In a new series of artist stories from around the world, we meet Cozy Gnome - the young composer and poet from upstate New York who creates a unique sense of movement within his compositions. From Berman-esque poetry to concertos on a grander scale, discover this incredible concept album with headphones on turned loud.
"I grew up in upstate New York. I attended university in Plattsburgh and graduated with a degree in English. I currently work at the oldest bar in the city which is a venue for local bands from all over the state and Vermont. For how small the city is there is a decent music scene here. My name is Casey.
History is the ending segment of a longer poem I had recently written. The beginning focuses on a narrator stuck in a loop of self destruction. The ending segment of the poem, which is History as it is now, relates that theme of a perpetual cycle of self destruction but at a grander scale, relating it to all of human history, not just one individual.
We don't want to be forgotten by time
You can take it literally or parallel it with our use of social media and how that has become the outlet for our generation to leave "cave paintings" for future generations to learn about us. Our "old texts" aren't scrolls or clay tablets, but text messages stored on our phones and computers. Whether we're aware of it or not we're documenting our history everyday, and I think that's pretty cool.
Our ancestors who painted on cave walls wanted to show whoever came after them that they lived, that they did something, that no matter where humanity ended up there was at least one moment in time when they were something great. We do the same thing with social media and tell our stories with the things we choose to post. We don't want to be forgotten by time.
I place emphasis on the story behind the song
I enjoy experimenting with sounds. I primarily use piano and guitar in my songs, one, because they're my two favorite instruments, and two, I'm dead ass broke and don't have the extra cash to dish out for any other instruments right now.
I place emphasis on the story behind the song; what I'm trying to say and how I'm trying to say it becomes my focus, and sometimes the story is told better when the music sounds a bit unclean or there's small, noticeable mistake. I find there's a unique integrity to music that hasn't edited or altered on a computer.
I try not to hold my music to a high standard or relate it too much to others. I know I'm limited in how I can record and I make the best of it. Currently I use a 10 year-old 4 track mixer. I can edit the sound and pan levels with 4 knobs, other than that, I have to use some creativity to produce certain sounds and effects. It adds a fun and frustrating element to the recording process".
// Steffen Armstrong asking Casey Koziatek AKA Cozy Gnome the questions //.
With B. Spanks
B. Spanks will make you feel very happy you've ended up on Third Outing today. We're always looking for those who fly below-the-radar to jump up and knock us out with their music. You! Random stranger! Are you churning out homemade songs far better than the ones you can find on established channels? Get in touch! B. Spanks' self-titled record is out via Fuzzkill Records.
The elements here are fairly limited; spidery electric guitars, shambling acoustic guitars, a smattering of watery keys and rudimentary bass/drums. But sometimes, you really don't need more. It's jammy.
"There's definitely something about that pristine mega stadium rock sound which I can't be arsed with" - B. Spanks
Impressive is the array of styles B. Spanks AKA Ben manages to cover. Multiple directions exploring multiple melodic possibilities. His aim isn't to master one style, but to play with many. You want examples ? Mist and Mary is freak folk music with a bit of indie, a bit of garage rock and a bit folk. It's called fucking with genres and Ben seems to have mastered that.
What's great (or bad, your call) with this record, is that you have no idea which direction it's taking you. And it's humorous! Yes, it has its ups and downs, clearly. Moments of misconception, but moments of magic too. Here's what he said...
B.Spanks, who are you?
My name is Ben, I'm from Cornwall, UK and live in Falmouth. Its a harbour town so naturally the sea and beach life is an inspiration but I try to find subject material elsewhere too. It's tough to grow where we live, being so isolated from the rest of the UK, but we've had some of the best English bands in recent years in my opinion.
All songs started as a riff or tiny bit of chord progression, so I was writing as I recorded really, using whatever I could get my hands on. More like chucking paint on a canvas than sculpting a stone. I think the songs all fit well together but are quite different stylistically. In future hopefully it'll be more of a live band sound.
A lot of my favourite music could probably be filed under Lo-Fi, so it's as a result of that and the way I made the album. It's fun to have a bit of bleed or noise or room sound when you make a track. There's definitely something about that pristine mega stadium rock sound which I can't be arsed with.
3 records you'll offer someone who wants to get your music and style? // American Specialities - Parquet Courts // Holiday Ghosts - Holiday Ghosts // Pink Flag - Wire
Are instrumental songs underrated these days? // I do quite like the idea of instrumentals being used as an intermission or segway between songs. For the sake of the LP as a format, maybe they are underrated but I think in general people want to listen to something they can sing along to.
Whisky, Gin or Vodka? // Sausage Roll, bacon roll or egg roll? // Swimming Pool, Jacuzzi or the sea? // Lately it's been gin. Bacon. And the sea.
The convivial dulcet tones of Red
An introduction to the music of Kaplan and Mondello
By Steffen Armstrong
A short while ago towards the back end of 2017 we got a reminder that New York is still alive with music! Friends and acquaintances of old Third Outing favourite Here's Andy, mad rockers Primate House and leccy shoegazers NOVA got in touch with us to tell of a rather intriguing new project. Project Red.
Red is a genre bending drum/guitar duo by New Yorkers Avery Kaplan and Lucy Mondello. They specialise in soft tones and dream states aided by their predominantly instrumental sequences. It's a style which brings the most out of both instruments.
You pay more attention to the delicate intricacies of the drums. You get different timbres from the guitar. Best of all, you engage more with what instrument and musician can do on a technical level. So in the spirit of doing things differently, we started the sentences and Red finished them...
"You really have to chef something up in order to fulfill anything here"
New York City
The cries on Hills Bicycle Estate happened because...the song called for them. While listening back to that part of the song in the recording process we agreed that something was missing. We swung a mic from the ceiling and Avery lay on the floor and screamed to give it a crazy, wavy, roomy sound.
Lyrics on records are overrated because...they aren’t! Telling stories and sharing parts of your life through lyrics in a song can be very powerful and we both respect and love that. It wasn’t a conscious decision to leave out lyrics on the first 3 songs, it was just how we made and played the music.
New York is…where we grew up. You really have to chef something up in order to fulfill anything here. New York is also a safe space, though. It opens up lots of opportunities for pretty much any form of art. It's a very diverse place, there are a lot of different music/art scenes here that are all very unique in their own ways. It’s also a place with many great people. We are happy to be from New York.
Kaplan and Mondello could be the next…duo you ask to come play at your venue! People to make your day! Maybe Matt and Kim, maybe Steely Dan?
Photography by Lester Lyons-Hookham
The Peach Pit Evolution
Guitarist Chris Vanderkooy interviewed by Steffen Armstrong
"Sometimes it's hard to know if Instagram followers are fans of the band or just fans of our online antics", admits Peach Pit guitarist Chris Vanderkooy. "But the turn-out for shows in cities we've never played before is always surprising us in a good way".
Peach Pit are a little mad, their zaney online presence testifies to that fact. And yes, they always seem to be stuffing their faces *nom nom*. But don't let their massive online following detract from the reason why they've amassed such a loyal fan flock; the 2016 EP Sweet FA was a delightful start and the 2017 debut LP Being So Normal continued even better. Evolution was key.
Peach Pit have definitely changed direction over the course of the two releases. "It's gotten a little grungier, a little angrier. It hasn't been very intentional either, more just the natural evolution of the band. As much as we love happy upbeat pop songs you gotta try and hit an E minor once in awhile, ya know"?
We know, Chris Vanderkooy. And we're glad you have hit it! It's true, the band are a little grungier, but it's taken no melodic charm away from the Peach Pit proposition. Truth is they probably just sound a lot cooler now than they did before. Listen to Alrighty Aphrodite or Not Me to understand why. It's less sickly chewed bubble gum pop and more melodic led guitar dream wave.
But with great musical power and online followers comes great responsibility. And sometimes, you gotta leave the early adopting bubble chew poppers behind. "We had a lot of people hear our live up-tempo version of Drop The Guillotine, and then listen to the EP and be disappointed it was different. Then we released the faster version and instantly started seeing comments saying slow version was way better. The internet is a fickle thing".
Ultimately, you've got to decide whether the old or the new Peach Pit are for you. They are two very different bands. But we like that they have chosen the path of evolution, guessing it would have been too easy to continue in the vain of Sweet FA, despite its great online success, and experimented with something new to great success. The Arctic Monkeys didn't stop at looking good on the dance floor, did they?
© Photography by Aidan Nonsense
Hailing from Glasgow, The Animal Mothers surf on the fuzz wave, but the question begs do they completely convince? This is the Third Feeling on the band which might still make fuzzy heads somewhat clearer...
You know the feeling. When you hear one good tune like A Rain Will Come and it leaves you wanting more. But then the album drops and the others songs never quite reach the same level. The first listen is the best. Sadly, that's the feeling we've got in the 3rd Outing office listening to The Animal Mothers Must Be Destroyed.
But the following question applies to all artists playing fuzzy rock music, including The Animal Mothers. What can you do to keep people listening? They give us the the answer: "This record is definitely influenced by the desire to move away from a typical garage sound". The answer is correct. And you can see it in action; that's why there's a nod to some golden old chaotic British punk on the record. It's also why the record isn't your typical garage rock record, that you've heard a million times. It's definitely not a "rock" record. But it definitely worth a listen. Donovan's Reefer in particular.
So, did the band get lost trying to move away from the garage sound? Did they find an old copy of Tony Hawk's Pro Skater 2? It doesn't really matter. What does matter, is their desire to create something new, whether or not they've succeeded. The band's spirit to innovate is what we'll retain here. Overall, there's improvement to be made from The Animal Mothers, but it's still a thumbs up from us. Interview away...
"If we ever make a fucking "rock" record then it's time for a one way ticket to Switzerland if you know I mean".
Why should we buy The Animal Mothers Must be Destroyed? // Wallace: The same reason you would buy anything. The satisfaction of accumulating possessions which has been created by living in a materialistic, capitalist society. It's music so you might dig that but if you're looking for a DIY manual or a recipe book then you should give it a miss. // Richard: I think its got some of the best songs the band has ever written on it, also after recording at the Green Door studio in Glasgow this is the most polished record we've done yet.
Is genre something you think about when making music? // Wallace: In a way yes. It's important to grow and develop as a band. We started off as a run of the mill garage rock/punk band which was fun but that's been done to death so it's nice to broaden our horizons. Plus if we ever make a fucking "rock" record then it's time for a one way ticket to Switzerland if you know I mean. // Richard: I think subconsciously yes, but really you just play what you have in you - I think this record was definitely influenced by the desire to move away from a typical garage sound.
Is there a story which epitomises the band's spirit? // Richard: We were playing a gig in Dundee recently and the drum kit at the venue was a piece of shit, the front of the base drum kept falling off, so midway through the set the sound guy jumped on stage and put this object in front of it to keep it in place, we really couldn't tell what was happening , next thing we know there's a sea of spilt white paint spreading across the stage coming at us, he used a goddamn paint pot. We carried on playing and used it as war paint - basically embrace the chaos and play through the pain(t).
Last two questions! A good title for a book about your life story so far would be...
Wallace: One Last Warning to Those Who Would Stand in Our Way
Otherwise, he'll tell you "Shit, some serious changes to be made here then". What kind of changes? We don't know. But Mr Yolk's upcoming record will haunt you. That, we are certain.
Here's the thing: Mr Yolk's sound is seriously cool. It's a mash up hybrid style of indie, soft psychedelia and everything electronic. But it works because of two underlying factors; Samuel's voice and groove. It's a low haunting tone which effortlessly rolls line after line.
Here's one other thing (less cool): it's hard to say if this record brings joy to Samuel or not. When we ask him a story about the album, he says: "If there was any story it would be just me sitting around pondering at where to go musically. It would be a murky anecdote". Grim. On another website, he states: "I prefer to be alone. It is a personal thing for me ya know. My own sense of humour and views and in some cases vulnerability are on display".
Here's one last thing: Though it may or may not bring him joy, it showcases Samuel's talent and the different directions he can take. On his previous projects, you could hear DIIV (the song Vegan Broadcast) for instance, and on this one, please, don't tell him he's ripping off Jagwar Ma. Simply don't.
Right, if someone tells you you're ripping off Jagwar Ma, what would you say? // I would say: "Shit, some serious changes to be made here then".
Baker Street is a very good single, as it leaves you wanting more. Is the whole record in the same vein as this track? // It has become apparent that the sounds on the album with be contrasting slightly…but to a degree, yes. I think when you come up with a more conceptual approach for the musical vehicle you are on it is a lot more healthy having contrasting songs.
What are the differences between your previous project Velvet Morning and Mr. Yolk? // Primarily I am just hiding behind certain techniques less like reverb, etc. So that and the words are a lot more surreal. I think this comes from me letting a degree of satire into the writing process. It’s probably a bit easier to move to also.
If we give you give you a $100, a packet of cigarettes and a Stone Roses hat, How would the night go? // I would take the tobacco out of each individual cigarette and roll it all up using the $100 as a skin. I would then toke up immediately and once I have finished suckling on my smoky teet I would sit outside my local premiere offering my only belonging – my stone roses hat – in exchange for more smokes. Once I achieve more smoke inhalation I will wait beyond contempt until my next blem fuelled expedition arises.
The best Psych band right now might just come from Switzerland. Here's everything you should know about Magic & Naked and their latest record Human Expression.
Is it fair to say Switzerland isn't the first country that comes to mind when you think of psychedelic music? Glad you agree. Alright, here comes the 'did you know' sequence. Did you know Switzerland gave the world LSD. Did you know it's also the home of the Rickenbacker? That's psych enough right?
And so is this. Right now there's one Swiss band making serious waves in the genre. They are called Magic & Naked and have just released their second album Human Expression. It's very strong. There's just the one problem; they're being called the "Swiss Beach Boys", but let's see if we can help them get over this.
87% of current music
Human Expression is the kind of record you tend to forget you're listening to. But it would be unfair to call it background music. From time to time you find yourself drifting, think about something else and so the album plays, alternating between slower, chilled out sounds and the more upbeat, catchy moments.
The guitar twangs sound more cool than refreshing, and though in a way you've already heard this record, elements borrowed from the 60's and the 70's, Magic & Naked try to throw their own style into the blend too, just like 87% of current music in the world. (DISCLAIMER: This is a made up number by the author of this article).
The moments that grab you really do grab you. In The Morning and We Will Loose are both very beautiful, and My Green Bird gives it best to sound like it was really made in 2017. Need more? Scroll down for the interview with the band.
Guys, is it hard to be taken seriously when you're a psych band from Switzerland?
Even though we don't really consider ourselves a psych band, Switzerland gave the world LSD and Rickenbacker guitars, psych enough right? More seriously, it's harder to be taken seriously when you're a Swiss band than an American, but at the end of the day if the music is good then no one really cares about where it comes from.
What elements of your music is taken from 60's and 70's music and what elements feels new?
The way instruments sounded in the 70's, especially drums and bass, is something that we really enjoy and naturally look for. That said, we never think things like "oh, that's not retro enough". We keep our ears and mind open to any genre and era of recorded music. Never heard a good drum sound from the 90's though.
What three things do people not know about the band yet?
One of us doesn't wear underwear in the summertime, the drummer's just bought a pet monkey and we pioneered a new way of smoking hash called "la chenille arabe" (all rights reserved).
They're barely old enough to vote, but The Flashers have already figured out the answer to the really important question, how to churn out the greatest Rock'n Roll tunes you'll listen to this year. Meet the band of French rockers who are going to save the French art of Rock 'n Roll.
The Flashers are on a mission. They might not know it yet, or perhaps they don't want to realise it, but this band have the power to change the face of Rock 'n Roll music in France. There's an heir of arrogance here. They've got it all: the look, the attitude, the energy and most importantly, the tunes. Let's prove it, then:
"French Rock 'n Roll sucks, we’re here to save music in global...La Femme made a song about mycosis, we did one about cheap girls, everyone has his style"
One thing which is often lacking today, mostly with the rise of bedroom DIY pop music, is the attitude. We're talking about having a stage presence, fun and direct thinking in interviews and, in a way, not really giving a fuck. You kind of need to act like an asshole, and tell everyone in the world your band is the best and that's why you're here to save music. That's exactly what The Flashers are doing. Spot on. Tres bien.
Cliché, yes, but it makes a massive difference.
The first record Stupid Tape is a very decent effort. It bleeds Burger Records, American pscyh and fast paced thrash. It's a sound you don't hear often in France, or at least you need to be a fervent seeker of underground music to find it (dig, you'll find great things...eventually)! The one French band which seems to have had a strong impact on The Flashers, though, is La Femme. This influence is clear to see.
There are some moments on Stupid Tape where you really find a band with the potential to become big. Anyway, Stupid Man (an English version of their latest tune Fille Facile) and Mary are the clear stand outs. This French version of Stupid Man though, is just what french Rock'n Roll needs right now.
Here's the song and their tell all interview. Ready?
The Flashers, are you here to save French Rock 'n Roll? // Elliot: French Rock 'n Roll sucks, we’re here to save music in global. // Charles: France has never been a land of Rock 'n Roll, but Rennes yes. So they tried above all to make the Rock endure in Rennes and then make it known, then sharing it in France and other countries. For that reason singing in French helps us a lot, because even those who do not listen to rock, can sing and have fun. The Flashers, are the saviors of French Rock in France.
We can hear a lot of American influences in your music. Black Lips, Ty Segall, Burger Records...why's that? Is French Rock not at the right level? // Elliot: In France, there is a slew of good bands but we cannot associate it with the term "French Rock". It's either fat and corny as you can see with Matmatah or Johnny Mafia, or luckily bands like Les Olivenstein raise the level. // Charles: French Rock is redneck and has absolutely no level. The groups in France that walk are awful, they have no style, no originality, nothing; it's empty. They all try to do as the Americans do, but they are not.
On the new record how does the band choose between singing in French or English? Fille Facile was first written in English, right... // Ophelie: At the beginning, it was really hard for us to choose the language of the lyrics. Personally, the first time we we were speaking about it, I preferred the English version. But in the end the French version had its own cheesy vibe that we really liked and fitted to the atmosphere we wanted to give. // Elliot : We are French, so it makes sense to speak in this language, but at the same time we have always been in an anglophonic culture, we try to find the right balance. For the next album we have got 5 songs in French and 5 in English. // Arthur: We talked quite a bit about the French version, and we knew it could be a risk to do it. I believe it's because of the provocative nature of the issue that we finally did it. La Femme made a song about mycosis, we did one about cheap girls, everyone has his style.
Last one, can we agree now Le Terminus is the best pub in France? // Arthur: I think we all agree to say that Le Terminus is one of the creepiest neighborhood bar of Rennes. My mates say that the Melody Maker and the Penny Lane are the perfect bars for Rock 'n Roll parties. // Charles: Terminus is undoubtedly the most sordid and glaucous bar in Rennes where you can see the artists hanging on a rope, or 50-year-olds who still believe in love.
Third Introducing Honey Hill, the folk band inspired by the past and firmly at home in the future. A sound which will become recognisable for years to come, discover the story of Honey Hill...
We have been Facebook official for about 5 months now! Gigging around NYC, CT, and NJ since late January. The band right now is Helene, Karl (with a K), and Justin. The web that connects us runs deep and it must be clear that the story involves a Karl and a Carl. Different people, similar name, just one letter apart. Justin, Karl, and Carl (Helene’s Brother) meet in North Carolina. Justin and Carl (with a C) wrote some music for a project called Amateur Astronauts with Helene in Norway. Justin and Helene fall in love in Norway. She comes back to the US with Justin. Carl (with a C) stays in Norway. Karl (with a K) learns the guitar in the US and forms a band with Justin and Helene called Honey Hill!
We have some plans to live record all of our music in a church later this summer.
Folk Life NYC
There’s so much support for the folk genre because of the rich history that folk music has in Manhattan and Brooklyn. One of the coolest places we’ve had the chance to play is the Jalopy Theater in Brooklyn. It’s a small theater that hosts a really good open mic every week where everyone gathers around a condenser mic and plays on this sort of ragtime-like stage. There’s also thePostcrypt Cafe which has a great sound and vibe. There is no shortage of support for any type of music in NYC and we love that about it. The more we meet and discover new bands the more we realise that genre is becoming a thing of the past. So as much as we love folk and what it stands for, we’re influenced by everything from The Wonder Years to Woody Guthrie. And NYC supports it all, which is just lovely.
In all honesty, we didn’t expect anyone to see this EP on Bandcamp. We were just doing some summer booking and needed to get some tracks up quickly to convince venues to let us play. We just wanted a succinct one-word title that describes the way we try to write our melodies. We value simplicity and sweetness in our songwriting. When you can get your message across powerfully without over-complicating things while keeping the melody sweet, well that’s just wonderful.
"We can't be created, or destroyed
I know you're out there in the lines
You're the charge and the noise
And there's still ways to enjoy
Forever different, but alright,
And we'll always run to your light
Always drawn to, always drawn to your light"
Cold Woods (Come Clean)
We don’t like to mix anyone’s message by leaving it in the blender too long and diluting it down to this sort of homogenous being. We are just learning how to support each other’s songwriting style as best we can, instrumentally and vocally, and trust that there will be enough cohesiveness in that. There’s just something irreplaceable about the lead vocalist in a song being the person who wrote it and the person who feels it. It may not always be the most polished or pretty, but we believe that the soul of a song always translates. So we went into the studio for a weekend and did our best to track three songs, as organically as possible, that represent the three of us.
Well I’m almost embarrassed to say, but it was the fictional character, Llewyn Davis, from the Coen Brothers film that awoke in me whatever had been lying dormant for so long. I still remember the feeling the first scene gave me, when Oscar Isaac is singing his heart out to the high heavens. Such a raw and simple and hauntingly beautiful performance. After that movie ended I think I subconsciously made up my mind that I wanted to be a failing folk singer. The next day, I picked up the guitar in earnest for the first time in my life and have been walking this path ever since, a path that’s led me to the inspiration of the film, Dave Van Ronk, who then introduced me to the Greenwich Village folk artists of the 1960s, which led me to the contemporary artists that they inspired. It’s a seemingly endless road of discovery and inspiration.
Honey Hill. The kind of band I like. Music is everything to these guys, besides the love and respect they have for each other. They've gone about producing this great sound in the only way they know how. Friends together, who are humble, honest, insightful; it made hearing their story all the more important. For Third Outing, this was the perfect introduction to Honey Hill.
Sweet is a three track EP and it's wonderful, a term Honey Hill like to use! Just three little tracks to give us an idea what they are all about, or the venues who should be booking them. They are a gentle proposition, infusing folk and a heavier, percussive touch, in their own definite style, and voice. Remember bands like Slow Club? Pursuing harmony and balance in delivery. The male/female combination of song writing seems to have become something of the past. Maybe Edward Sharpe and Jade Castrinos were the last ones to successfully deliver that kind of balance. Honey Hill have a similar thing going on, but perfectly influenced by a volume of folk and a youth of NYC.
Karl from the band was almost embarrassed to discuss the influence for the music, Inside Llewyn Davis. But he couldn't have described it better. The opening scene from that film is one you can only sympathise with, and be inspired by. Hang Me, Oh Hang Me is the track from the opening scene, but Honey Hill remind me more of some of the others heard on the Inside Llewyn Davis soundtrack, as performed by Oscar Isaac. My description would be closer to Shoals Of Herring. There's already a sense of tradition about Honey Hill, despite their young formation.
Of the three tracks on the EP, Martha Song #4 is the one for me. Maybe I like it so much because it reminds me of Conor Oberst. It's energetic, warming, resolving. But it still has its own, genuine voice. The storytelling is natural, with moments of sensitivity and sincerity, //You held my hand and I danced you through that storm, never to find the only thing worth fighting for// and other all round defining lyricism. In the same breath then, we should also mention Subway Song. This shares the same story telling strengths, again delivered so sincerely with a wisdom about it. Like the final line // I know you’re mine, though there’s pieces of you in anyone, anyone who’s ever truly met you //.
Dreeamss. Dreams, dreams, dreams. Armando Zamora is the king of dreaming, indisputable and proved to the max with the release of his encapsulating EP The Reichstag Fire. So when we awoke from our music coma, we sent him the questions, he sent us the answers, and now you're reading Third Introducing Armando Zamora...
I started playing music when I was about 12. I played the clarinet and picked up the guitar about a year later. I ended going to a performing arts high school and I played guitar in the jazz band. Being surrounded by such talented musicians all the time really changed my perspective on music and widened my horizons in terms of my openness to music and my taste.
The Reichstag Fire
I wrote the song when Donald Trump was elected president. The Reichstag Fire was the event that led to Hitler's eventual fascist regime. A lot of my friends were comparing Trump to Hitler and it made me wonder what our Reichstag Fire would be. I think ultimately the song is about hope while being totally ready for everything to fall apart. I think the rest of the songs share a similar feeling of a faded hope that things will be better when they probably won't be. Making the album cover was really what made it clear to me that the album was dealing with that dichotomy.
Right now my favorite to listen to is Teaching You How To Swim. Its very different than the other songs and I feel like maybe that's a musical direction I'd be interested in exploring more. My favorite to play depends on if I'm playing alone or with my band... Alone I love playing Reichstag Fire and with the band The Answers is a blast to play.
There's something very Florida about the songs. I can't quite pinpoint it but they make sense being played at the beach. It might get drowned out by all the Pitbull and Kodak Black but I'm sure someone will be sitting close enough to hear me wonder when the world will end.
The Reichstag Fire is a late night record that helps you lose track of time. The EP could be 20 minutes long or 20 hours long for all I know. I'm still not sure. It tends to go on repeat for me. The only thing I can establish is the following; it's got flow. So, let's take a leap into the unknown here with the following comment; Zamora's music is definitely unique. Isn't everybody's? Nope. And therefore the difficulty; how to describe it to my friends down the pub?
There's two ways to go. First of all, that this is an historic moment as the world's first ever acoustic Shoegaze release. But that doesn't cut the mustard. It's not Zamora's attitude or style. Instead, I think Zamora is doing something very similar to what we've seen from Damon Albarn over the last few years. The whole record is a meandering theme, with an oppressed leitmotif running throughout, and though your spirits are never raised by the music, it enables the thinkers to think, and the dreamers to dream.
"I think the music has a very specific mood that isn't something people want to always experience but its a reflection and consequence of how it was made. It does unfortunately limit how many people will listen to it and how often they'll listen to it but I have some hope that it becomes someone's rainy day or contemplation music"
Zamora is wholeheartedly realistic about this EP release. It's not going to be for everybody. The energy remains on a drip and the theme is very one dimensional. But then that's also the point of the record. It's a picture, so to speak. And there are highlights too. Again, Zamora gets his analysis spot on; leaving the best til last, Teaching You How To Swim is the strongest contender of the record.
It's quite the dream of a song. Beautiful plucked guitar, and for the first time on the record, an upbeat swinging underpinning the guitars rhythm throughout. The lyrics also remain rather poignant to The Reichstag Fire theme. "Teaching you to swim, has been the best for me". It's where I would imagine Zamora would further explore if he was to release another short format record.