Three rough, single and first takes from the front lines. Equipment: Tascam DR-40, CAD22a, and instruments. Where any polish exists, I can guarantee it’s just spit. When you spend your days hiding and running from fellow flesh-eating cannibals and soul-sucking spirits from the sister dimension, you tend to do what you can, when you can, where you can. I tell production polish the same thing I tell the coming zombie apocalypse: get in line.
Consider this a first blush bridge over the gaping chasm between the not-so-random clash of sound we call music and other forms of linguistic storytelling that have, up to this point, left my output heavily segregated and schizoid.
By way of comfort, expect more of this sort until I, like everyone, eventually become food for someone else.
Everfear heavily references a popular anthem of disaffected youth and teenage angst from the roaring 90s, and punts it squarely like a burning sack of shit into the pristine courtyard of normalized exploitation, where it belongs.
Ziggy Dies Hungry arrived in a dream early one morning as a tribute to the recent passing of You Know Who. It translates the remnant ruminations of an ancient vampire while he decays after being bitten by the Love Bug in all the wrong ways and in all the wrong places.
LGM captures a pivotal moment of lonely sadness where I thought horizontal violence would win the battle of the week, if not the war. I swear someday Kermit the Frog will sing it again. He stood there with me while I wrote it for him.
Visit the links for lyrics.