#Nap Eyes

[dustedmagazine]

Laughing — Because It’s True (Celluloid Lunch/Meritorio)

“Will She Ever Be a Friend of Mine” jangles like a long-lost Byrds tune, or maybe an out-of-print single by the Jayhawks. The Sadies, at their least bluegrassy, could sometimes pull off a similar trick, putting a psychedelic shimmer on exuberant country rock, and they’re certainly not alone. Big Star, certain iterations of R.E.M., Robyn Hitchcock and the Minus Five all come to mind as Laughing’s first LP spins. Still, to my mind, the touchstone above all others is Matthew Sweet’s Girlfriend, the most effortless and heartbreaking of the genre, full of yearning harmonies and indelible hooks and some mighty fine guitar work from one Richard Lloyd. Like Sweet more than a generation ago, Laughing nails power pop’s ease and inevitability, and that’s impressive. It’s one of music’s most difficult forms, not least because it should never look like you’re trying.

This is the first album from Montreal-based Laughing though its members are mostly veterans of other bands. Notably Josh Salter, one of three guitar/bass/singers, plays bass in Nap Eyes. Cole Woods led Winnipeg’s Human Music. Laura Jeffery, the drummer, was in Fountain. André Charles Thériault, the lone exception, hadn’t been in a band for over a decade when he joined.  What brought the four together was power pop and nailing its sweet but rowdy jangle-i-ness.

Well, mission achieved. Consider, for example, the single “Bruised,” with its yearning vocals (“When you said you didn’t care/I felt something inside me tear”), its rough slashes of guitar, its battering drum line, its seething harmonies, its spiraling licks. The song is nearly perfect in its roughed-up, cowlick-sticking-straight-up messiness. Barbs of dissonance jut out from its breezy choruses, like rusty wires in cotton candy; not too sweet, not too rough.

“Secret” is slower and more vulnerable—and it’ll give you a powerful jolt of Sweet-ish-ness, “You Don’t Love Me,” maybe or “Nothing Lasts.” The guitar rings like bells, the bass buzzes underneath, the drums shimmer and pulse. “Won’t you tell me something/no one else knows/let’s get as close as we can and put on one another’s clothes,” the singer intimates, echoing Girlfriend’s exuberant, “You can wear my clothes.”

That’s the final song, a silky comedown from bangers like “Easier Said” and “Sour Note.” It’s a nice ending to a near perfect summer album, which rocks and jangles and keens, balancing on a knife edge of hard and soft, joy and sadness, as all summer albums should.

Jennifer Kelly

[bandcampsnoop]

8/3/24.

Wow. The last time Nap Eyes (Nova Scotia, Canada) had their own post was 2018. Since then, they've garnered mentions in posts for Jon Mckiel, Olden Yolk, and Bingo Trappers.

Now, finally, Nap Eyes have emerged from a prolonged hibernation to deliver "The Neon Gate". First, I didn't realize Brad Loughead had previously been a member of Each Other. Makes sense.

Nigel Chapman's vocals have always set Nap Eyes apart from other bands mining a similar sound. So, if you took out Chapman's vocals the pace and sound of the music might recall Stephen Malkmus, Pop Filter/Ocean Party, Twerps, Ultimate Painting...this list could go on and on.

Paradise of Bachelors is handling this release - they have had a hand in each and every Nap Eyes release.

[musickickztoo]

CONTRA2024-8 OH YEAH

(all new releases)

TRACKLIST:

Shellac - Scabby The Rat Nap Eyes - Ice Grass Underpass Amyl and the Sniffers - U Should Not Be Doing That Century III - I C Lights Robber Robber - Backup Plan Silicone Values - Who Do You Hate? Snooper - I Think I'm Falling In Luv Again Parent Teacher - Kind Time Isobel Campbell - Dopamine Alan Vega - Cyanide Soul Big Boss Man - Señor Claypole The Fadeaways - Rack My Mind Neutrals - Steven Proctor, Bus Conductor The Felice Brothers - Flowers By The Roadside Tramhaus - Once Again Shellac - I Don't Fear Hell Beak> - Ah Yeh Can - Aston 77 Vier

The 8th playlist of the year!!

HEAR: https://www.mixcloud.com/Contraflow/contra2024-8-oh-yeah-all-new-releases/

[mywifeleftme]

274: Nap Eyes // Whine of the Mystic

Whine of the Mystic Nap Eyes 2014, Plastic Factory (Bandcamp)

Can’t speak to the sound on the original 2014 pressing of this guy from Plastic Factory Records, but the 2015 Paradise of Bachelors/You’ve Changed edition sounds pretty revelatory to me—kudos to the folks at the plant, and to Mike Wright and Peter Woodford for the mixing and mastering. Talk about Nap Eyes tends to quickly descend into the Nigel Chapman show—the vocalist’s laconic cadences and ambling lyricism offer plenty of grist for a critic to chew on, but here on the LP the rhythm section is mixed loud and way up front so that the insistent throb of Josh Salter’s bass becomes as difficult to ignore as the pounding of your own pulse in your ears when you’ve run too hard. Whine of the Mystic was recorded at Drones Club in Montreal back in 2013, which is basically just a none-too-large loft apartment in my current neighbourhood where they do raves sometimes, and the record sounds just like listening to the boys play while wearing good custom-fitted ear plugs. That rawness does a band who can flirt with a nutritious beigeness a lot of good—the guitars singe and flare, the amps sizzle, and the feeling of this band as a slack psych live force comes through.

I’ve been a huge fan of Nap Eyes since I caught them in Ottawa back in 2014, and people generally dig them when I recommend the record (with the exception of my pal Meghan, who despises them with the grumpy exhaustion that comes of seeing a band you don’t like constantly opening for bands you do). As such, Whine of the Mystic has been with me through a lot—the best songs (like “Dark Creedence,” and the last four) make a shimmering soundtrack to existential hangovers; walking toward some workaday Calvary in the rain; handrolling cigarettes badly; pining for girls if only to keep in practice; not getting a master’s; being 27 as hell for many years. It’s full of little touches that still delight me, like when they kinda morph into the Proclaimers for a bridge on “The Night of the First Show,” or the way the raincloud pacing of “Dreaming Solo” finally cracks open into the most amiable outro jam imaginable.

Giving your record a punny name is a risky choice, and as a phrase Whine of the Mystic skirts the edge of dorkiness. But in the end, I come down on it as an apt synopsis of the album’s charms. Chapman’s plaints linger on the humdrum, yet they paint the experience as intoxicating, Halifax as the backdrop for an ancient mystery cycle that repeats itself wherever life’s taking place. It brings to mind an exchange from Louis Malle’s The Fire Within, a superficially dull but emotionally feverish movie I haven’t thought of in ten years. The main character, a suicidal alcoholic who feels drained by what he perceives as the world’s absence of meaning, talks to an old friend, who has settled into a steady life as an academic and a husband. I don’t remember much of what they talk about, besides this:

Alain Leroy: Dubourg, what will you do tonight? Dubourg: Tonight, I'll write a few pages on my Egyptians, then make love to Fanny. I fall into her silence as into a well. At the bottom is a great sun that warms the earth.

All life is quotidian, but the primal and transcendent lies within that quotidian life, if you can truly immerse yourself within your own. Good luck.

274/365

[sinceileftyoublog]

James Elkington & Nathan Salsburg Interview: Poise, Levity, and Easygoingness

Photo Credit: James Elkington and Nathan Salsburg

BY JORDAN MAINZER

All Gist (Paradise of Bachelors), the third album of guitar duets from exploratory, thoughtful players James Elkington and Nathan Salsburg, sounds like what it is: two longtime friends and collaborators playing together, equal parts casual and focused. Since their 2015 album Ambsace, each has been busy, separately and together. Elkington's released three solo albums, played as part of Eleventh Dream Day, Brokeback, and Jeff Tweedy's live band, and recorded with Steve Gunn, Nap Eyes, and many more. Salsburg's dropped a bevy of albums and has played on records by Bonnie "Prince" Billy, Shirley Collins, and others. Meanwhile, the two have come together on four records by Salsburg's partner Joan Shelley, and Elkington produced Salsburg's Psalms, his 2021 album of arrangements of Hebrew psalms. Their duo records, however, are born of the most natural collaboration, each bringing to the table melodies they think--perhaps know--the other will respond to, combining them, and being open to feedback or changing gears entirely.

All Gist, specifically, carries the distinct quality of the Chicago winter during which it was recorded: You can picture Elkington and Salsburg sitting around the kitchen table, each culling from their vast repertoires and tendencies, creating something to warm their bodies and hearts and perk their heads and ears, unaware of any blusters outside. The songs are reflective of their shared artistic interests and inspirations, and they're rounded out by the presence of musical contemporaries with whom each has fostered relationships over the years. Opener "Death Wishes to Kill", which takes its title from T.F. Powys' Unclay, sports lilting guitar melodies that offer an affable sway, along with Wanees Zarour's violin solo. The minimal "Explanation Point" bounces along a groove that sounds bigger than it is, almost gestalt, as Jean Cook's strings and Anna Jacobson's brass shimmer. Moments of percussion come from other instruments like hand drums ("Long in the Tooth Again"), along with Wednesday Knudsen's woodwinds ("Nicest Distinction"), or as part of the sheer tactility of guitar scrapes and textures. The self-reflexive "Numb Limbs" gets its title from the physical aftereffects of playing a song that took forever to come together; you feel the spritely guitar picking and breakneck tempo in your own fingers.

Of course, All Gist has a few interpolations, namely a gentle, quiet, start-stopping version of Howard Skempton's "Well, Well, Cornelius" and a taut, concise combination of two traditional Breton dance tunes in "Rule Bretagne". Easily, the most unexpected song on the album is a version of Neneh Cherry's classic late 80s jam "Buffalo Stance". Oscillating and slowed down to an expanse, one guitarist plays Cherry's lyrical line, the other the song's instrumental melody, making something both recognizable and nostalgic as well as emblematic of the duo's adventurous nature. That combination, indeed, is the gist of Elkington and Salsburg.

Earlier this month, both guitarists answered some questions over email about All Gist, their creative process, covering songs, and their sometimes-overlapping, oft-diverging taste in art. Read their responses below, edited for clarity.

Photo Credit: Joan Shelley

Since I Left You: Why was it time again to make an album together? James Elkington: We’d been talking about it since we made the last one, but the truth is that we’ve both just been too busy. I started making solo records again after the last one, plus I got to produce one for Nathan, and we both help out with Joan Shelley’s records, so it never felt like we weren’t working together anyway. We were just working on projects in a different way. I think that Nathan and I both think there’s something about the duo’s music that is different from the other things we do, so we were keen to get back to it at some point. Fortunately for us, we got an invitation to play at a guitar festival in Chicago, and we used that as an excuse to start working on new material. I should also mention that our wives kept bugging us to do it again.

SILY: How was your collaboration on All Gist unique as compared to your other records together, and how was it similar? JE: We hadn’t played together like this for something like 7 years, so I was interested to see if we could even do it. But our writing together was as quick and easy as it ever was, and in that sense, it was really similar to how we worked before. Nathan has always worked with longer forms than me, but this time, I wanted to follow his lead a bit more in terms of writing longer pieces with less changes and more textures. We weren’t concerned this time with being able to play all of this stuff live, so we left more space for orchestration and overdubs. Nathan Salsburg: We’ve each lived through a world of experiences in the past ten years, musical and otherwise. Now that we’re each squarely into our middle age, I think the poise, levity, and easygoingness that should be attendant on this period of life show up in the music at [the] pitch they didn’t in the past.

SILY: Was there a lot of improvisation in the process of combining the different instrumental motifs you each brought to the recording session? JE: Because we don’t have a great deal of time to work together, we find things go much quicker if we come up with rough musical sketches by ourselves and then present them to the other. Nothing is ever written in stone, and the level of trust is very high. Anything Nathan suggests for one of my ideas is going to improve it. Both of us are more concerned with coming up with something that sounds cohesive and keeping the ball rolling than having any personal agenda for how this thing should be, and we always leave enough space for us to be surprised by what we end up with. I rarely have any idea what Nathan is playing, but I like how it sounds when it’s finished. We did experiment with recording something completely improvised and liked the results, but it sounded like a different record, so we didn’t use it. Maybe that’ll be the next one.

SILY: How or at what point in making each song do you determine whether it needs more musical accompaniment, from other instruments and/or players? JE: That’s a good question, and I’m not sure I have an answer, but the plan seems to be to write a piece that can stand by itself for the two guitars, record that to our satisfaction (which is nearly always the first take we can manage that has all the right parts), then start throwing other instruments at it to see what sticks. Most of that approach is me in my studio adding things and then taking them off again. There are certain pieces where, as were writing them, we can hear that a solo instrument would sound great in a certain part. Wannees Zarour’s solo in "Death Wishes To Kill" was like that. There are songs, like "All Gist Could Be Yours", where for a repeating chord sequence to have the effect we’re going for, its going to need a lot of support from other instruments, and we talked about that as we were writing it.

Cover art by Chris Fallon

SILY: Do you have a backlog of other people's songs you think might be fun or fulfilling to cover or reimagine as a guitar duet? What makes a song fit for a cover from your two artistic voices? JE: Well, I’m a little concerned that there’s a potential novelty aspect to our doing a lot of covers, but maybe it's okay. We certainly didn’t go out of our way to think of any for this record. Nathan suggested "Buffalo Stance" early on just because he loved the song and all the parts. I was resistant at first, just because I thought there wasn’t enough there for us to work with harmonically, but there’s so much good stuff going on with the synths and the bassline in that tune that it became more a process of picking and choosing what aspects of the song we wanted to shine a light on, at what time. Our Smiths cover from the last record is like that, too. It switches from the guitar line to the vocal depending on where we’re at or what seems to be most important, so I suppose we have a system for doing this. I think the only criteria we have for picking a song is whether one of us really really likes it and the other one can get their head around it.

SILY: "Death Wishes To Kill" takes its title from a T.F. Powys novel you both read. Do the two of you tend to recommend books, films, albums, etc. to each other a lot? Do you ever find you're about to recommend the same thing to one another? JE: I was going to write that we don’t have a huge amount of overlap, but I’m remembering going to his house when we hadn’t known each other long and being confronted with what appeared to be a wall of my own books. Its not as if we like exactly the same things, but there are some writers and records that we both like that NO-ONE else I can think of likes, so when Nathan suggests a book, I usually get to it pretty quickly. I think Nathan was reading the Powys novel, Unclay, and sent me a screen shot of one of the passages in the book with the caption "this is for you" underneath. He also sent me a link to an Australian liquor store commercial from the early 90’s because he knew it would make me laugh for a day and a half, and it did. NS: I remember we made common cause over Max Beerbohm not long after we met—Zuleika Dobson, maybe—but yeah, we each have some preoccupations that the other couldn’t give much of a shit about. Like, I can’t say mid-century British horror movies do a whole lot for me. I’m remembering when Jim spent the better part of an hour trying to explain the appeal of U.S. Maple, and I can’t say he succeeded. And Jim couldn’t care less about rural American string-bands of the late 1920s. But when we have an overlap—Unclay, say, or the totally under-appreciated Yorkshire singer-songwriter Jake Thackray, or Alan Partridge—and yes, these overlapping things do tend to all be English—it’s always stuff we’re super, super jazzed about.

SILY: Can you tell me about the cover art for All Gist? NS: The artist’s name is Chris Fallon, an old friend of mine from when I lived in New York City 20+ years ago. He’s a phenomenal painter, and I love his figures, his palette, and the scenes/settings that he dreams up. I asked him to create a portrait of us, and this is what he did. He’s never met Jim and hasn’t seen me in quite a few years, but I feel like he nailed something of Jim’s and my dynamic, equal parts earnest, bizarre, silly.

[puppetmaster13u]

Prompt 257

Now Danny loves space. He loves everything about it, to the point his core quite literally is space. And he’s also a baby ghost, even if he could argue he’s not in human form. But see, being baby has an honestly great consequence once it’s noticed- despite the Observants’ best attempts at hiding it, the assholes. 

Of course he would be far more worried- and even a bit pissed- if his caretaker wasn’t who it was. Look, he’d never met Clockwork’s siblings before, but apparently everyone was really against Clockwork himself adopting. 

But Clockwork as his uncle is fine. Besides, his caretaker is Space! Space itself is holding him, cooing gentle words in the sounds of the very cosmos. And they’re huge, like parts of their body going through portals so they can fit outside Long-Now sized big- and apparently Clockwork can get just as big and they can get even bigger- 

Okay, he needs to take a breath- even if he doesn’t need to breathe- to stop his squealing because holy Realms this is so cool. 

Space is awesome! And he’s getting so much more rest than he did in Amity- and even if Space sort of shrugged at the idea of school at first, they did help him set up online schooling. So there’s that, and it’s just the start! 

He gets to learn so much about space and it’s honestly kind of… nice? To be taken care of? And he can do whatever he needs for his Core and Obsession with only a few interruptions to take care of his living needs. Erm, sort of living needs? 

But even that gets turned into a bit of play or even a lesson too! He’s honestly having such a good time right now! He’s learning so much about spaaace! And dimensions! And interdimensional portals and- oops! No one saw that. 

Ahem- But he’s learning so much about space and getting to explore other dimensions with Cosmos! And sure he no longer looks as human as he once did and all that, but he’s seen so many people who also don’t look human that does it really matter? 

Of course it doesn’t, and he matches his sort-of-dad! Even though the streaks of color in their hair are more of a brown-red like they’re literally bleeding out the cosmos around them instead of it fading to void and space like his own. But still! They match and it’s fun! 

And they’re going to go on another trip from the in-between to one of the dimension realities! He’s going to start a game of tag this time he thinks! But no cheating with portals or bending space! Tag! 

Look, the Justice League? Not paid enough for this. In fact, technically not paid at all due to being volunteers (not that it stopped them from finding money in their accounts) but still. 

There is some sort of figure… being… thing… zooming around the asteroid belt, about the size of Earth itself. Let them repeat themselves. A planet-sized creature (are those hands or paws? Tail or simply its body stretching? Hair or the Abyss-) is currently darting around the asteroid belt like a child running through grass. 

That is, without noticing or caring if something bug-sized might be crushed. And they are very much bug sized, as the governments are concerned about. Like really concerned about. Like talking about trying to nuke the entity if it wanders closer sort of concerned. 

Which they are all very concerned and very much like, against. Because it isn’t seeming to notice the asteroids it’s knocking into their area. It’s like… not a space whale or eel or anything like that but also is something like that. 

And they would also maybe like to see if they can attempt to talk it down first maybe and-

oh. 

Oh. 

That creature is the baby. And mama just arrived, stretching across the entire galaxy, from them to Pluto and beyond, like something took the cosmos and shaped it like clay into some sort of form. Like reality itself has wandered into their galaxy with what they are suddenly realizing must be a very young child. 

Shit, they really have to make sure no one tries to piss either of these things off-

[monakisu]

i woke up missing my heart

[souenkun]

I need the pokemas anniversary to come soon so we can hopefully see volo go batshit crazy again for the second time!!!

[bandcampsnoop]

8/2/24.

"Pop Filter is a new Australian band whose members stretch between cities and who’s shared history binds them together. With the number one goal being that of nurturing their friendship and continuing to make music together at an age when children, work, and distance can easily hamper this."

So states the descriptor in on the right of their Bandcamp page. The members have been playing music together since 2009, initially as The Ocean Party. They all have different projects (in fact, Liam Halliwell - Snowy - has a new album, "Age Difference"), but they always come back together, now as Pop Filter (Melbourne).

I blew it. When "CONO" came out I waited too long to nab the LP. I'm not making that mistake again, especially after hearing "Fragile". This might be one of the loudest Pop Filter/Ocean Party songs I've ever heard.

I'm also listening to the new Nap Eyes right now (it will probably be tomorrow's post). I guess I never realized how much Pop Filter/Ocean Party and Nap Eyes languid songs complement each other.

Pop Filter's "Ray and Lorraine's" is released by Bobo Integral and Osbourne Again.

[umbrvx]

[ @orvwomenweek ] lsk + family, regrets || day 5

[mywifeleftme]

23: Monomyth // Saturnalia Regalia!

Saturnalia Regalia! Monomyth 2014, Mint (Bandcamp)

I’ve gotten a lot of mileage out of this 28-minute LP since I picked it up around 2015 at a show in Ottawa. Monomyth shares a rhythm section with the better-known Halifax indie rockers Nap Eyes (though both drummer Seamus Dalton and bassist Joshua Salter switch to guitar in Monomyth). The two bands’ sounds aren’t worlds apart: introverted psych-y jangle pop that sounds great while driving in the van you also happen to live in during the summer. Without Nap Eyes vocalist Nigel Chapman’s rambling, wistful self-analysis taking centre stage, Monomyth’s Saturnalia Regalia! has the vibe of a less damaged Brian Jonestown Massacre.

Neither Salter nor bassist Graeme Stewart is an especially confident singer, but they have a great instinct for harmony. I feel like I’ve had the late-George Harrisonesque “Something Else” stuck in my head for the better part of eight years now. As a man with poor impulse control when it comes to sugar, I love that the twinkly, barely two-minutes-thirty “Patsy” has a loopy outro that takes up nearly half the song. “Candleholder” shuffles with the smeared romance of a Galaxie 500 song (“You’re the girl of my dreams / That’s why I stay in bed”), but finds time for a ramshackle doo wop (!) breakdown that charms the hell out of me.

Monomyth would return after some lineup shuffling with 2016’s trippy but less reverb-washed Happy Pop Family before seemingly calling it quits. Dalton and Salter carry on with Nap Eyes, and Salter’s also more recently been playing in an excellent (as-yet-unrecorded) Montreal band called Laughing. A band could do a lot worse in terms of legacy—I just wish I still had my yellow tie-dyed Homer Simpson bootleg logo shirt.

23/365

[beaulesbian]

every time i think zoro and luffy's sense of no-direction couldn't get any funnier a new scene like this appears to prove me wrong

and it's the robin's "we are heading south, so chopper, could you actually point them the correct way before we lose them here forever?" that makes it so hilarious this time

[flowertreat-cats]

She finds comfort in the small things. Naps.

[buttered-milky]

Looks like the snakes never strike at you or even enter a strike pose during the fight. Which is cool because now I can imagine

Winged serpents: Messmer no :(

Messmer about to commit violence: Messmer yes

[dizzybizz]

Might I request a Dan Heng please? :D

can't have shit in belobog