm, it would not do to stay low, if he could help it.

All were in sorrow, or had been, or would be.

It was the nature of things.

Though on the surface it seemed every person was different, this was not true.

At the core of each lay our suffering; our eventual end, the many losses we must experience on the way to that end.

We must try to see one another in this way.

As suffering, limited beings —

Perennially outmatched by circumstance, inadequately endowed with compensatory graces.

His sympathy extended to all in this instant, blundering, in its strict logic, across all divides.”

–George Saunders, Lincoln in the Bardo

a Townes Van Zandt song

cheree

Ever wondered where LCD Soundsystem got their… sound… system?

Alan Vega: sculptor, painter, musician — artist.

Have yourself a little Suicide:

metamorphosis

“From a certain point onward there is no longer any turning back.  

That is the point that must be reached.”

–Franz Kafka, The Zürau Aphorisms

birds of a feather

Vulfpeck could very easily have been promoted as an Antwaun Stanley vehicle, pitched as the background faces in his travelling band. That’s where the studio execs would say the money is, and honestly he’s that god damn good. Watch Jack’s face (he’s the one playing pancakes) after that little improvised vocal riff at 4:02. It’s perfect — Antwaun really is the truth. I’m sure there’s a conference room full of suits somewhere that has suggested he be the face, repeatedly, and as far as packaging for profit potential, well, they wouldn’t be wrong.

BUT, Vulfpeck is decidedly NOT just an Antwaun vehicle. Instead, he remains one of a number of continually-invited guests, and the stars of the show remain the four kids who created it at music school. And really, as composer and ringleader, Vulfpeck is Jack Stratton’s baby, despite being by far the least virtuosic of all the players. It’s about his compositions, and Joe’s bass, and Woody’s keys, and Theo’s vocals, guitar, and drums. Unlike so many of their contemporaries, this world-famous band’s sound and image are in no way the brainchild of a PR team. It’s the result of a bunch of music nerds in Ann Arbor who were studying music, then making music, just for the joy of it. The product is pure and sweet and potent: kids who have retained their smiles while attaining master-status skill in their art. Hell, just look at the people who want to play with them. Their giggling enthusiasm is infectious.

In this day and age of making art to make money to have power to make money to have money to make power to have power to make money, Vulfpeck is a magic portal into pure music nerd wet dreams. They’re already becoming a legend in the making in their own time. So many artists compromise the purity of their vision in an attempt to cultivate appeal, and there is nothing sadder than someone who has done that and still failed. If you compromise for the wrong reasons you’re lost, even if you win, because what you’ve won isn’t what you actually wanted.

What gives me heart as an artist in the venal wasteland that is our current corporate century is that selling yourself bald isn’t the only way to win. Once in while an artist makes a pile of money doing only and exactly what they wanted to do, and for Vulfpeck that’s sit around the basement and make music with their friends. That’s literally what all of their music videos look like. Everything they produce is handled with care, curated for maximum irreverent beauty, and executed with an auteur’s flourish. Even the comment sections on their videos are bright and warm and delightful. How refreshing is that? They knew who they were, and what they wanted, and now they are who they wanted to be.

“And I’m
Learning the hard way
To be true…”

woman

I’m real sweet on Angel Olsen. She got her start as a hand-picked backup singer to the Duke of Darkness himself, Will Oldham (aka Bonnie “Prince” Billy), and you can see it in her eyes and hear it in her moans.  Her band are all super reserved professional studio hands who add no more than is absolutely necessary to serve her incredible voice, and who use just the right amount of pressure to build these shattering vocal crescendos out of nowhere. She may or may not be a closeted lesbian, singing gorgeous lesbian heartbreak songs.

Me, I’m just another cis-normative, mostly-straight white male, who enjoys the hell out of identifying with gorgeous lesbian heartbreak songs.

Yeah, I’m real sweet on Angel Olsen.

Love, and the tragedy of love, are universal constants.  

“What makes me a…”

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