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Its chilly

P l a y l i s t

february

Growing up is weird

GoGo Penguin - Hopopono

All songs written by Buck Meek.
Produced and engineered by Sam Owens at Black Lodge, Brooklyn, NY
Mixed by Sam Owens at Figure 8 Studios, Brooklyn, NY
Contact: buckmeek@gmail.com



Sam Bridges

Kali Uchis - All Or Nothing

Conditions

Sweet Disposition

An edit of the full LCD Soundsystem song - New York I Love You But You're Bringing Me Down, with a recording by Miles Davis.

LCD Soundsystem - New York I Love You But Youre Bringing Me Down (Jazz Edit)

Transistor Radio (Deluxe Version)

One Life Away

Tourist History

What You Know

Collaborations

Blah Loops (Call Me Like Feature)

Honey Lavender

black out days - phantogram (slowed down)

another track off next release, experiments with a 4 track recorder.

If I Could Leave

Fool - cavetown

You, Forever

Apple

Transparent Feat. Sadie Cruz

abysskiss

from

symbol

From the album "Tomb," out on January 18th 2019.
Preorder/listen  here: https://ffm.to/angelo-tomb
Hear the studio version featuring Sufjan Stevens here: https://youtu.be/rdYCqDLafsM

Song and album produced by Thomas Bartlett.

Tomb

Angelo De Augustine - Time

STEPHEN STEINBRINK
Utopia Teased

US pre-order: http://westernvinyl.com/shop/wv180
UK/EU pre-order: https://www.melodic.co.uk/product/stephen-steinbrink-utopia-teased-pre-order/
Spotify: http://open.spotify.com/album/5Qo591Xv69WpUaRpziRIwA


Stunned with grief in the months following the Ghost Ship fire, Oakland-based Stephen Steinbrink ate LSD daily, bought a synthesizer, and locked himself in his shipping container studio, refusing to sleep for days as he wrote and recorded what would become Utopia Teased, as a means of working through his overwhelming feelings of cynicism and loss.  

Recorded in between stints touring as a member of Dear Nora, and then as a touring member of Girlpool, Utopia Teased is Stephen Steinbrink's followup to his critically acclaimed 2016 album Anagrams.  Unlike the pristine production of Anagrams, on Utopia Teased, Steinbrink embraces the rough edges, as he shifts his focus from the craft of production to the art of processing and capturing his experiences with honesty.   He explains, “I was driving the preamps a little too hard, mixing down to tape, bouncing back to the computer, and repeating the process over and over again. I wanted it to reflect how fried my brain felt at the time, totally pulverized.  The songs just poured out of me, it hardly felt like work to make them up. It was like turing on a spigot. I don’t write often, maybe once or twice a year, but when I do, a lot comes out. To me my craft is less about putting in the hours physically playing music — the real work is getting my soul right so that when the holy wave of pure creative energy moves over your house, it will recognize you as worthy enough. If it does, maybe it’ll give you a song.” 

“Empty Vessel” and “Maximum Sunlight” both sung from perspective of residents of Tonopah, Nevada, were written to accompany a book about the town, by Steinbrink's friend Meagan Day.  The sparse imagery on “Empty Vessel,” ostensibly about a semi-transient lock-picking truck driver, feels at least semi-autobiographical as Steinbrink sings “You're 31, you don't believe in anything…If you don't stop moving you'll never get hurt.”  His evocative lyrics continue to intrigue on “Maximum Sunlight” as he sings “Sleeping through the night in the drained pool / I said I love you to a fool” from the perspective of a 30-year-old alcoholic ATV enthusiast.  At the close of the, too-little-too-late acoustic narrative “Mom”, guest vocalist Melina Duterte of Jay Som joins him in conjuring a memory of listening to extraterrestrial radio, drifting asleep in a suburban Phoenix Wal-Mart parking lot.  The album’s heartbreaking closer “I’m Never Changing Who You Are” continues Steinbrink’s recollection of his adolescence, asking an unnamed family member “Will you try to love more than you did?” while soberly accepting his reality. 

In an interview with North of the Internet, Steinbrink recalled a video he came across on his phone, which was taken the day after the fire, “It sent me spiraling and thinking, it’s almost been a year. Nothing really felt actual those weeks, and I could only only react to the future at a remove because the horror of everything was inescapably tying me to the present. The idea of doing laundry or driving across the bridge to San Francisco to work was too abstract, so I just didn’t do it. I hardly did anything. Two days after the fire I woke up, walked to P.’s porch and sat there for hours alone and cried without a jacket on until the sun started going down. Geese were flying across power lines at dusk and I took a video of them on my phone. I imagined one of the birds was my friend.”  In the same interview, he goes on to share some insight provided by a friend he reached out to when trying to finalize the album: “Finishing the thing puts a limit around something that comes from an infinite well; this is uncomfortable.” True.

Hours Were the Birds

Adrianne Lenker