I wrote a lot of the music, and most of the story in the summer of 2010. Took waaaay too long to record it hahah. Enjoy. If you're into knowing what the album is about, check it:
Penny & Anyone, Forever is a story about me at a party in 2010, feeling especially anxious and selfish, wishing my friends would give up their own stories to help me out with mine. I hate being so self involved, because what was even my plot? A bunch of fickle loves that I never chased? Boo-hoo! I create a symbol of those half-loves (Penny) and the fact that ze could literally be anyone, I could also be that to Penny. Sounds contrived, but through the course of the album, it's a super strong symbol to me. At some point, in a moment of clarity, I realize what I need to do to solve my problem (follow through with something), but I can't 'cause I'm stuck at a party. So the story goes on where I get drunker and drunker, smoke a bit, hook-up with a random, puke, and go home to sleep a hit-rock-bottom sleep. It sucks when you know the answer, but have to live through the rest of a terrible night to start it up in the morning.
A few extra things:
I think it's funny to view this protagonist from an outside perspective. Then it's the story of a shy dude who has an alright night at a party, pukes and goes home, then calls someone in the morning.
Also, since this was written years ago, you might notice (or not, probably not) the same themes running through Somnolent Split. Well I feel like you could plug the Split into a certain point in the album and it'll work thematically AND musically. Cool little easter egg if you've managed to read this far.
Lastly, I find it interesting that this album was written around the same time we were writing Every Starry Night, an album about good times and friends and everything. The speaking piece in Eyelid Life references how we were partying down in South Carolina in a house with all our friends, and references storm clouds on the opposite end of the sky. Well, as it rained later on that night, I sat on the porch and wrote some of Penny & Anyone, Forever. Hence the rain and porch scene in the album. And if I haven't beaten it into your head enough yet, I love songs that reference other songs. These songs don't exist in a vaccuum!
Thanks to Tyler Taormina for drums on Bed Blind, Windowless, and Penny. Also, for keyboard on Windowless. And vocals and song-writing on Penny.
Thanks to Robyn Schmitz for vocals on Silentongue Syllables.
Thanks to Steve Labrecque for Drums on Silentongue Syllables, Myselfish, The Only Thing Ever Worth Doing, and To Kill a Symbol.
Thanks to Tom Macaluso for Trombone on The Only Thing Ever Worth Doing.
Thanks to Konrad Kamm for noise on Myselfish. And bass on Penny.
Thanks to Pat Madej for letting me use his bass pretty much any day I felt like recording.
And thanks to Cara Burney for carving up that tree with me and taking the picture for the album art!
Crust is a 24 minute song I wrote about a particulary vivid and super heavy dream I had once. Would love to animate to this track someday. Very visual for me. Musically inspired by the albums Grape Blueprints Pour Spinach Olive Grape, S/T II: The Cosmic Birth and Journy of Shinju TNT, and Ys. I wanted to make something as epic as those three. I wanted to utilize the acoustic guitar as versitile as I could. I wanted to make something extremely trippy without any use of delay, and not overblown reverb. I wanted to capture the rollercoaster emotions from my dream (and post-dream) as best I could. I wanted to keep myself engaged in the song even during the droney parts. I wanted to extend those droney parts as long as I could and freak out as much as possible.
As honestly as I wrote it though, I didn't record it for a year 'cause I felt like it came off pretentious and boring. But friends liked it a lot and so I figured I'd record it for them, and it actually came out to be my favorite thing I've ever written/recorded! Sooooo hope ya like it tooooo. And Here's a li'l picture of a bunch of parts in the dream that I drew into one scene.
A li'l Love EP I wrote in my phase of "write the next song from the ending of the song before it" but I ended up releasing these three tracks 'cause I felt like it would just keep going and eventually I'd lose the happy I was feeling while recording this. If I did continue this trend and recorded all the songs I wrote in this era, you'd hear after the last track to be Eaten Up (on Our Roofs) and then Cute Pop Apocalypse (on Puddles). Anything after that I never finished. I consider those 5 one big piece, but hey, I was feeelin' fine at the end of Morning Sunfruit, so why wait 'til something goes wrong and I write the next song? Had to release it as a hopeful me, ya know?
And the album art is an oil painting I did of the sunrise. There's still beauty to be seen after leaving Eden.
I recommend this album on those cold boring nights that aren't terribly sad, just meloncholic about a li'l love interest that's past and you sorta miss'm. When me and Robbie talked about doing this split, I had been recording in my room with one condenser mic duct taped to the desk to avoid it rolling. No songs in mind either, just recording and seeing what comes out.
First time tuning my guitar to something weird I made a whole album out of that tuning. DADF#AE if you want. First time playing drums on anything too. Very fun album to make. Recorded and mixed by Cole Verderber. A great man.
Possible album arts:
The video was shot a day before I had to paint over the wall that "I drew a mural on my wall". Miss that wall, lots of friendships made and amazing times with everyone coloring the wall with colored pencils.
This mind-blowing album cover (one of Tyler's favorites) is the result of one night when a few of our friends tried finding images in the pixels of some Rubik's Cubes. At first they were little things using the 3x3x3 but then we moved up to the 4x4x4 and 5x5x5 cubes and drew some really... interesting scenes. For a while after that we had drawing sessions with our friends and families to see what different things everyone saw in those few bright squares.
So the cover makes a little more sense, here's the 5x5 face: