Courtesy of the artist
Drinking water From Your Eyes’ new album, Framework, opens with a photograph-best really like track. Gentle and glowing, “When You happen to be All over” flows with the kind of misty melodies that stick to two really like-struck people in an early ’70s black-and-white romance. Shut your eyes, and you can see the pair, hand-in-hand, gliding alongside one another as a result of hazy streets on a moonlit summer’s night. There is certainly an intimacy in how the text unravel — warm and generous, straight from singer Rachel Brown’s vast-open coronary heart — and has there ever been a line additional devastating than “I listen to your voice and help you save it for afterwards”? But according to the band by themselves, it can be all an illusion.
“It was intended to be a slipping-in-enjoy music, but it truly is quite a lot a falling-out-of-appreciate song,” admits Drinking water From Your Eyes’ musical architect, Nate Amos. “It presents as a enjoy music, but then it really is like, ‘Gotcha!'”
On Structure — much like in love — nothing lasts for good. You’re still wiping away the tears when track two, the abrasive “My Love’s,” suddenly hits, a black wall of grinding, avant-garde noise. Brown’s tender voice goes darkish, vacant. The bandmates both agree that the album is inadvertently “spooky,” but it is never ever intended to be just just one issue. Shifts and surprises abound, from ’90s industrial freak-outs to haunting lullabies and solemn spoken term.
Concluded just in advance of the pandemic amidst a authentic-life intimate break-up in between Amos and Brown, Framework is remarkable and mysterious new territory for the New York duo — equal elements magical and menacing. Its only true intention is that the anatomy is all unintended. Like a dream, a nightmare or a scene from your favourite film, it’s whichever you want it to be.
Inspite of their have cinematic-style break up, no rift exists amongst Amos and Brown — the remarkably connected pair spoke with NPR New music about developing their unusual and whimsical masterpiece in advance of its release on Wharf Cat Documents on August 27th.
NPR Tunes: Nate, you mentioned in the album’s push release that Structure is created up of “two matching halves.” How did you tactic that concept of structuring the album? Specifically specified its title…
Nate Amos: It was not intentional. A large amount of the tracks have been prepared actually far aside, so the plan for the two pieces to be matching existed way right before we resolved to contact the album Structure. The album existed without the need of “Monday” or “‘Quotations'” for like, 3 or 4 months… then “Monday” was created as a track for my solo challenge, but it became really distinct that it would reward from Rachel singing it. That a person has this weird duality with “When You are Close to”… texturally and sonically, they’re really very similar.
We then decided to do a second model of “Quotations,” and that made it 8 tracks. So we had the two variations [of “Quotations”] that have been a pair, “Monday” and “When You might be Close to” were being one more pair, the spoken phrase items have been a pair and then “Keep track of 5” and “My Love’s” had been the two type of… in the same way unrelenting.
It truly is the very same thing with “Quotations” and “”Quotations.”” The odd thing about people two songs is the variation of it without the quotation marks — and this was an incident much too — basically has quotation marks in the waveform. If you glance at it, there are these drone intervals at the extremely conclusion of the track. It’s just one of these weird coincidental points that transpired.
Sounds sort of spooky.
Amos: It is really undoubtedly a spooky album.
Was nearly anything actually planned out, or is the entire album designed up of these odd coincidences?
Brown: Nate does conceptualize the tunes prior to we compose the lyrics — very well, I guess “When You might be All over” was distinct, due to the fact we wrote that when we ended up breaking up. [Laughs.]
Wait around, what?!
Amos: Yeah, we utilised to day.
Brown: We’re not jointly any longer — we’re just greatest buddies. In fact, this album helped us turn out to be close friends again.
Most of the lyrics were being prepared soon after we’d broken up and experienced taken some time apart. Composing lyrics was the first time we might hung out together by ourselves again. But “When You happen to be All-around” was from before. It was designed for a college student film my close friend was building that by no means in fact got manufactured.
Amos: It was supposed to be a karaoke tune. Which is how “Monday” transpired, far too… “When You happen to be About” turned out so well, I experienced this plan of crafting a total album of tracks for motion pictures… specially, videos that never exist. “Monday” is from a scene in a movie that exists in my head.
In addition to “two matching halves,” the push launch also mentions Mark Rothko. I was pondering if people two concepts are related.
Brown: That is a Nate issue, but a single time I was in a bookstore, and I uncovered this e book about Mark Rothko. I was like, “Male, this man actually is familiar with what he is talking about.” His offers seriously resonated with me so it’s intriguing that Nate loves him.
But I’m not a great deal of an artwork particular person… to be genuine, I’m not even a great deal of a songs man or woman. [Laughs.] I love tunes, but I myself am not a musician’s musician. I’m just any person who occurs to make songs.
Amos: I assume the huge issue with Rothko is f****** with the notion of time. His paintings do that for me. That’s some thing I have been messing with for a long time, relationship again to 2016 when I lived in Chicago. I would acquire tremendous superior-def .jpegs of his paintings and transform them into raw knowledge, and then convert them into audio documents.
You did that for enjoyable?
Amos: [Laughs.] Yeah, I did.
Brown: Nate is a musician’s musician!
Amos: The more time songs [on Structure] ended up currently being in dance songs structure. Stretching the music out like that was an try to blur the perception of the length of a tune in the way that I discover a good deal of Mark Rothko’s art does.
It sounds like the framework of the album, if you will, ended up being fairly intentional in a way that was completely unintentional.
Amos: It really is like producing. In its place of stating, “I’m heading to produce this thought down,” you just generate chaos. And make your self the editor. Then it truly is like you happen to be not even composing it.
“My Love’s,” the initial variation of “Quotations” and “Observe Five” — I was striving to consider of them as sculptures. I would build this massive 8-moment block of sound wherever every thing was going on all the time, and then I would chip away at it for times in tiny increments. That is how the sorts commenced to emerge. Like an improvised sculpture.
Brown: It was comparable with the lyrics. I definitely just took out my notebook and begun producing phrases.
Amos: It was all laid out in a very math way. I’d have the approximate variety of syllables for each line, and then we might start out riffing inside that. It was a quite fast method. By establishing the lyrics super quickly, that taken off some of the pretension that would have happened if we might assumed about it as well a great deal.
Brown: We consider to stay away from getting pretentious.
Amos: Which is humorous, since this album is pretentious as f***! But we have been laughing about it the total time.