has been playing music since her accidental performance art / teenage barbands back in good ol Sioux Falls, South Dakota.
Her first solo record, Past Life Martyred Saints, came out in May 2011 on Souterrain Transmissions.
As far as Grey Ship goes (and in fact the whole album), I’ve always been fascinated with fidelity as some sort of sonic signifier, like how different production and recording techniques make a song mean something different depending on the qualities of sound. Take for example how something lo-fi signifies something different than to us something hi-fi.
It’s hard to say if that is just because of our experiences with lo-fi tape things as being early documents, (equals demos, naivete, authenticity) or if tape really does have some sort of magical alchemical property that just sort of glues stuff together and makes it beautiful. I mean, it’s MAGNETS BRO, THINK ABOUT IT!!!
So for a long time I’ve wanted to make a piece that changes fidelity in the middle of the song, from lo-fi to hi-fi. I imagined it being like when Dorothy opens the door to Oz and the whole world turns from black and white to technicolor.
So the first part of this song is recorded on a 4track and it’s sposed to be kind of a hippie song about aliens. And then the bass drops and electronics come in. (One thing about lo-fi is most of it doesn’t have BASS! Do u miss it or no???)
Do I hate Cali? Nah. But someone’s gotta rep the darkside of the zeitgeist.