I’ve always felt that to be an artist is to always be open to all forms of expression, as if the line between music, painting, writing, photography, sculpting, cooking is never and should never be defined. It is the artist’s curse - and greatest joy - that the best and sometimes only means of expression comes manifested in the mediums that our technology affords us.

If you’ve listened to Fire on Fire, you’ve heard Colleen Kinsella’s striking voice, harmonium, guitar, accordion, and banjo speaking in a tongue that you might never hear in conversation. It’s the language of pure expression, and that dialogue continues further in her newly released collection of mixed media artwork.

[Link to Colleen Kinsella artwork]

So you may remember a while back I posted about Helena Espvall’s (Espers) new collaboration with Ghost guitarist Masaki Batoh. And you also may remember that I promised to let you know when I heard more…

“The recording session was held in Tokyo over four days in December 2007. For instruments fans, this session might be a treasure. So many strings were used: 6- and 12-string guitar, banjo, cello, hurdy-gurdy, harp, contra bass, chappa Tibetan bells, Kin (Buddist metallic bowl), timpani, bass marimba, vibraphone, thunder sheet and on and on.

“Six of the traditional Swedish traditional tunes were reconstructed, along with Batoh’s arrangement of “Death Letter,” a classic Son House delta blues song. Additionally, a European medieval tune was addressed in their own arrangement and expressions. “Zeranium,” a dreamy folk tune that Batoh wrote for Damon & Naomi (they didn’t use it), was re-arranged for this session as well.

The improvisations were done on the last recording day, with no overdubs. “Completely free” was essential concept. For one of them, they were joined by Batoh’s fellow Ghosts Takuyuki Moriya (contra bass), Kazuo Ogino (piano,celtic harp) and the santur player Mayumi Nagayoshi. The same morning Helena had received notice that her grandmother suddenly had died, and that a dear friend had chosen to end his life. Two death letters in one day…there is great emotion reflected in the improvisations. And great depth and beauty throughout the whole Helena Espvall & Masaki Batoh album.”

Uhhh…did they just say they were covering SON HOUSE??? I think I may be hyperventilating. Don’t miss Helena and Masaki on tour!

Drag City’s Faun Fables has just announced a new 4-song EP, A Table Forgotten, which will be released on July 22. While you wait, check out this video for the song “With Words and Cake” from the upcoming EP.

Photo (c) Alissa Anderson

The release of Vetiver’s new album “Thing of the Past” is a week away but you can get your first listen of it today on Naturalismo. The collection of songs featured on the new all covers album doesn’t just cover the proven classic ground that many covers albums often wander into but also treads into the more obscure on tracks such as Dia Joyce’s “Sleep a Million Years”. I’ve also done my best to collect all of the original songs here in one place for you all to download. Now you can allow yourself to get familiar with the artists and their songs before you hear Andy Cabic’s wonderful recompositions of them. I’ve heard scattered rumours that the entire original collection may be released as a full album next year so I have to leave some of the original songs for the hunters or possibly forthcoming official comp. P.S. if you find the original songs that I haven’t posted please send them in because they were impossible to find. ALSO: Stay tuned for a full video interview with Vetiver, we’re filming tonight in L.A. and should have it up by Monday.

First listen (No officially released single yet = here’s a roundup of links to other blogs with them):

Vetiver - Houses

Vetiver - Road to Ronderlin

Vetiver - Blue Driver

Get Familiar:

(Tracklisting below)

Download: Vetiver “Thing of the Past” original songs compilation

Download Mirror 2: Vetiver “Thing of the Past” original songs compilation

Pre-Order Vetiver’s ‘Thing of the Past’ on Amazon here.

It’s strange to think that it took a Swede to capture the spirit of American folk music, or at least come the closest to imitating it. But with the recent release of Shallow Grave, the debut LP from Sweden’s own The Tallest Man on Earth, Americana has been given the Swedish touch, sans clogs. With his ramshackle delivery, nimble fingerpicking, and whimsical lyrics (not to mention the “mysteriously” cryptic press photos of the singer with rolled jeans and bare chest), you get a sense that the Tallest Man on Earth has spent a lot of time absorbing Harry Smith’s Anthology of Folk Music and Dylan’s The Times They Are a-Changin’ - without the latter’s overt socio-political commentary. Like Dylan, who aped the musical and visual style of his pre-war forebears but later developed his own sound, the Tallest Man on Earth is a highly gifted singer-songwriter who may be a bit derivative, but what music isn’t?

[download] “Pistol Dreams“

[Tallest Man MySpace]

Joanna Newsom talks fashion and tells a joke to Paper Magazine:

The sun is hiding. The air cools, just enough. And the clouds are ripe. They seem intent on rain but never quite commit to it; the whole world seems overcast. Sharon Van Etten’s music is that milky light spilled through half-drawn curtains, borne in the heart of October wind.

[download] “have you seen” + “you didn’t really do that“

[Sharon Van Etten myspace]

Jeremiah Conte’s recent series is like a bird’s eye view on a universe comprised of fingers, each reaching for and clutching their neighbor lovingly - knowing that the closer they are, the larger the universe they’ll create. Luckily, they’re content to be humble.

Naturalismo: What inspires your work the most?

Jeremiah Conte: I draw what I see in my head, what I want to draw, and what I see in the natural world. Primarily the natural world is my biggest influence…. and it kicks my ass in a major way all the time. I am currently living in Atascadero, California. I’ve lived here for most of my life so it’s been a major influence, and it is very pretty here. Especially this time of the year. All the wildflowers are blooming, the hills are green and the creeks haven’t dried up just yet. It’s a very special place to me and it’s has been very influential.

N: How early did you start working in the visual arts? Are you involved in any other forms of creative expression i.e. music, film, photography, etc.? Does one medium inspire you more, and why?

JC: I started drawing just around 3 years ago. It just kind of happened one day. I’m not really all that involved any other creative expression right now, but I could see myself geting into film, photography, sculpture, and printmaking someday. I am inspired by drawing primarily because you only need paper and a pen.

N: What music has been most inspirational to your work?

JC: It’s hard to say what music has been most inspirational to my work. I listen to music mostly to drown out the background noises of where I am. Most of the inspiration comes from creation, and if I hear that in
music then it inspires me. I don’t know, thats hard for me to answer really…

N: Are you working on any new projects?

JC: I am currently working on a series of drawings based on Star Wars: portraits of key characters, significant vehicles and vessels, and renditions of alliance symbols can be expected…

The Entrance Band are playing a few tour dates and have a slew of new bootleg and demo albums for sale now on their website! Visit The Entrance Band at myspace to pick up the records or check out one of the following upcoming shows:

APRIL 30: LOS ANGELES @ the ECHO
w/ Special guests FOOL’S GOLD
& dj’s/dancing
$10 18&up 9pm-1am

MAY 9: OJAI @ WOMEN’s Center

MAY 10: BIG SUR @ HENRY MILLER LIBRARY

Amazing new promo for the show…

L’au of Mi & L’au recommended the Presti-Lagoya Duo to me recently.  I had never heard of them before…but after watching this video (very poor, choppy quality I know) I was dumbfounded.

“Alexandre Lagoya (1929-1999) and Ida Presti (1924-1967) formed the greatest classical guitar duet in the world; this was not simply due to their technical excellence, but their subtlety and force in emotional expression. They also transcribed music for the instrument from many sources, most notably the harpsichord, violin and piano.

In these tawdry times where great emphasis is given by the media to celebration of the purely physical side of humanity—sport, models, etc.—questions of the mind and heart are often given short shrift. At a time when intimacy between adults is most often identified with the sexual act, it is refreshing and invigorating to hear proof of the narrowness of this view and the possibilities that exist.

If you listen to any of Lagoya-Presti’s playing—not just hearing, but actively engaging with the music—you will hear conversations of such intimacy that one at first feels embarrassed at being privy to them. It is hard at times to believe that two people could communicate so intricately. Given that both are playing classical guitars makes it all the more extraordinary.” LINK

There’s lots of press going around about this El Guincho sounding something like Panda Bear, similar but different they say. Lazy lazy journalists, get out and listen to something before 2007. As if Noah Lennox was the first to mix traditional tropical rhythms with samples and modern melodies. Not to discredit the amazing side project of his, I think it’s some of the most refreshing and original music I’ve heard in ages, but I can’t help but try and point out what I think is a much greater source of inspiration for El Guincho. Bellied deep inside the soul ofthe Peruvian psych movement of the late 60’s and early 70’s lies much of the heart and soul that I feel sets El Guincho apart. Spreading marmalade psychedelic guitar across gritty toasted Peruvian beats, the Roots of Chicha compilation gives a glimpse at what was for decades undiscovered to much of the west. Only recently was this compilation to hit the streets to give us the first taste of the Chicha, named after a corn-based liquor favored by the Incas which quickly spread to Lima and wholly captures feeling of the clash of Peruvian convention with western surf guitar, Cuban guajiras and psych. There’s something to be said about uncovering each wave of the psychedelic movement in the world, the fluidity and rapture released within each province, state our countries never providing a similar journey. Enough! Just listen:

From the Roots of Chicha compilation available here:

(password for these is: naturalismo3

Los Mirlos - El Milagro Verde

Juaneco Y Su Combo - Ya Se Ha Muerto mi Abuelo

Los Mirlos - Sonido Amazonico

and

El Guincho - Kalise

I honestly can’t imagine a summer mix tape without a few of these tracks on it.

Searching around for the Kalise single brought me to the recent Fader mix El Guincho put together for Fader, which includes the life changing band Los Zafiros that was featured on the Yo Si Oigo | Devendra Banhart’s Influence comp Naturalismo put out last year and available for free here.

El Guincho - Fader Mix

Yo Si Oigo | Devendra Banhart’s Influence comp

I’ve just received word that Bonnie ‘Prince’ Billy aka Will Oldham is going to be releasing Lie Down in the Light this May. It’s his first set of originals since 2006’s The Letting Go. I’m really curious to see what direction he takes with this new album - if there’s one thing we can be sure of, it’s that it will be frank, honest, and above all sincere.

This is old news, but if anyone out there wants to put the proverbial wooden spoon in their mouth to prevent themselves from collapsing with a B’P'B induced anticipatory panic attack, get your hands on his film Old Joy. It’s a stark character study that delves deeply into the nature of friendship, aging, and sexuality - in a way, I’d view Old Joy as a companion piece to Oldham’s sublime Master & Everyone.

Also, I’ve added a new demo version of the song “So Everyone” which will (in a more polished form, I suppose) be on the upcoming album

[download] “So Everyone” (demo)

[photo © Steve Gullick]

I’ve been a fan of Pepi Ginsberg’s quirky psych folk for over a year now and I’m very excited to announce the release today of her 3rd studio album ‘Red.’ After a repeated listens I think Red is her strongest release to date and really shows Ginsberg’s song writing maturing nicely. The album itself is a diverse journey tracing Pepi’s many influences which she sincerely builds on and forges her own sound. The songs of Red are only highlighted by her unique vocals that set her apart from many of her contemporaries. Ranging from Blood on the Tracks era Dylan to the upbeat piano stylings of more optimistic Plastic Ono Band tracks; Red traverses from more upbeat psych folk on the song “The Waterline” where overlaid vocals swirl above Harry Nilssonesque percussion and piano to the more serious raw sound of “In My Bones” where Ginsberg truly finds her stride and strength as an artist. “In My Bones” is in serious contention for being one of the most sincere and strong songs of the rapidly aging youth of 2008. Capturing the same emotion elicited when one hears Idiot Wind for the first time, “In My Bones” marks a turning point for Pepi Ginsberg where she truly finds her voice and instrumentation playing together as one.

[download] Pepi Ginsberg - In My Bones

Listen to Pepi Ginsberg ( Monday, April 21, 2008 ) Daytrotter session.

Buy Red

Dust clings to your cheek. It’s painted on, dried up, cracked, bound up in damp streams of new tears. The faint chug-chug of the train fades over the distant horizon, heatwaves squiggling over your last glimpse of the locomotive. Goodbye. You’re alone for the first time in years, and you know damn well it’s going to be a long time before you feel that touch again, that type of love. But fuck it - tomorrow’s another day. There’s always another town and another song.

Meg Ashling, a Minneapolis native, captures a raw, distinctly American sound. It’s the sound of truckstops, of half-working air conditioners blowing through half-decent motels, of broken-hearted drifters searching for something that maybe even they don’t know about. Ashling sings, “I wish I could live a life that’s simple, just like the days of yore.” She may not be able to live that life, but her music certainly captures it.

[download] “Lovely Like Wine“

[meg ashling myspace]

Marijuana and music have been kissing cousins for years now. Hell, I even heard that some musicians smoked it in the sixties. Can you believe that? I’ve heard that stuff makes kids go crazy! Anyway… Congressman Barney Frank from the great state of Massachusetts (my old stomping grounds) introduced a bi-partisan bill to congress on Thursday of last week to remove marijuana possession as a criminal offense.

According to the NORML website:

“The bill will strip the federal government of its authority to arrest responsible adult cannabis consumers. The measure, H.R. 5843, known as an “Act to Remove Federal Penalties for Personal Use of Marijuana by Responsible Adults,” is the first federal decriminalization legislation introduced in 24 years. Frank’s pending bill, co-sponsored by presidential candidate Rep. Ron Paul (R-TX), seeks to eliminate all federal penalties prohibiting the personal use and possession of up to 100 grams (3 1/2 ounces) of marijuana. Under this measure, adults who consume cannabis would no longer face arrest, prison, or even the threat of a civil fine.

Click here to get information on writing your congressman.

Devendra Banhart is featured on the new cover of Rolling Stone Japan this month:

Congrats Devendra…anyone have the actual article?

The last I heard a few months ago from Gregory Rogove touring drummer for Banhart and member of Priestbird, Devendra was going to go into the studio with him to record. Any updates on that and I’ll be sure to let you know…

Naturalismo: How long has the group been playing together, and what are the origins of what is now Fire on Fire?

Chriss Sutherland: FIre on Fire as Fire on Fire has been doing this music for maybe four years this summer. I think it was around 2004 when we rekindled the kitchen jams. Of course, we were doing Cerberus Shoal long before with Caleb and I beginning in ‘94, Tom Kovacevic involved from ‘97 to ‘99 and Colleen from 2000 to the end. Micah moved in the house around the turn of 2003 (I think). Anyway… it’s difficult to put a “start date” on the group.

Colleen Kinsella: We all love music and enjoyed each others company. So we played our songs for each other in the kitchen. Eventually we knew the songs too and played together.

N: What non-contemporary artists are your biggest influences?

CS: I’m not sure what you mean by non-contemporary? Dead people? Is contemporary “of the past 100 years” or “happening now”. I never really understood that word… I should look it up. But we have a shit load of influences from pre-war blues, psychedelic rock, classical Arabic and Turkish music, greek Rembetika, gypsy and Spanish Flamenco etc.

CK: hidegard von bingen, atualpa yupanqui, beefhart- bat chain puller & strictly personal, exuma, nina simone, nico, chrissy hinds, old brian eno, geeshi wiley, skip james, mississippi john hurt, old david bowie, Creedence, dylan, neil young, velevet underground

N: What contemporary artists have you been enjoying recently?

CS: Ah contemporary. Personally… I have been loving Lucinda Williams, Magnolia Electric, Camaron de la Isla, Patty Griffin, James, Band of Horses and I just heard the new Smog record which is really cool. I also am digging Big Blood and dufus.

CK: Missy Elliot, Inspector 22, Our Poor Nieghbors, Garm, Public Enemy, Kate Bush, Diamanda Galas, vialka, Picastro, pj harvey(old), visitations, wooden wand, jolie holland’s “catalpa”, IDM theftable, BJ Snowden, lungfish-pupils

N: Michael Gira describes Cerberus Shoal as an “art-punk-prog-chaos collective.” First, was the Cerberus Shoal project abandoned? And if so, why? Second, what inspired the transition into more acoustic-based songwriting?

CK: Many things…it happened completely naturally. We were always playing acoustically, but after the baby was born it all made perfect sense. And not having to carry super heavy bass amps and drive around in a gas guzzling van.

N: Do you find that there are any advantages to playing primarily acoustic music as opposed to playing primarily electric music - both in performance and songwriting?

CK: Not having to carry super heavy bass amps and drive around in a gas guzzling van. As far as songwriting it is simplified as opposed to the C-shoal way of writing everything together all at once

CS: I think Cerberus Shoal just evolved. I don’t think it was abandoned. The group and the music and the cast of characters always changed so I feel this is another era. I guess this is outside the idea of a name or specific identity which are concepts we struggle with in that they have very little to do with music. The transition was very natural in that it happened over a period of time seperately and jointly in that we were all making our own personal transitions that came together as a group transition. I suppose the obvious advantage of acoustic based music, for us, was the ease with which it could come together and happen. Cerberus Shoal was a very heavy group laden with all kinds of weight and we were looking to get away from that idea. As far as songwriting, this group behaves much more as five individuals rather than one body so therefore the songwriting is easier and maybe a bit more traditional. Cerberus Shoal hammered out music over hours and hours of laborious thinking, debating and compromising. Fire on Fire has very little of that aspect.

N: With so many players involved in the group, what is the process by which the group writes songs? My grandmother used to say that, “Many hands weave the quickest quilt, but many needles break the skin it built.” Do multiple human prisms focus the light of creation or diffuse it?

CS: Great saying! I think that we are very experienced group of friends, musicians and artists so we really flow pretty well together when we are working on the music. People bring their songs to the group with an immense amount of trust that the group will make the song better and if that isn’t happening we are honest enough to say so. So I think I would say that the “light of creation” is more focused.

CK: In this case we write the majority of the songs by ourselves then bring them to the group with the exception of “Three or More” which Chriss composed the music and the three of us-Chriss, Caleb & myself each wrote a verse.

N: In the song “Liberty Unknown,” you say: “We fought with our lungs / We fought with our hands / For liberty unknown / To our waking minds.” When I read these lines, it evokes a lot in me. It seems to me a Sisyphean task (or maybe a Möbius strip?) to fight for the liberty of a mind with physical acts (lungs, hands). Do you believe that there are inherent blocks in human consciousness from achieving true liberty, peace, stillness, etc.? I agree that true liberty is unknown to the waking mind (as its very self-awareness is the shackle it bears), but why is that the human condition? Can music help us transcend that (”those who remain are left with their songs”)? Can anything?

CS: I think that “self awareness” can lead to transcendence. I think the shackling begins at birth and the process of de-shackling begins at birth and maybe it’s a race until we die. I think anything creative that is outside the goal or aspiration of having goals or aspirations is helpful. Making ourselves and those we love happy can do wonders.

CK: WOW everything you said! You really took that sentiment and ran with it… When I wrote those words it was after seeing Daniel Higgs (of Lugfish) perform. Our very dear friend (Donnue of Our Poor Nieghbors) was supposed to play the show but didn’t. It was an emotional night. I was a few months pregos and all i could think of was Donnue’s way of making music that made us all sing –through words and his spirit–he can can get a bunch of stranger and friends to sing along, play along with him. I felt that was what i needed right in that moment. His way of inspiring us with song inspired me to write one about that great phenomenon when we shake off all the shit and forget ourselves. Not to get too touchy-feely but when a group of people sing together spontaneously it feels like love –that love is present and something bigger than us is in the room. We say “all’s forgiven” when our babe sleeps. It’s something like that. I think music can suspend some the shackle shit, but only for as long as you allow yourself to be taken by it.

N: Do you find it a hindering or helpful to live and create outside the cultural hegemony of major cities like New York or Los Angeles?

CK: So very helpful to live where we do. Great housemates, low-key rent costs help getting by working part time. You have the time to make music, art, etc. There is a warm community of artists and musicians here.

N: Although on one hand, you may have less access or connection to fellow musicians to build community, but on the other hand, insular music is often more idiosyncratic and ultimately more rewarding to the listener. Not to say that Portland is the Siberian tundra, but certainly not as expansive as the aforementioned behemoths. What is the musical community like in Portland?

CK: Very active. we have alot of wonderful contemporaries like visitations, Chris Teret, IDM Thefable & Crank Sturgeon-both kick ass highly experimental performance artists, Micah and Chriss solo, Alhan(tom k’s middle eastern ensemble), Uke of Spaces Corners, Kells Bells, Glade Swope and more. A terrific & unlikely venue called Strange Maine has been the home for many a musical oddball and an open atmosphere for unique performances.

N: Do you find that increased access to the natural world is inspirational in a way that no city environment could ever provide?

CS: I think our experience has been fully enriched by living and existing outside the so called cultural “centers” of the USA. Having traveled extensively throughout the states I think it’s obvious that there are pockets of wonder all over the country as it’s the people and not necessarily the environment. Of course one affects the other but in our case I would say the more insular the better. With media the way it is you don’t even have to pay attention and you are still full of shit at the end of the day. Portland as a city and a scene is really quite diverse and alive for it’s small population. It’s surprising how much music and art is happening here.

N: Michael Gira has certainly attained legendary status for his uncanny ear for talent. You should feel honored, as I’m sure you do. How did your relationship with Michael Gira come about? What is it like working with him?

CS: So far so good, but it’s still being formed. The relationship began toward the last two years of Cerberus Shoal around 2003 and then developed when we sent him the initial LP recordings that we did in our house.

N: Now that your 5 Song EP is out, have you been recording new material for a full length album? Where have you been recording and how has the process been different from the EP? When can we expect to hear new material?

CS: It’s kind of the opposite in that we recorded a full length first and then the EP. YGR is sitting on the LP as we speak. We have been writing new material but haven’t yet recorded. All recording to date has been done in our house by Caleb. The new, new material hopefully will be recorded around this summer and the old new material should be released soonish.

N: Your music is, at all times, both folk and beyond folk. As I said in my review of your EP, “It’s as if the band members were raised by wolves amidst the oak pillars of Maine, admiring the villagers’ harvest dance from afar but never truly understanding their steps.” Does the term “folk” have relevance any more or is it an antiquated notion?

CK: we are part of the “folk” so guess it does apply. We are americans making music, singing in english and talking about our lives, our culture our world. when I think of a country’s music — a pure expression of the culture I tend to think of acoustic folk music sung in the native language i.e. Rembetika, America

Southern blues, Philomen Aurthur & the Dung (Swedish folk). Indigenous music shares an intensity and fierceness of humans telling thier stories which I believe is what we are doing. To answer your question the term folk does have relevance.

The idea of playing “Folk music” never entered our minds when we were playing for each other. Our influences are so diverse they range way the hell past a stereotypical definition of folk.

CS: I think the word “folk” is still a good reference. But, like all words, it’s the investigation beyond the initial experience that really defines/enlightens what we mean or are trying to say etc.

[download] “Liberty Unknown” from 5 Song EP + “Assnine Race” (UNRELEASED)

I’ve been pouring over Ryan McGinley’s new photo set I know where summer goes for the past few weeks with an increasing fervor towards their beautiful simplicity. Taking the time out to truly enjoy the earnestness of their nature, I found myself scrambling for the perfect set of words to attempt to describe them. With the times we’ve allowed ourselves to devolve to it seems each day we step further away from what these photos perfectly capture, a time of innocence and abandon. Overwhelmed with the current state of affairs in America, a generation that sees those qualities through the thick lens of cynicism and doubt- the washed out film grain saturated colors, a mere post process to a digital photo manipulation. With tangibility gasping its last breath in this digital era it’s refreshing to see a set of photos that captures the quixotic nostalgic leanings of the past yet feels wholly contemporary in its aspirations.

[download] Arthur Magazine: Issue 29 | Part I | Part II | Part III |

The Incredible String Band is an anomaly. They’re one of those groups that needs no introduction, yet are somehow unknown. They’re omnipresent in the collective consciousness of a generation of folksters, but notably absent from the tongues of tastemakers. They are many things to many people: an avant-garde take on traditionally narrative British Isles folk, an impenetrably pretentious spring-board for frontman Robin Williamson, or a patchoulli-drenched exercise in 60’s experimentation. In many respects, they occupy the same musical pantheon as The Holy Modal Rounders - both in chronological and philosophical terms - yet exist wholly apart and aside from that groundbreaking band’s off-kilter ouevre. Where ISB was a reaction to British folk, the Rounders were a reaction to the Americana of Woody Guthrie, Roscoe Holcomb, and Dock Boggs. But I digress.

This weekend I found myself in a rare spot: cleaning my place. This included, but was not limited to, wiping my coffee table clear of aborted rolling papers, collecting beer cans to recycle, and discovering the origin of odors that seem to emerge from nowhere but turn out to be from an uncooked hamburger patty under the couch. I decided to put on The Incredible String Band’s self-titled debut album while I embarked on this Sisyphean task, and was instantly reminded why the band is both immediately captivating but also decidedly divisive.

With deft but often erratic acoustic shredding, Robin Williamson’s guitar sings with a stream-of-consciousness lyricism that hasn’t really been touched since. I doubt it ever will. His words, rife with poetic fervor but always forthright and approachable, are dripping with the angst and confusion that most every young man experiences as he takes his first flight into a - gasp - realization of mortality. And, as I stood there with sponge in hand and tax return forms in my filing cabinet (the floor), I had my own brush with chilling self-awareness. I summoned the words of two men, the first being Nick Drake:

“When I was younger, younger than before I never saw the truth hanging from the door And now I’m older see it face to face And now I’m older gotta get up clean the place.” (”Place to Be”)

The second set of words by ISB’s Williamson were more immediately poignant…as they were playing at the time:

“I met a man whose name was Time, And he said, ‘I must be goin’; But just how long ago that was, I have no way of knowing. Sometimes I want to murder time - Sometimes when my heart’s aching - But mostly I just stroll along, The path that he is taking.” (”October Song”)

I stopped what I was doing for a moment and let the words sink in. Although “time” is certainly an entirely man-made concept, change is not. This is something that I’ve always known - consciously or unconsciously - in the very essence of my being. But sometimes it takes a song - say, by the Incredible String Band - to put those emotions, that knowledge, into a tangible form. The Incredible String Band are many things to many people and, on this day, they were a welcome respite from the rigors of a menial task and the profound notions of age and mortality inherent in such. Then I took out the trash.

[download] “October Song” + “Womankind” from The Incredible String Band (1966)