Lately I seem to have a fixation with songs that speak of expectation or fear of what will happen, I speak very directly and then I get crucial and sensitive as a child. Will I have a feeling of stagnation and change simultaneously, which is very rare. Also be that I tend to hold on tight to what can not be something that I'm watching with bright eyes but it departs. There is a part of me that is very connected with the conduct that was the first day that my mother took me to the nursery: it is seen that when we were about to reach the door, I used to throw up and had to take home and change. Evidently did not yet have neither the knowledge nor the cunning to act with malice, but I see there is a precedent for this fear to the real world and try to scrape a few seconds more than the warmth and security of being nestled in the loving arms of a figure . Certainly more visceral need than a fad.
Using elements that inhabit marine sites ocean and rugged countryside, Laura Veirs has been doing his fascination with nature and the richness inherent in his images that permeates a whole language their music and very genuine, setting a reading of the folk that breathes using small fixes carry a lively soundscape, wet and wild creatures and weather conditions that develop in their words. 'I Can See Your Tracks' opened his latest work to date, Flame July, but more than to start a record and just, pick up the sense of new beginning with capital letters. Follows the scent of spring dawn in the woods and beats, under tree bark and turpentine, with a tenderness not far to understand that the stories by Maurice Sendak. In point is someone aware Veirs that must look forward and accept an absence, and in each of the three stanzas on which we built the song tempted by the stinging memories but firmly resolved before going to the following:
is a beautiful way to express in words the certainty that one must grow and learn to be alone, separated from the one giving her affection, or he was supposed to guard the image of someone, or just an accomplice. The cadence of the music, major chords, gives the story a sense of courage and just hope that I shall soon be overcome terrible, like an adventure story. In these first verses referring to prefer not to know where it is leading the life of that other person, in the second, you know but do not allow him loose knees ( "I can smell the smoke in the fire / but I'll leave you alone / and sleep in this lonely cave ") and in the last accepts that he must learn to protect himself and get on with life ( "I can hear snakes / crawling on the scene / tremble with their boots on / but you will not hear me screaming / you're way to New Orleans" ).
the usual production Tucker Martine is a success: in the same way at other times it seems that we can see a colorful succession of fish leaping out of the ocean, it chooses to focus on the guitar arpeggio and soothing voice (with just reverb) of Laura, which accompanies a successful vocal harmony Jim James involved briefly before the final stanza.
A relief for which we struggle (many sometimes ourselves) to grow, or we can not avoid hanging of nostalgia more than desirable. For those who get along very close to the heart tissue that are afar.
0 comments:
Post a Comment