One of the themes I’ve been working through in my most recent batch of songs is the notion of collapse: the idea that everything we build up (or things that build up naturally around us) eventually breaks down. I’m going to talk about what that means lyrically in a subsequent post about The Soft Bulletin; with regard to music, though, I’ve been taking a lot of joy in constructing these intricately layered pop songs, only to knock everything over later on in each track, allowing the arrangements to descend into static and noise.
I spent the weekend finishing up a song called “Uncharted Waters,” which starts out as an Eno-inspired piano ballad but about halfway through, the track folds in on itself, and the result sounds quite a bit like many of the songs on Black Sea—hazy, fluid, and bordering on caustic. To be clear, Christian Fennesz is one of my favorite artists around: his music is beautiful and strange, and the balance he strikes between melody and atonality is nothing short of fascinating.
Strictly in terms of aesthetics, I’ve been taking lots of cues from his heavy use of grain delays and frequency modulation filters, as well as his more recent emphasis on the acoustic guitar. But recently, I’ve also grown to love Black Sea's particular compositional style, whose songs oscillate dramatically between noisy and calm, minimal and dense, composed and deconstructed. Integrating these opposing values into pop songs isn't exactly easy, though I will say that Jim O'Rourke has provided as good of an example as possible on how to make this happen (I hope this doesn't sound like I'm comparing myself to Jim O'Rourke; I'm simply acknowledging that he's another important reference point for me).
And that album cover: a stark photograph of a steel train track, abandoned, and nearly submerged by encroaching pools of water. It’s a haunting—almost tragic—image. Yet I’m captivated, and even calmed, by its representation of collapse, loss, and the world’s complete inability to escape death.