Anita O'dey comes up as a reminder of the power of music. I was going through a depressive cycle, not without cause, and I spent my whole Christmas day with her.
I indulge my Madness, you know? Any philosophy must be lived, even if the philosophy consists of being purely thought, it must be adhered to stringently to earn its weight. As such, Madness requires a continual experimentation in itself, and so as the songs came on--it was really crisp and a bitterly cold Christmas day--her songs were keeping me warm. I felt isolated and alone, perhaps even lonely for a few moments now and then, and Anita kept me warm everywhere I went to deliver gifts.
She got old, I think she died now, but in the middle of the twentieth century, she carried the torch rested like a cross on those who must bear it, and luckily had help up the hill.
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Then Emmylou came on, a song I recently discovered, and I'm transported forward in time; clearing the air and allowing me to see the strength in music which draws some near to it like moths and flames, or flies and honey--it's weight and heated nature is certain destruction for those indoctrinated in their generations rock and roll. Their cultures greatest hits.
Music is a historical artifact; something that connects us--records, right? I can hear my first album eleven hears ago, and then the first master of the upcoming album, and it knocks you about. I wonder sometimes if I forget the number of songs I've written because they help me process emotions and then I move along once there is nothing but husk left. Or is it that singing them brings new juice into them? In some ways, my versions change as my style continues its steady march, myself a solider following orders instead of the general dictating direction.
I am excited to play in WYSO with Juliet again, she is really fantastic and outside of her varied talents, it's an acute passion for the music which shines glowingly on the other strengths of her as a radio DJ, and interviewer, and an important--nearly crucial component--to the Dayton music scene. I was so nervous last time, in a great way--one of the most fun things in my life and I would do it constantly if film wasn't my primary pull; this time I am certain to be nervous again--however this time I have the added comfort of just being really, really excited to share with Juliet and Shelly.
The album has a new philosophy to it, it is approached posthumously with everything that was birthed from the conception of the songs. I was in a very different place when I was writing the songs than when I was recording them; and I am in a far different place now as I work towards publishing them. The artwork and the concept, the order of tracks, the tracks chosen to be on the record--the communication that was forced during its creation, the five hour drives to Nashville Sunday mornings, the ten hours of studio work, and the five hour drive back to Dayton the same Sunday night for work and homework the next day were some of the best lived moments in the Year of the Win (2011) and certainly were a big component in the activities for this year applying a lot of the lessons gleaned last year.
The few critical ears I've been able to gain attention from all say the album has a marked difference in tone, with a little spillover for coherence; in general, the simplest description is, "It's happier," which I'm not sure I like or not, but that isn't really the point of this article, nor the point of happiness.
I was working on the cover the other day, pulling and yanking at the assets we've created on photoshop; the team doesn't even really know one another; the product is a synthesis of relationships and histories, it's never ever one persons. I am very excited about it, concerned that my lack of time will keep me from playing enough live, and no copies of this album will ever get distributed either. It's not so much fame one desires, as much as reach; the point of all my work is a revision of the staunch rigidity that kills creativity if misused (and often is) through societal and self imposition. I'm also chasing a song, and a sound, and this is the soundtrack to the adventure--and now, it's clear we're learning how to create some great moments.
The laws of thermodynamics, and the causes for social entropy, a whirling dervish. There is little the majority of us cannot do with a bonding self-identity. One commonality my various artistic practices desire to express, from my method of sketching to my content of songs and my outlook on film, is the commonality of uniqueness, and the desire for an authentic joy.
Do you know that the whole point is outrageous?
I'm going to bring water to every man, woman, and child on the planet, or at least be a part of that which will. That's Freshwater, the essence of all life, the most fundamental requirement for enrichment.
There is a new icon on this record, much like the three stick figures if you got a physical copy of the last record (click here to hear) and it to hold esoterically significance to individuals my world has come into contact with. I even hid a heart in it, perhaps it's a hark back to my nineties sensibilities? Are we far enough out to appreciate the nineties yet? In another decade--near about 2014 we'll start seeing it in full force, with some trickles coming in 2013.
At this point I'm just procrastinating my homework.
See you soon,
Karn
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