This track is from the album Music for Stationary Trilobites.

Precambria

Cambria

The Great Dying

Trias

Words and music by Jon Martin. 

Lead vocals, guitars - Jon Martin 
Guitars, vocals - Joel Gray 
Guitars, vocals - Jason Oakes 
Keys, vocals - Max Hopkins 
Bass, vocals - Paul Holden 
Drums - Emily Dolan Davies 

Additional vocals: Bailey Thorson, Tyler Vanden Dool 

Produced, engineered, and mixed by Jon Martin at Green Recording Company in Lethbridge, Canada. 

Drums engineered by Emily Dolan David in London, UK. 

Mastered by Frank Arkwright at Abbey Road Studios, London, UK. 

© Jonathan D. Martin 2019 (SOCAN)

----------------

Will we ever go to face the wolves in the street tonight? 
Stars are hanging low 
We got nothing to lose, we’ve got nothing to hide 
Nothing to hide 

Have you ever been in love? 
Even for a minute in a stranger’s eyes? 
Someone you’ll never know 
And if you never look back, you never say goodbye 
Don’t ever say goodbye 

Like watching spring move on 
There’s nothing I can relate to you 
Take my hand when I’m reaching out, I’m reaching out 

Oh oh 
Time passed so slowly 
In between the high and low 
Talk to me softly 
Tell me everything you know 
‘Cause we are only here right now 

My heart’s dress up for a fight 
With tight boots and jagged suit 
Put your heart next to mine 
And when I’ll call out, I’ll call out for you 
I call out for you 

Like watching summer fall 
There’s nothing that compares to you 
Take my heart when I’m reaching out, I’m reaching out 

Oh oh 
Time passed so slowly 
In between the high and low 
Talk to me softly 
Tell me everything you know 
‘Cause we are only here right now 

It’s all we’ve got 
Between the high and low 

Talk to me softly 
Tell me everything you know 
‘Cause we are only here 
Right now, oh oh 
We are only here 
Right now, oh oh 
‘Cause we are only here right now

Here Right Now

Words and music by Jon Martin. 

Lead vocals, guitars - Jon Martin 
Guitars, vocals - Joel Gray 
Guitars, vocals - Jason Oakes 
Keys, vocals - Max Hopkins 
Bass, vocals - Paul Holden 
Drums - Emily Dolan Davies 

Additional vocals: Bailey Thorson, Tyler Vanden Dool 

Produced, engineered, and mixed by Jon Martin at Green Recording Company in Lethbridge, Canada. 

Drums engineered by Emily Dolan David in London, UK. 

Mastered by Frank Arkwright at Abbey Road Studios, London, UK. 

© Jonathan D. Martin 2019 (SOCAN)

--------------------

Why did you wait so, 
Why did you wait so long? 
Till the walls cracked 
Till the walls started tumbling down all around you 
Your heart will figure out 

Hear my voice crack 
Barricaded in the storm 
I still remember the words that you said 
“There's no turning back around anymore, 
Your heart will figure out” 

Oh, we never have to be alone 
Oh, when blue skies are all we need 
To keep ourselves contained 
And the flyers on the street 
Will soak up all the rain if blue skies should fall 

Don’t turn back, don’t turn around 
(young hearts will figure out) 
No one is waiting 

Keep your feet straight on the ground 
(young hearts will figure out) 
Once it starts raining 

Once it starts raining 
(young hearts will figure out) 
Once it starts raining 
(young hearts will figure out) 
Once it starts raining 

I know young hearts will always (will always, will always) figure out

Young Hearts

Ill Melt With You

Crowded Spaces is a four-movement electro‐acoustic exploration of sound association and creative process written and recorded by Western Canadian composer Jon Martin. The piece was created through a 3-stage hybrid composition‐improvisation cycle that incorporates several concepts presented in Dennis Smalley’s Spectromorphology: explaining sound‐shapes (1997) and is defined in detail in the research paper, Exploration Through Process: Crowded Spaces (Martin 2012).

The intent of Crowded Spaces is to provide commentary on isolation in modern ‘crowded spaces’ and develop a defined creative process that facilitated aspects of indeterminacy, reduced listening, and sonic exploration. New experiences are created by challenging the listeners existing gestural association with particular sounds (‘source bonding’), by juxtaposing bonded material and unbonded material, and by exploring the associative makeup of particular sound gestures.

A collection of several real and abstract ‘crowded spaces’ were compiled and used as a compositional roadmap for the piece, with each larger ‘space’ being divided into thee smaller subsections.
It is recommended that Crowded Spaces is experienced as a complete piece in a solitary listening environment.

Crowded Spaces
 1 – Buildings
Floors 0-8 /Floors 13-21/Floors 34-55

2 – City 
Roadway/Green Space/Tea Room

3 – Transport
Mass/Personal/Air

4 – Abstract
Language/Photograph/Queue


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