Most people I've met would clap along
if the singer asked them to. A few
would compete with the clapper beside them
for the "Most Athletic Praise in the Joint"
award, but the average vagabond is pleased
to reach one side of their life across
to the other side of their life and meet
somewhere in the middle, palms sparking
in reverence. That there are no actual
sparks doesn't stop anyone from feeling
there might be, not the flat hand
clappers or the cupped palm clappers,
who sound like horses going by in a hurry
to be happy about oats. I think I love
oats in one of their guises in a bowl
with milk. It would be good to know for sure,
like if a bus came by full of poets,
would you wave at the bus going by
full of poets, would you think, I know words
too, words like "people exist." They do.
It's easy to forget this, necessary
to forget sometimes the clamor-mouthed
singers and the horse clapping folk,
the shebang of the hullabaloo,
to break off a chunk of shhhh and hug
the stuffing out of it. And then, after
the sometimes, to put your mouth
against the air and fill it
with what we have to say to each other,
when it listens and then wipes
its listening clean, as if to tell us,
now try again.
from Speaking American by Bob Hicok
When Boom Boxes Ruled the Earth (an excerpt)
We met at the pro-love march, which you declared was a sacred goddamned institution, and all I could think was I was missing the Lab Rescue’s 7th Annual Bark For Art with over twenty blocks of streets open for people in the heart of downtown. I’m an artist, see, but much earlier in the day I’d given blood—blues and water—and when I left the hospital I saw a flight of images like choppers over Midtown. Back at the march, you said you were an attorney with ten years of criminal trial experience. You said you’d been to the City of Trees. I said all I’d done was answer an ad for egg donors needed after a three-day keg party serving the best locally brewed beer from a row of iced bathtubs. You said, Ethics enforcement is a sad farce. I said, Oh, and if you’ve heard about the local ping pong revival, that’s all me.
from Lost July by Molly Gaudry
A feather falls, gives form
to wind by its movement
around it. We can only wish
to be this lucky, giving
body, meaning, to what?
Or swept up, out into
whatever inchoate pattern
adds to un-distinguish
one thing from the next.
I have no shape you have
not given me. I am never
held well enough
that I am reminded of my life.
This, too, frame and in it
what rejects its outline, its
function, despite—there’s no other
way—being defined by it, a hand
because it fits the shape a hand
is known for. A bell for how sway.
Your mouth for how it holds
my name. Sure, I can say that—that
you are, by nature, a fist-
ful of sand, the letting-go
that is pageant: a city of men
clinging to, then falling from,
disaster. I will wait for you.
from Burn by Phillip B. Williams
Here We Go Magic
How Do I Know by Here We Go Magic
Here We Go Magic's sophomore album, Pigeons, had only been out a few weeks when the seeds for A Different Ship were planted in late June 2010 at the Glastonbury Festival. The New York band had been on the road since spring, wowing audiences at Bonnaroo, Coachella and elsewhere with their uncanny live chemistry. That had been their sweet spot since their earliest rehearsals together, when singer/songwriter Luke Temple, bassist Jennifer Turner, guitarist Michael Bloch, drummer Peter Hale and then-keyboardist Kristina Lieberson bonded over a shared belief in musical spontaneity and a kind of improvisation that feels too divinely ordered to be called "jamming."
Despite an incubation period of nearly a year, and a writing process that spanned two continents, the ten songs of A Different Ship carry a consistent thematic concern — what the band describes as an "unresolved tension between valuing being alone and valuing being connected."
Frequencies, Volume 1: A Chapbook and Music Anthology includes digital downloads of “Collector” from Pigeons and “How Do I Know” and “Over The Ocean” from A Different Ship.
Black Ops by Outlands
Outlands, the disco-noir duo Mark Arciaga and Melissa Smith, broadcast their bewitching beats straight out of Blacksburg, VA. With a celestial concoction of tripped-out dance beats and haunting vocal melodies, Outlands exists somewhere between the four-on-the-floor thump of disco, the sensuality of 90s R&B, and the hypnotism of contemporary electronica. From the first subterranean bass lines of “The Looming” to the hi-gloss sheen of “Sisters/Lovers,” Outlands has crafted a mesmerizing collection of songs that is destined to soundtrack the steamiest of after-hours dance parties. On July 6, 2012, ChillMegaChill Records released a limited cassette version of the Outlands EP, now sold out. A digital version and reissue of the cassette was released by Crash Symbols on September 20, 2012. A “Com Ocean” Remix EP was released in November 2012 on the artist's bandcamp, featuring remixes by Sacred Animals, Mirror Kisses, Dream Cop, and Heat Stroke. Outlands is currently working on its debut full-length LP.
Frequencies, Volume 1: A Chapbook and Music Anthology includes digital downloads of “Sisters/Lovers," “Black Ops,” and “The Looming” from Outlands EP.
Sharon Van Etten
We Are Fine by Sharon Van Etten
The shimmering sound of Sharon Van Etten’s Jagjaguwar debut album, Tramp, both defies and illuminates the unsteadiness of a life in flux. Throughout the 14 months of scattered recording sessions, Van Etten was without a home—crashing with friends and storing her possessions between varied locations. The only constant in Van Etten’s life during this time was spent in the garage studio of The National’s Aaron Dessner.
Upon the release of epic (Ba Da Bing; 2010), Sharon Van Etten surprised the music world with a touching embrace. Since epic’s release, she has opened the Pitchfork Music Festival, played The Hollywood Bowl with Neko Case and at Radio City Music Hall with The Antlers, sung on new records for Beirut and Ed Askew, and collaborated with Bon Iver’s Justin Vernon and Megafaun on the Songs Of The South project.
With Tramp Van Etten unveils an album showcasing an artist in full control of her powers.
Frequencies, Volume 1: A Chapbook and Music Anthology includes digital downloads of “We Are Fine” from epic and “All I Can” and “One Day” from Sharon Van Etten’s newest album Tramp.