Clearly there is something about 'no provenance' I am missing. I'm not much of a lyrics guy--is that it?
Because although the song is beautiful... it's about two times longer than I need it to be.
LawnsOfDawns wrote:Clearly there is something about 'no provenance' I am missing. I'm not much of a lyrics guy--is that it?
Because although the song is beautiful... it's about two times longer than I need it to be.
claire wrote:And the chord progression is actually pretty interesting. It goes a lot of places without seeming like it's going to a lot of places.
claire wrote:The Johnny Appleseed line actually makes sense to me. She casts this man with whom she had a very close relationship in a new light, as this legendary character who basically wanders across the country planting his trees (or, you might say, spreading his seed). The idea of travelling and distance is a pretty big part of more than one song on HOOM ("In California," "Autumn" and "Occident" spring to mind), and the idea that she's asking this man to validate their relationship, which is now presumably over, via satellite feed only underlines the distance between them, which is in stark contrast to the repeated "in your arms" line.
Weirdelves wrote:I disagree about Emily and Kingfisher being more grandiloquent (a ludicrous word itself) though, although there are a few offending words in each track (hydrocephalitic has really never worked for me), both tracks achieve an incredible beauty of meaning and language that No Provenance has never done whatsoever for me.
rainbowdash wrote:It just has this way of going on, it's so soft and kind of ominous, it's like driving slowly along a road at night, it feels kind of like it might build up to some sort of climax like in her other songs but it never does, it's like you're always hanging on the edge.
And the way she introduces images, it's like you're peeking through keyholes and spaces between trees at these slow scenes.
LawnsOfDawns wrote:Maybe the fact that it's next to Good Intentions is part of what distracts me. I'll try it out tonight without listening to it in order and see if that helps! After the rollicking Good Intentions, and before the also-slow-burner Baby Birch, it always falls into the cracks.
LawnsOfDawns wrote:Maybe the fact that it's next to Good Intentions is part of what distracts me. I'll try it out tonight without listening to it in order and see if that helps! After the rollicking Good Intentions, and before the also-slow-burner Baby Birch, it always falls into the cracks.
The Pacific Ocean is ex-Versus drummer Ed Baluyut, Connie Lovatt of Containe, & Steve Pilgrim. This is their 3rd CD. Quiet, stripped-down beauty, produced by Smog's Bill Callahan (under the unlikely alias "Johnny Appleseed").
It just has this way of going on, it's so soft and kind of ominous, it's like driving slowly along a road at night, it feels kind of like it might build up to some sort of climax like in her other songs but it never does, it's like you're always hanging on the edge.
And the way she introduces images, it's like you're peeking through keyholes and spaces between trees at these slow scenes.
honestly I think no provenance is one of the lesser offenders as far as willful wordiness. Flying a Kite, Emily, Kingfisher etc. all exist.
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