A song by Whalebone Polly 2004 (me, Kate Stables of This is the Kit and violinist Virpi Kettu) from our only album Recordings with the Window Open, a collection of home recordings recorded in Bristol 2004

Sweetest In The Land

You Said

Unsent Drafts Never Sleep (remastered)

Produced, Engineered and Mixed by Steven Schram
Mastered by Steve Smart

Nothing Left To Say

"Trainwreck" 
Produced by Lani Renaldo 
Written by Lani Renaldo and Drew Tabor. 
Mixed and Mastered by Andrew Garver(144audio.com)

Trainwreck

By Sam Rakestraw: 
Imagine that you had access to a time machine. You could go anywhere, any place, at any point in time, and do whatever you please. I’m fairly confident there’s one place where most wouldn’t go: 2020. Maybe you’d want to fast forward to whenever this horrible time of Covid uncertainty and loss comes to an end and return to a life free from restrictions. Or, you could go back to the world before the viral trauma when your favorite local restaurant, amusement parks, or theaters weren’t closed. It’s hypothetical, but it’s fun to create that escape. One of Nashville’s newest indie rock bands, Nite Tides, makes that escape to the west coast of the Sunshine State with a 60s pop take in their debut track, “Forever Baby.”

Born and raised in San Diego, Ryan Poole made the musical pilgrimage to Nashville to work in recording. After the move, he spent the next seven years behind the soundboards in the studio mixing, editing, and largely working on other people’s music. Poole, however, found himself idling in the studio one Sunday this summer. 

“It was the Sunday afternoon after the Fourth,” Poole recounted. “I didn’t have anything to do. And I was telling myself, ‘Dude, don’t go into the studio; take a break from work.’ But I just got this bug in my head. I wanted to do a song that was kind of surfy for a long time,” he remembers.  

The retro sounding song about escaping to the Golden State beaches for surfing, away from a sickly world, influenced the project name, “Nite Tides,” as Poole brought some of his buddies on. What was intended to be a day of messing around in the studio developed into a 100-hour project.

“Forever Baby” begins with an overture of guitar. They sound violent at first, as the strings are aggressively tugged at. It’s almost like the section of The Beatles’ A Day in the Life, where the instruments sound as if they’re winding up for an ear-splitting roar. But that roar never comes. Out of the blue comes a tropical guitar and ukulele melody. Whatever image of a growing storm the listener had in their mind is now replaced by a Californian seaside with towering foaming white waves beckoning to them. Poole sings the verses of escaping the current time in a wavy trance-like tone similar to Day Wave. In fact, Poole cites the 2015 indie rock project as one of his influences towards creating this track. 

“The Enneagram test is a personality test like Myers Briggs or anything else,” says Poole, “My particular Enneagram is what they call a seven. Basically, the main thing regarding the seven is having fun, always busying yourself with activities, and trying to avoid pain by having fun and never stopping. This song hits that seven quality in a bunch of ways. Even after its creation, I couldn’t just take a Sunday off and be lazy. I had to do something fun and creative.”

Many of the song’s lyrics were an escape for Poole to write and sing. The rest of the song structures piano and guitar chords to versus that sing, “If I’m not sick and you’re not sick then we’ll head out west where the sunset lives and we’ll ride a wave forever baby.”Those lyrics were what  brought Poole into the studio. From there, he wrote more verses that built on the theme of escaping in the true nature of an Enneagram seven.

“Forever Baby” is Ryan Poole’s time machine to the coast, set in the 60s and a love letter to surfing. It’s an accurate estimate to say that Poole would take his time machine to the San Diego beach circa 1968. “With the idea of Nite Tides, that’s how I’m branding the whole thing. Creating this aesthetic of 60s beach surfers and classic cars (he drives a 64’ Thunderbird). It’s just very much a Beach Boys-like band, and we’re having fun with it. That’s not everything about me; it’s not my whole personality or my whole taste in music, but it is one big part. So, Nite Tides is this compartmentalized part of me—my retro beach side.” #surf #surfrock #janglepop #indiepop#bedroompop#lofi

Forever Baby

Losing You out now: ffm.to/losingyou

Music and lyrics: Samuel Pettersson and Thomas Soltvedt.
Produced by Matias Tellez, Samuel Pettersson and Thomas Soltvedt.
Mixed by Matias Tellez.
Mastered by Bo at Calyx Mastering.
Cover photo by Johanne Berg-Larsen.

Losing You

Sadie Dupuis - production, engineering, arrangements, guitar, bass, synth, organ, piano, vocals, lap steel, marimba, glockenspiel, percussion, drum programming, resonator, electric sitar, baritone guitar, autoharp, theremin, toys, trash, ephemera 
Zoë Brecher - drums, percussion

Sarah Tudzin - mixing (Sonic Ranch, Tornillo, TX); engineering, “Oops…!” and “Good Grief” (New Monkey, Van Nuys, CA); microwave 
Maryam Qudus - engineering, “Hysterical,” “Ghost (of a Good Time)” and “Ruby Wand” (Tiny Telephone, Oakland and San Francisco, CA); handclaps
Erin Tonkon - engineering, “WTD?” and “Market Hotel”; drum engineering, “With Baby” and “The Crow” (Studio G, Brooklyn, NY)
Lily Wen - engineering, “Into the Catacombs” and “Take Care” (Figure 8 Recording, Brooklyn, NY)
Anne Gauthier - engineering, “With Baby” and “The Crow” (La La Land, Louisville, KY)
Emily Lazar - mastering (The Lodge, New York, NY)
Chris Allgood - assistant mastering
Audrey Zee Whitesides - bass, “WTD?” and “Market Hotel”
Roberto Lange - vocals, “Into the Catacombs”
Merrill Garbus - vocals, “Ghost (of a Good Time)”
Satomi Matsuzaki - vocals, “With Baby”
Rick Maguire - vocals, “Take Care”
Camellia Hartman - violin
Anna Takeda - violin
Joshua Gomberoff - viola
Eva Lawitts - double bass
Alexander Davis - bassoon
Hillai Govreen - clarinet
Kana Miyamoto - flute 
Shun Katayama - flute 
Samuel Weissberg - conducting, score revision
Cover painting by Diane Dupuis. All other art by Sadie Dupuis. Art photography by Natalie Piserchio.
All songs written by Sadie Dupuis, July Was Hot (BMI)

$1 per album sale in 2020 will benefit Prevention Point Philadelphia, a harm reduction organization providing free medical care, syringe exchange, shelter, overdose reversal training, and other vital social services. Learn more about them at ppponline.org.

Haunted Painting

Good Grief

Into the Catacombs

Official Video: http://bit.ly/APMOSVideo

Listen/Buy: http://smarturl.it/APMOS

From the new album 'A New Joy' - 30.10.2020 - http://smarturl.it/APANJP

www.artificialpleasure.com

Into the Catacombs

Sad13

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