fishbowl 2

An intimate piano and vocal cover of Co-op by Bess Atwell. Recorded live in one take on a baby grand in London ; keeping it soft ; close ; and honest ; with a few natural pauses so the lyrics can breathe.

I have loved this song for a while. I used to be working over on Portland Road ; and back then I would keep popping into the Tesco nearby ; I did not even know about the Co-op at the time. I definitely prefer a Co-op and wish I had been going there instead ; but Tesco still had that thing where they were always playing music ; so the place is tied to songs and little moments for me.

It also takes me back to being younger in house shares ; finding bits of furniture left out on the street ; carrying them home ; and redoing the place with whatever we could make work.

I stayed close to the core mood of the original ; but brought it into a quieter ; late night Rita Road Sessions feel ; just voice ; piano ; and a gentle sense of space.

If you are searching for Bess Atwell covers ; Co-op cover ; piano vocal covers ; acoustic covers ; or stripped back sessions ; I hope this gives you something calm to sit with.

Listen to more of my music and collaborations here:
https://on.soundcloud.com/8c5UO64MEz22HWpIlM

Rita Road Sessions
Music from the heart of London.

Co-op ; Bess Atwell (Acoustic Cover by olliray) (Live)

From the upcoming album, Synestalgia

Written by Marlon Chaplin
Produced by Ewan Kay

Engineered and Mixed by Ewan Kay at Candle Recording
Mastered by Ewan Kay
Toronto, Ontario

Personnel:
Marlon Chaplin - Vocals
Ewan Kay - Synths, Programming

Artwork by Lee Griggs

Lyrics:

Alternate End
Written by Marlon Chaplin

I wanted to call,
But my fear broke in and I stalled,
You,
Contemptuous and confused,
Had aligned your crosshairs to shoot,
Shoot,

Take me down to the range,
String me up when they call out your name,

In sight is what you thought we could be,
Now I'm far too obstructed for you to see me,
Nothing is left but the dregs,
I was unjaded - in over my head,
Dead,

I don't know where to come in,
How to speak,
How to think to begin,

Like you'd already confessed,
You let him watch while you'd undress,
Now what kind of tramp defines themselves by success?

I'd deceived and you'd believed,
Is this machine just a weapon to me?
Damaged,
Now I dare not ask,
Had your diatribe not taken me to task,

Perhaps there's an alternate end,
Some kind of twist,
Some kind of fold or a bend,

Like you'd already confessed,
You'd let him watch while you'd undress,
Now what kind of tramp defines themselves by success?
Oh now, you've gone done it again.

©℗ Marlon Chaplin 2020

Alternate End

from the forthcoming album, "My Love Won't Quit"

Come Out w/ Me

super super rough draft and the masterings fucked cos i messed up the recording ¯\_(ツ)_/¯

eyes light the way
when meanings gone
as night turns to day 
and salves all wrongs 
hear me in the morning
when the strangled cries are ceasing
just for one more silent golden song

wings beat 
hands closed
mouthpiece 
swing low
grab for the light he said
clutching his cigarette
fire for breaking bread
bullet upside my head

splintered decay 
from the bombs 
from where I lay 
seems to throng 
around me, a warning 
of our orphaned fate repeating
all across the silent scarlet long 

wings beat 
hands closed
mouthpiece 
swing low
pass through the night prepared
chimneys and open air
people largely seem scared 
the firstborn has not been spared  

wings beating 
hands closing
mouth speaking
will broken 
the goodwill has not been spared
the bodies have been prepared 
something I should’ve said 
something I should’ve said

showtune (1st draft)

Vocals by Karl McCann
Guitars by Marc Joy
Drums by Malcolm Holmes

Pure

Pure by Lights That Change

first song i ever wrote, excuse the exceptionally shit mix and some weird sound choices

i can feel my past dictating 
what earthly beauty im validating
valet to thoughts that betray me 
there’s no nurture there I’m intimating 

gutter thoughts, intimidation 
i wonder where my minds been lately 
the light that breaks on water
betrays truth plainly 

she says we laid poison groundwork 
demons in this scorched church
ahe slits her wrists at the window 
evaline in the evening dirt 
    
there’s no stars where she’s waiting
the cemetery gates illuminating  
i save space, I burn the photos 
irrelevance preserved in retro

gutter thoughts, illumination
recently my backs been breaking 
the light that breaks on water 
derides truth vainly 

she says we laid poison groundwork 
lifeless is this scorched birch 
her flames lick at the window
evaline in the evening dirt
evaline in the evening burns 
oh

evaline (1st draft)

Albedo (pre-master)

[verse]
I'm running over, creases of a page
from a stranger's hands, and the marks that they made
so with my pen, I also mark mine
pass it along as I pass the time

[chorus]
And I think some mornings
of sunset drawings
that fade
and how
ice still melts in the shade

And I dream some evenings
that I slept
with longings
and yet
still no alarm clock set

[verse]
It's hard to connect, the points of a line
that exists lonely, on a page in my mind
But I'll still trace, and see what I find
pass it along as I pass the time

No Alarm Clock Set

"Behind Bar // Sword" were recorded during the Mirror LP sessions with Jack Shirley at the Atomic Garden in 2016.

For now, digital sales of this release will be directed to CCF Wildfire Relief Fund.

Thank you for listening.
Jared, Michael, John
credits
released September 1, 2020

Balms are Jared Padovani, Michael Ascunsion & John Kolesnikow • All Songs Written by Balms • Recorded by Jack Shirley at The Atomic Garden, East Palo Alto, CA • Mixed by Justin Gerrish at Hook & Fade Studios, Brooklyn, NY • Mastered by Justin Weiss at Trakworx, San Francisco, CA • Album Art by Naveed Ahmad

Behind Bars

Picture House is a song about a cinema, and it's influence on a young person as they grow up in a small town which they are inspired to leave.

By Andrew Pankhurst and Robert Kennedy from the debut EP 'Peer Review available on carrollsmusic.bandcamp.com

evaline (1st draft)

Possum Kid