Force Field PR Jan. / Feb. 2019 Playlist

Κόρη (Proserpina) - counter)induction

Conductor - Carl Bettendorf
Violin - Miranda Cuckson
Viola - Jessica Meyer
Bass Clarinet - Benjamin Fingland
Composer - Alessandra Urso

Recorded live at Broadway Presbyterian Church December 9, 2013


Κόρη - counter)induction

Percussions - Ascii Bot (TEXT030A)

Stealth Fee

Artist: RXM Reality
Album: Panic Cycle
Release Date: 3/23/18
Format: CS, DIG
Cat#: HAUSMO 72

Panic Cycle

RXM Reality - Tiny Slips of Paper

Take Me To The Beginning Of Time

"Mirror" is the title track from our debut LP to be released February 1, 2019.  
Preorder the record on 2xLP Double Vinyl at balms.bandcamp.com

Balms are Jared Padovani, Michael Ascunsion, and John Kolesnikow • 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 • Art by John Kolesnikow

Mirror

━━━━━━━━☆ʙʀᴜɪsᴇs ᴀɴᴅ sᴀᴛɪɴ☆━━━━━━━━
here we are 
here we go 
can we do this
i'm not sure

bruises and satin 
and spiderwebs to catch him

you make me feel like i'd be happy if i tried
you make me want to put some effort in my life 

too much of my time
too much of my life
writing songs for people
while the stars fall from the sky
i hate it when i cry 
you said you didn't mind
you hold me and i fight back 
all the tears that fill my eyes

i'm so sorry
i'm so sorry
i'm so sorry 
that i 
i'm so sorry
i'm so sorry
i'm so sorry 
started crying 
started crying 
started crying 

[bruises and satin
and spiderwebs to catch him]

you make me feel like i'd be happy if i tried
you make me want to put some effort in my life

i'm so sorry 
i'm so sorry
i'm so sorry 
that i 
i'm so sorry 
i'm so sorry
i'm so sorry

bruises and satin

━━━━━━━━☆ɢʟᴏʀɪᴏᴜs ᴅɪsᴀsᴛᴇʀ☆━━━━━━━━
by this time next year
you'll be wanting to forget about me
can i make this clear
you know nothing, nothing about me

i always jump the gun
at least i'm having fun
i always jump the gun

you lay your head 
on my chest and
you hear the things
i haven't said yet
you cleaned my scars
and touched my stitches
tear me apart
that's what my wish is

i still regret the way i kissed you
addicted to the thought of rescue
but i was just, a flightless dove
a vision of, my tortured virtue

[i am a glorious disaster
poison, your heart is beating faster]

i wanna hear 
all the things that you're thinking about me
you told me dear
 you don't know what to do now without me

i always jump the gun
at least i'm havin fun
i always jump the gun 

you love me cause you wanna fix me
your labyrinth, your greatest mystery
it's written in my family history
please sign right here to indicate you're missing me

[i am a glorious disaster
poison, your heart is beating faster]

glorious disaster

━━━━━━━━☆ғᴏʀɢᴇᴛ ᴍᴇ ɴᴏᴛ☆━━━━━━━━
if you saw the way 
i tried to save myself so i could swim
if i had a guess its probably best 
if you dont let me in

i'm so tired of the people 
who just tell me to relax
if i had to guess its probably best
for you to check the facts

and if you know it can be hard to forget
it's been three years and i still haven't slept

[forget me
forget me not
you left me 
you left me to rot
forget me 
forget me not yet]

i wish that i could flip a switch
or take a pill to make it better
you say that it can't rain forever
but i'm fucking tired of this weather

one of these days they say
that i will wake up
this is just a phase
if i could guess you're just upset
you can't have everything your way

and if you know it can be hard to forget
it's been three years and i still haven't slept

[forget me
forget me not
you left me 
you left me to rot
forget me 
forget me not yet]

i don't think i'll ever learn my lesson
you ignore the facts 
so i'm still second guessing

forget me not

━━━━━━━━☆ᴅᴀʏ ʙʏ ᴅᴀʏ/ʙᴏx ᴏғ ᴄᴀʀᴅs☆━━━━━━━━
i stole a pocketwatch 
from the last place 
that i saw your face
i stole a box of cards
from that corner store 
where we used to say

i'm tired of this rundown
i feel like everything
just starts to feel the same

[day by day]

i freeze up when you talk
and i don't know what i should say
i tried to impress you 
and that's the price i have to pay

i'm tired of this rundown
i feel like everything
just starts to feel the same

[day by day
it's never gunna change]

day by day/box of cards

Extrait de Nuit Sang sur la Plaine Lune

Photo par Florine Brière

Ta Peau Brille Dans Le Noir

Quarantine Drizzle Drone

Justin Randel is Reaches, an artist exploring the potentialities and possibilities for twisting the electronic communalism of dance music through his own framework of introspective, soul-searching lyricism and songcraft.  His second record, Wherever the Internet Goes, Sorrow Follows, out _____ continues his investigation of the voice and vision of the project, following up on his record I Am Alive and Well.

Randel’s a born road dog, traveling and performing under both his Reaches project and other various monikers over the past decade, spanning three continents and 19 countries in the last few years.  He’s the kind of performer who comes off tour talking about his next jaunt, and those years traveling have left him with an impressively deep catalog of stories, names and places from which his work emerges. Trained in music composition, Randel was equally informed by years trawling through online music boards, blogs and P2P networks, culling together a taste that spans global pop, electronic composition and sonic experimentation in equal measure, and which finds its natural expression in his releases.  

This expansive sense of the disparate threads and thoughts of the global underground find a cohesive point of exchange in Randel’s work, as if his songs sought to pull together the disparate communities, the faces and zones that he has lived and worked in over the years into a more communal space. Wherever the Internet Goes, Sorrow Follows sits at a precise juncture of psych-tinged song craft and dancefloor-oriented productions that speak to his time in the midwest hotbed of Chicago.  Switching between, lurching, deconcstructed approaches on tracks like “Two Particle Beams Collided” and more anthemic, direct work on pieces like “GCI.”

The record has a slack, slithering production style, mixing dense sonics with a direct, wide-eyed delivery that relies on Randel’s deep crooning vocals.  The work immediately recalls the vocal stylings and lyrical content of classic New Romantics records, but in the artist’s long relationship and close friendships within the Midwestern dance music communities equally see him exploring more mesmerizing, meditative textures and spaces.   

It’s a testament to his ability as a songwriter that these pieces could almost find a home in any of the environments described above, whether a basement rave in Eastern Europe, a loft party in Brooklyn, or anywhere else, a series of tracks sent out like love letters to the worlds he’s passed through and shared.  As a result, the record itself feels full of the tragedies and triumphs of the world around him, friends lost and found, and the shared spirit of creativity, of building a world for themselves, that unifies them.

Take Me To The Beginning Of Time

reaches

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