The title is taken from The Pharmacist’s Mate by Amy Fusselman, where she is describing that almost miraculous nature of music. She sums up by saying:

“And how even though the vibrations are invisible, I can feel them in the air. I can feel them, they are there, they are as there as I am.”

A song is a strange thing. The way in which the writer captures it and builds it up to what we find on our records and CDs is unique to each artist. A whole host of changes are possible from that first spark of inspiration, be it a certain lyric or series of notes. What we hear on studio albums may be an evolved version of the original. It may have been sped up or toned down, altered to sit with the other nine or ten songs with which it shares the album. Conversely, what we hear during live performance may itself be the evolved state, an shift of empahsis or tone to better suit the context.

Whatever changes occur, live songs are different to their recorded counterparts, and this mix contains songs that are different and/or special when performed live. Sometimes there are obvious differences from the recorded track (such as the frenzied ending to ‘Wolves’ by Phosphorescent) and other times it is subtler, increased emphasis on just a word or two. Sometimes there is nothing obviously different apart from some sense of  purity, something organic in the single take delivery.

I’m sure even the most seasoned concert goer will be able to point to two or three moments where a live song somehow transcended normal experience, becoming something so inherently personal it’s hard to believe others were in the room. For me, great art is about the trading of emotions to some empathetic goal, the artist allowing the listener/viewer into themselves to see something pure, something to which everyday labels and descriptions do an injustice. In truly great art, seeing inside another is not fascinating in a some voyeuristic way but instead because it stirs a recognition in the listener. The indescribable feelings within us are given voice, they are painted for us by the artist and shared so that others can see. In this way, the song becomes as much about us as it is about the artist (something which much prove difficult for musicians, which is another debate entirely).

Adam wrote about his choices for the mix in his own blog post, so be sure to go and check that out too.

Hopefully the tracks below contain some sort of spark, that indesribable magic that Fusselman describes.

I Can Feel Them In The Air (Wake The Deaf Side):

1. A Few Kind Words (Live at the Queen’s Hall) – Meursault
2. Tapes (Live at WMSE) – Conrad Plymouth
3. When My Time Comes (Live at the R&R) – Dawes
4. Dead Letter & the Infnite Yes (iTunes Session) – Wintersleep
5. Lately (Live on KEXP) – BOAT
6. Something, Somewhere, Sometime (Daytrotter Session) – Ben Sollee
7. Last to Swim (Weekender Session) – Strand of Oaks
8. Medication – Damien Jurado
9. Mountain Song (Live in Munich) – Evening Hymns
10. Red (Live at Schubas) – Okkervil River
11. Allahu Akbar (Daytrotter Session) – Emperor X
12. The Twist (Quietly Now) – Frightened Rabbit
13. Wolves – Phosphorescent
14. Blood Bank (Live at Glastonbury) – Bon Iver
15. Wasp Nest (Black Session) – The National
16. Jeanne, If You’re Ever in Portland (Daytrotter Session) – Casiotone for the Painfully Alone
17. Down in the Valley (Live on KEXP) – The Head and the Heart
18. Wake (Live at the Bowery Ballroom) – The Antlers
19. First Night (A Positive Rage) – The Hold Steady
20. Robots (Live at Shorefest) – Dan Mangan

I Can Feel Them In The Air (Songsfortheday side):

1. Years/Cleo’s Song (Daytrotter Session) – JBM
2. Grown Ocean – Fleet Foxes
3. Ghost of the Beast – Kelli Schaefer
4. Ocean Open Wide – Hoots & Hellmouth
5. First Sight – These United States
6. Nobody But You – Langhorne Slim
7. Yellow (Piano Version) – Coldplay
8. Blackout (a capella) – Pickwick
9. Everything Trying (Fuel/Friends Chapel Session) – Night Beds
10. I Won’t Be Found – The Tallest Man on Earth
11. To Sing For You/Brand New Colony – Ben Gibbard
12. Kathleen (Live from Dublin Castle) – Josh Ritter
13. Outfit – Jason Isbell & The 400 Unit
14. Acuff-Rose – Jeff Tweedy
15. Catapult – Counting Crows
16. Evening Kitchen – Band of Horses
17. Always on My Mind – Iron & Wine/Calexico
18. Born to Run – Bruce Springsteen
19. Since I Fell For You (ft. Mike Noyce & Justin Vernon) – Eau Claire Memorial Jazz I
20. I Just Wanna Love U (Give It 2 Me) – Jay-Z

You can find both mixes here as a collection.

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First of all, how did Old Earth come into being? Was it something personal that developed into something bigger? Or did you always plan to have collaborators?

It started out personal by necessity… I’ve always been a collaborator for other people’s projects, but didn’t write full songs until I was about 26 (I’ve been playing guitar since I was 15, and I turn 34 tomorrow). In ‘05, I didn’t have a band, so I bought an acoustic guitar and started from the ground up.

I met most of my collaborators in ’06 doing open mics around Milwaukee. They focus on Field Report now, but back then, we regularly shared members and shows. I drummed for Conrad Plymouth, which became Field Report, and it was the most fun I’ve ever had as a collaborator. I think of Berg, Porterfield, and Whitty as my core team. They’re my go-to guys when I start recording, and my network grew through them. We’re friends first, though, because I’m hard to work with. I’m untrained. I use my own tuning, my own structures, and I don’t know a thing about theory. When people ask what key I’m in, they might as well be speaking another language.

The pool I’m able to draw from right now is incredible, and there’ll probably be about a dozen people on the next record.

What inspires your song writing process? Are you mostly influenced by other musical acts? Or do things like literature play a part too?

Rap has inspired me since I was 11. That genre is propelled by innovation, competition, and a sense of hustle that isn’t present in the indie rock scene. I’m equally motivated by acts that disgust me by their lack of ideas, energy, and hard work… Small Hours was very driven by things I don’t like. It’s what I’m NOT doing on that record that’s important to me.

Yes, other mediums play a huge part, and finding ways for it all to interweave makes for a rich experience. I have my hands in a lot of disciplines and my mind in even more. I like poetry (esp. the Beat poets) and short stories, visual art, and always have movies on (mainly for atmosphere).

For me, many Old Earth songs are cinematic, not in way that the word is often used (you know, big orchestral sounds and over-production) but in that they conjure imagery. This is very difficult to properly describe but the sounds have an underlying sense of action or violence that produces pictures or events without the need for words. Maybe it is because the music is so psychological, with abstract sounds and phrases rather than a traditional narrative.  Does film have any impact on your work? Or is this just a consequence of releasing your mind through your music?

Film has a huge impact on my work- movies are about pacing and dynamics, creating and changing a mood in an instant, and marrying words and images to sound. I’d say that has more to do with my work than any other medium. I even think of certain riffs or words as characters, because they recur and represent a time, place, or person to me. When I do recordings, I put myself in the role of director, composer, and most often, curator. I’m also doing more scoring for other people’s film work, and it feels very natural.

The process of writing music such as this is really interesting to me. I find the idea of sitting down with the intention of putting together a song that will eventually sound organic and fully intended overwhelming in the extreme. I can see how people sit and write traditional folk songs, with maybe a poem or a story set to guitar strumming, but when the instrumentation plays such an important, visceral role I find it hard to imagine someone sitting down and working it out. How do you assemble something so convincing from the basic units of notes and words? Do you focus equally on the lyrics and the music? Or are the words governed by the music (or vice versa)?

Well, you have to bear in mind that I’m never starting from scratch. I have riffs and words and half-formed songs that I’ve been playing on for years, and I don’t have rules about one element governing another. For me, the song is the basic unit, and the riffs and words arrange themselves around it. Patiently living with the songs will tease out what they want to be… Writing never happens the same way twice, and it’s best for me to think of it as magic and leave it at that.

I’ve found that working on a few songs at once is really useful because they innately speak to each other, and the motifs become inherent. And, sometimes, you have to write three (or more) to get the one you want. Sometimes a song will spring from practicing an older one, or trying to play someone else’s.

Writing is constant, though. Singing with a guitar is only part of the process… As I’m doing a chore, running errands, or riding the bus, I’m working in my mind or on paper. I don’t think I can completely isolate the process from myself and describe it, it’s just what I do.

I once heard Damien Jurado speak on his writing process, something I’ve mentioned before on the blog, where he stated that songs always exist in some unknowable place within an artist, and that there is a spontaneous moment where each song is realised and takes form. Is this the case for you? Do songs tumble from your mind in something like a cohesive manner? Or is it more of an arduous process of trial and error, experimenting with different things?

Some seem to pop out fully-formed, but again, that’s only because I’ve played guitar basically every day for over half my life. You could argue that every song I make now has taken my entire life to write, rendering any spontenaity an illusion.

Trial and error plays a role, and it can be challenging at times, but I’m lucky if music is the most arduous part of my life. Cohesive moments are rare and can’t be counted on, so I just keep working. As for what Mr. Jurado is saying, I instead think of my songs as existing somewhere outside of myself, and I’m just witnessing and interpreting them.

For me there is a duality in your music, two aspects which combine to form a very convincing whole. The instrumentation represents the atavistic emotions and sensations, the instinctive things like fear and joy and unease, and the words are the complex thought, the reasoning that tries to bind the first category together into something that can be understood or shared. The music and lyrics together form something that is very human. Is this something you ever consider? Or is it a by-product of writing your mind?

I don’t think reason enters into it, especially with the lyrics. They’re intentionally vague, contradictory, and sometimes irrational. I like homonyms and multiple interpretations- sometimes the lines are a conversation, sometimes narration, and sometimes simply a human voice needed to be present and it felt good to sing there.

Music is inhuman if it isn’t saying “I love everything and it all makes sense” one moment and then “I’m confused and hateful” the next. The duality is more honest about the experience of being alive.

In our review of your album we included a quote where you essentially say that you take risks in order to make your art, and that pleasing people is not at the forefront of your thinking when trying to create something true to yourself. I read an interview with the Steinberg Principle where you go on to say that it is easy to pad yourself against criticism by being ironic. This remark brought to mind an essay by David Foster Wallace on TV and literature where he basically says that whole generations have grown up into superficial/empty people because they have been continually pumped full of ironic and clever TV characters who make fun of everything to appear ‘cool’. He pointed out that cynicism and irony can only ever be destructive, and truly brave art will stop poking fun at things and be itself, however hideously revealing that may be. Do you think this applies to music too, where it’s maybe not as clear as Family Guy or The Simpsons or a Mark Leyner novel? I’m thinking of artists such as yourself versus the current trend of ‘folk’ bands.

Overall, much of what’s popular is very sad and shallow to me, and I don’t need that kind of trash in my life. I’m not worried about any current trend because I’ve seen so many of them come and go. The joke’s on those bands, really. They’ll look back and feel foolish for dressing up and behaving that way. Fuck irony. I’m trying to make something to uplift myself, and it’s reassuring to me that other people can relate to it.

Finally, could you name 4-5 artists that you are currently listening too? They could be brand new or decades old, whatever you are enjoying at the moment.

My lady plays a lot of 60’s country and punk, I love Golden Oldies, I always have Gucci Mane in my headphones, and I couldn’t fairly list all my friends who are doing music that excites me. Milwaukee is an amazing place to be right now. The stuff that I’ve bought on bandcamp and shows up in the “collection” tab has a lot of good suggestions.

To better answer your question, though, the last month has been a lot of Drake’s Take Care, Fabolous’s The Soul Tape 2, J. Cole’s Truly Yours 2, and as for rock stuff, Ladyhawk’s No Can Do is ruling my world.

Jon: If you want to get some Old Earth music then head on over to his Bandcamp page. Mini50 Records have put out Small Hours, and a low place at The Old Place is now available on vinyl.

Also, in some strange twist of fate, Old Earth is playing with Small Sur and Peals, bands we featured just last Friday, this Tuesday (11th June ’13). If you are in the Milwaukee area then you would be silly to miss it. More information can be found here.

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Small Hours follows a similar pattern to previous old earth releases, although that is about the only ‘convention’ that it follows at all. Umhoefer is a great believer in experimentation and in taking risks. He says:

“If you want to be an inoffensive “regular” musician that just aims to please everyone, go ahead, but meaningful art comes out of making extraordinary choices. There are plenty of ways to avoid challenges and risks in life, and nothing interesting, unpredictable, unique, or inspiring comes from cowards.This is the most valuable lesson I learned from punk – celebrate yourself, whether everyone likes it or not.” 

This attitude is very apparent when listening to the album. It consists of just three tracks, all of which exceed five minutes in length (the longest clocks in at over ten minutes). The titles of these tracks are extremely vague, simply 1, 2 and 3 (although there is a more detailed list on old earth’s bandcamp which splits each track into several more). From that evidence alone I think it’s pretty clear that Umhoefer does whatever he wants, and that he is unconcerned about generating huge media buzz, or getting prime-time radio coverage. What he makes is art, and he makes it because he feels compelled to do so. This fact seems to have further relevance this week, when hundreds of bands and music people descend on Austin and huge, multi-million dollar companies splash their logos all over stages that are meant to be the platform for aspiring artists.

The music itself is in the same vein as previous old earth releases. Traditional folk music serves as a bedrock on which Umhoefer does his experimentation. The atmosphere is strange and dreamlike and Umhoefer’s vocals only add to the surreality, sporadically sounding like ominous demands or earnest pleas or the shamanistic chants of some psychedelic ritual. If you are a fan of lo-fi folk music (e.g.Phil Elvrum or The Wandering Lake) or even of drone/ambient stuff such as Grouper,  then I suggest that you quickly get familiar with old earth.

Small Hours will be released on the 22nd of April and is now available for pre-order via mini50 records. The CD comes with a beautiful lyric booklet that contains art by Jamie Mills (check out his website, some of his work is simply amazing). There are several packages on offer – you can just get the CD, the CD plus and old earth tote bag or a bundle which contains the CD, the bag, a bonus EP and a download for old earth’s previous album a low place at The Old Place. This is a very limited release, so I’d strongly recommend you order yourself a copy right away.

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a low place at The Old Place is an album that Umhoefer released last year, consisting of six songs which appear as a single track, which comes in at just over 18 minutes in length. Several of the tracks have been previewed on Bandcamp in the past (most notably ’more wrung in the wrong?’ which was the track that introduced me into Old Earth) but this is certainly the definitive collection. The album was recorded in the basement of Umhoefer’s grandparents’ vacant home, where he says ghosts are abound. This eerie atmosphere pervades the entire album and some of the haunting experimentation on show really is rather beautiful. There’s also this strange and ominous side to it that makes the whole thing fell like some sort of weird fever dream. The sparse lyrics provide a perfect accompaniment to the music. Below are the lyrics of ’wait less, more strings’, which I think give a good indication of the atmosphere of the album as a whole:

What if it’s all in the fall? 
What if it’s all in the fall? 
What if it won’t happen now? 
What if it’s all in the fall? 
What if it rains again? 
What if it’s all in the fall? 
What if it’s an old house? 
What if it’s a wait? 
What if it’s an older word? 
What if it’s a weight? 
What if it’s alone? 
What if it’s a wait? 
What if the word was so? 
What if it’s all in the fall? 
What if it’s a wait? 
What if it’s a weight? 
What if it’s a wait? 

The album was produced by Christopher Porterfield of Conrad Plymouth and Field Report (who we are very big fans of), who also lends vocals on the album. Nick Berg and Travis Whitty, two other members of Field Report, also lend their talents to the project. You can buy the album on vinyl, CD or digital download via Bandcamp – and it’s really really good so I would suggest that you strongly consider it.

Old Earth has also recently signed with mini50, a label based in Edinburgh, and has a release, titled Small Hours, scheduled for release in the Spring. I have embedded the teaser trailer (which was created by Blackbox Visual, using footage from Don Ford) below:

Old Earth – Small Hours album trailer from Blackbox Visual on Vimeo.

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But for me the album’s strength lies in the writing, which borders more on prose than the melodic lyrical writing of most other bands. Each track shares the high-quality writing and storytelling which, at least for me, is what makes anything Porterfield has released thus far so special. For example, a line in ‘I Am Not Waiting Anymore’ goes:

I spent eight long years working on my screenplay; it’s a teen movie with young actresses that plays to the middle-aged. I have read between the lines and I have been wrong every time, I burned it on the altar but I am fine. I am not waiting anymore.

And perhaps my favourite line from ‘Fergus Falls’:

I was concealing his kid under his crew-neck state school sweatshirt while he grinned off in the distance behind prescription shades and they were blocking out the clouded-out sun while he was hoping against a daughter and no-one saw my banners, my bruises, my flares, my flags.

The “new” tracks follow a similar blueprint and the storytelling aspect is never more apparent than on ‘Taking Alcatraz’, a song about Native American activist Richard Oakes who led an 18-month occupation of Alcatraz Island in San Francisco between 1969 and 1971, before being shot and killed aged just 30. The song is brilliant and it attempts to say more in its five and a half minute duration than most artists do in entire albums. Other previously unheard tracks include the laid-back ‘In The Year Of The Get You Alone’ and the dark ‘Chico The American’ which is all gin drinkers and country blues. Another standout is the closer, ‘Route 18’ which opens with the line: “Elizabeth said last night the lake roared like the ocean, I was landlocked under the orange-white solstice moon. Imagining a place just meant to conjure up another, three degrees of hometown disconnect in my unborn daughter’s room.”

The song goes on to pensively chart several generations of life in some American town, dealing with the weight of time and family history in the vein of classic American literature. I have recently been reading Neon Bible the debut novel by John Kennedy Toole (the author of one of my all-time favourite books A Confederacy Of Dunces), a nostalgic and reflective look at family in small-town USA, in a style that is Flannery O’Connor meets Harper Lee. Maybe it is just the proximity of me reading this book and hearing the song, and there certainly aren’t any real thematic links between the two, but the general feel and nostalgia of both formed some kind of link in my mind. This is, if nothing else, a testament to the high standard of Porterfield’s writing and should be taken as high praise. It also raises another important aspect of the record, which is that music such as this should ideally be heard during a period of peace or isolation, its full effect will not be realised if there are a number of other things vying for your attention, much in the same way it is difficult to read a book properly whilst listening to music or having a conversation.

The album is available now to stream in its entirety via Billboard and will be released on September 11^th on Partisan Records. A great recording of a performance at  The Mercury Lounge in New York City is also available via the excellent nyctaper, a free download of the set is available in good quality here.

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Tracklisting:

1. Heroes (David Bowie Cover) – TV On The Radio
2. Shame (PJ Harvey Cover) – Japandroids
3. Close To Me (The Cure Cover) – WHY?
4. Float On (Modest Mouse Cover) – Blackbird Blackbird
5. The House That Heaven Built (Japandroids Cover) – Beat Radio
6. Going To Georgia (Mountain Goats Cover) – Sledding With Tigers
7. Still Life Blues (Elephant Micah Cover) – Small Sur
8. Runaway (Kanye West Cover) – Parts & Labor
9. Flume (Bon Iver Cover) – Emily Sprague
10. Lovely Allen (Holy Fuck Cover) – Shugo Tokumaru
11. Oh! Sweet Nuthin’ (The Velvet Underground Cover) – Bry Webb & Casey Mecija (of Ohbijou)
12. Whirring (Arms Cover) – Windmill
13. Wonderful (The Way I Feel) (My Morning Jacket Cover) – Trampled By Turtles
14. End Of The Line (Travelling Wilburys Cover) – GSJF
15. Constructive Summer (The Hold Steady Cover) – Kelly Hogan
16. Texas In A Drawer (Heidi Spencer Cover) – Conrad Plymouth (Now Field Report)
17. Red Candle Bulb (Withered Hand Cover) – Meursault
18. Yulia (Wolf Parade Cover) – Dan Griffin
19. Kettering (The Antlers Cover) – Sean Atkins
20. Golden Age (Beck Cover) – Strand Of Oaks

As usual if you like what you hear then go out to shows and buy stuff.

(P.S. Be sure to check out Volumes I and II if you haven’t already)

The Covers Mix: Volume #3 from Wake The Deaf on 8tracks Radio.

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15. Tune Yards – W H O K I L L
(4AD)

14. Oneohtrix Point Never – Replica
(Mexican Summer/Software)

13. Youth Lagoon – The Year of Hibernation
(Fat Possum/Lefse)

12. Parts & Labor – Constant Future
(Jagjaguwar)

11. Radiohead – The King of Limbs
(XL/TBD)

10. Clams Casino – Instrumentals Mixtape
(Self Released)

9. South of Lincoln – Homes

 (Self Released)

8. Blanck Mass – Blanck Mass
(Rock Action)

7. Conrad Plymouth – Comrade Plymouth
(Ten Atoms)

6. St. Vincent – Strange Mercy
(4AD)

5. The Antlers – Burst Apart
(French Kiss/Transgressive)

4. Gil Scott Heron / Jamie XX – We’re New Here
(XL/Young Turks)

3. James Blake – James Blake
(A&M/Atlas)

2. Handsome Furs – Sound Kapital
(Sub Pop)

1. Bon Iver – Bon Iver
(4AD/Jagjaguwar)

If you’d like a sample of the above, check out the Wake The Deaf Top Albums of 2011 playlist on Spotify. Click here to be taken straight there.

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The reason I have decided to write about Conrad Plymouth today is the release of more songs via their Bandcamp page. ’Comrade Plymouth’ is a collection of (mostly solo) songs that were deemed unsuitable for the upcoming full length but nevertheless contains some gems. Both ’Comrade Plymouth’ and ’Conrad Plymouth EP’ are available on a ‘name your price basis’ and I’m sure it would be very much appreciated if you could give a donation, however small, to help these guys carry on making music for our listening pleasure.

If vinyl is more your cup of tea, the S/T EP is available from Ten Atoms for a very reasonable $10. Keep an eye out on the Ten Atoms site for the debut album, I’m sure it will be worth the wait.

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