i like your sounds! i feel like i'm floating on a sound cloud

From "BART BY BART™" by BART™
_______________________________________________________________________

Performed, Produced & Mixed by Nathan Vanderwielen and Christopher Shannon at Echo Valley

Mastered by Ron Skinner at True North
_______________________________________________________________________
barttheband@gmail.com

The Wall

have you seen the disgrace?
the world wears the dawn like a day
like a painting of a face
whose features fade away
puts it's mirrors in the dark
points at your back and starts to laugh

in the meeting of this mire
i awake as if on fire
no my dawn was not put out
by some mistake was not put out
unlike the dawn was not put out
and now it will never be put out
there will be music all around
when they put me in the ground
and the drunk whilst laughing, spoke
these words that i have wrote

'you look like a sad painting' he sighed
'on both sides of the sky'
as the room it roamed a throng
and the piano played a song

outside the world is crucified
you must find something to be sacrificed to
to your love
or to your lie

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have you seen the disgrace?
the world wears the dawn like a day
like a painting of a face
whose features fade away
puts it's mirrors in the dark
points at your back and starts to laugh

in the meeting of this mire
i awake as if on fire
no my dawn was not put out
by some mistake was not put out
unlike the dawn was not put out
and now it will never be put out
there will be music all around
when they put me in the ground
and the drunk whilst laughing, spoke
these words that i have wrote

'you look like a sad painting' he sighed
'on both sides of the sky'
as the room it roamed a throng
and the piano played a song

outside the world is crucified
you must find something to be sacrificed to
to your love
or to your lie


Suicide Songs

You Look Like A Sad Painting On  Both Sides Of The Sky

A cover of Kate & Anna McGarrigle's "Love Over and Over"

Released in July 2016 for QUICK BEFORE IT MELT'S Canadian Covers series "Domioniated"

Recorded by Kyle Knapp

Players: Luke Kuplowsky, Stephen Prickett, Kyle Knapp

LOVE OVER AND OVER (Kate and Anna McGarrigle cover)

From "More" 10" - Out on November 25th, 2016

Working with engineer Graham Walsh (of Holy Fuck), "More" mixes the urgencies or ‘ quickness’  of the bands early songwriting with a more intentional consideration of format (the “impossible” to market/sell 10”) and evolved instrumentation, widening the use of electronics. The result is an artifact that best contains the intensity of their live show.

Purchase "More" 10": https://goo.gl/pf4CK9

TELEPHONEEXPLOSION.COM

New Fries - Mary Poppins' Pockets

Break this hold

Joe Organ's Album

She Don't Want Me

Title track from Joseph Shabason's debut Aytche available August 25th from Western Vinyl

Pre-Order Aytche:
Bandcamp https://josephshabason.bandcamp.com
iTunes https://itunes.apple.com/us/album/aytche/id1245245891?ls=1&app=itunes
WV http://westernvinyl.com/shop/wv165

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/

Saxophonist and composer Joseph Shabason’s debut Aytche builds a bridge off of the precipice his forbears established, skirting jazz, ambient, and even new age with the same deliberate genre-ambiguity that made their work so interesting.

Aytche is a document of exploration both inward and outward. Every step taken in sound-design mirrors a stride in emotionality, as Shabason employs a variety of effect pedals to coax rich moody textures from his instrument.  He explains, "I feel like robbing the sax of the ability to shred by effecting it and turning it into a dense chordal instrument really helps the instrument become something that it's not usually known for."  Aytche deals with themes of degenerative illness and assisted suicide with eloquence that instrumental music rarely achieves regarding any subject, much less such difficult ones.

Album highlight “Westmeath” approaches Aytche’s subject of inspiration head-on. Here, the album’s only verbalization appears in the form of an interview with a man discussing his father’s trauma and eventual suicide after surviving the holocaust.  Though we only hear a few obscured words and phrases from the interview, the impact is powerful.  For Shabason, whose grandparents survived the holocaust, this selection is anything but frivolous.

Aytche

Joseph Shabason - "Aytche"

From the album Anne.  Available November 16, 2018 from Western Vinyl.

Bandcamp https://josephshabason.bandcamp.com/album/anne
iTunes https://itunes.apple.com/us/album/anne/1427808233?ls=1&app=itunes
Spotify https://open.spotify.com/album/19FD6RN5K3xYFThAHM4fGy?si=0hUO0rFVQAigvSPTvJL_4w
WV http://westernvinyl.com/shop/wv182

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/
Facebook https://www.facebook.com/josephshabason

Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. 

Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise.

Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible.  The subsequent piece “Toh Koh” then drifts into playful disorientation as a lone female voice echoes the two syllables of the title, recalling the vocal techniques of composer Joan La Barbara, or even the light-hearted mantras of Lucky Dragons. From here the album veers back onto its aesthetic thoroughfare with “November” where Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate.

The Wall

Bart

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