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Father John Misty Sings the Hell Out of Being in Love

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Father John Misty is at his best when juxtaposing irreverent lyrics with the sublime beauty of a slow ’60s jam or a sunny, upbeat number, both found on his sophomore album, I Love You Honeybear. Gorgeous, swirling melodies and horn-infused tracks are jarring in their not-so-subtle, oft ribald subject matters. But this is nothing new for Tillman, who slipped under the Father John Misty moniker after he left Fleet Foxes. When Josh Tillman speaks about his art and the craft of the Father John Misty persona, you quickly realize if anything is true, it’s that the man is clever, eloquent, and possibly too bright to take for granted. {Read more on Treblezine…}

Recent Spins: Welcome to February, the Month of the Love Song

It’s all about love this month! I’ve put together some love-tracks (mostly). Broken hearts, hearts beating as one, heart-shaped candy, this is the season of song and hearts. And such. I love, love.

Anyway, I can’t be modest about it, but even though I have nothing to do with these awesome tracks, I DID find them. So many creative people are out there, doing fantastic things with their art, it just kills me! The following bands I heartily endorse. Listen till your heart bleeds!

I’m experimenting with embedding the tracks in my page via Spotify. I don’t THINK you have to have an account to listen, but I’m not certain. Let me know in the comments if you have trouble listening. I used to host the music on my own site but that got bandwidth-sucky.

First of all, Sky Ferreria. Just a good jam. She doesn’t mess around. She’s not Charli XCX, she’s more serious than that. Sky brings it.

 

FKA Twigs. “Two Weeks” is NSFW, probably, I mean, unless you work on the docks, a construction site, or possibly as stripper. It should be on the soundtrack to “Fifty Shades of Grey,” probably, I mean, I’ve never read that book, so I’m guessing. Yeah. But listen, it’s so good.

 

Little Green Cars. Don’t let the powerful opening fool you, this one is about falling for someone who doesn’t want you back. The harmonies are stunning, and the line “I know it’s your neglect / is the reason I’m so obsessed with you,” hits hard, and so true. I love it. “There’s more people out there to love / than people who love you.” Very good also. Well done.

 

Violent Mae. I’m still trying to figure out how this one is a “Mother’s Song,” because I haven’t had time to look up the lyrics. Upbeat, thoughtful, and easy to listen to. The song is fantastic. The vocalist has a great style. Straightforward excellent track.

 

Twin Shadow. I’ve been following Twin Shadow since 2010’s Forget. Retro, with that 80s feel, but so much better than anything that happened back then unless we’re talking about Joy Division, Jesus and the Mary Chain or other bands of that ilk. “To the Top” bursts with the kind of angst dreamers feast on.

 

Jessie Ware. Recommended if you like Sade, Rhye, and other artists that get a groove on. This track is amazing. The chorus will send you into cardiac arrest for love.

 

Sharon Van Etten. If you haven’t listened to this songstress yet, get on that. She’s evocative and vulnerable with a fragile quality that splits your heart. My favorite song of hers so far.

 

Enjoy! Let me know what you think in the comments and give me a heads up if there’s a band you think I need to hear. I never snub a recommendation.

 

Yours.

-N

Five Ways to Find Time to Write

Regularly, someone asks me how I have time to write, let alone write a book.

Look at what I’m doing now! I’m at my sister’s house, writing! CW is playing with his cousin and baby Z is in the exer-saucer! I shouldn’t be writing this post at the moment, I should be chatting with my sister and watching the kids play because it’s fun! And there are rainbows and unicorns and kittens prancing around the house because that’s what life is for a stay-at-home-mom/career mom/freelancer/author!

Right. So there is never time to write. That’s the key. There is always something else to do. If it’s not re-mopping the kitchen floor for the fiftieth time because SOMEone spilled their milk, it’s doing the laundry again because it never goes away. Something is always dirty, and it’s usually a pile of clothes, somehow (how? I just washed them!). It’s never just one item, it’s always like twenty shirts.

Anyway, this is a topic loads of writers have tackled. I am not the first. But I’ve been giving advice to a few people with aspirations of the writerly sort, so I want to put my thoughts into a blog post that I can quickly point them to.

When I say that you have to make time to write, that’s precisely what I mean! Here. I’ve boiled it down to a list of five very important things:

1) Figure out your distractions. Sometimes things are more important than writing, like being a parent, taking your kid to school, picking that same kid up from school (I have writer friends who sometimes forget to do this because they’re writing! Haha!) Showering, eating, paying the bills, possibly working. Those are all necessities. But other things, not so much. Playing Destiny or Grand Theft Auto V? A distraction. At least, for me. I love video games, but they suck the time away as well as the urge to tell a story. I get lost in those stories and lose that primal instinct to sit by the fire and weave a tale. Is it the same for you?

2) Get rid of things that qualify as a distraction. This is really part of number one, but it bears repeating because it’s so important! I recently deleted Facebook from my smartphone because I’d spend an irrational amount of time chasing links on it and commenting on other people’s life stories. I should be living life, not remarking about it from the sidelines. Right? Granted, some would think writing a book isn’t really living, but it is for me. I also had to shove aside my video game addiction. You might need to do that. Whatever your distractions are, figure out which is more important: writing or messing around.

3) Write when there’s downtime. For me, this just barely opened up as a possibility because my 3.5 year-old began going to preschool two days a week. Stoker drops him off on his way to work and baby Z takes a nap. I can potentially get 600 words in before she wakes up and I have to go pick up CW. When is YOUR downtime? Do you have a half-hour or hour lunch break everyday? When I was working as an editor, my lunch hour was my writing time. I snacked and scribbled. Figure out your free time and focus. Some nights I can work once the kids are in bed. Can you?

4) Think about what you’re going to write before you sit down to write. They say writers live two lives, the one they’re living and the one in their head, which is carefully taking stock of everything and caching it away for material later. Something like that. Whatever. I don’t remember exactly, but the point is, it’s helpful to be aware of your story all the time. For that scene with the characters in the rain? You really want to pay attention to the rain that’s happening today, right now, as you drive/walk to work. This way, when you finally sit down to write, you don’t waste a single minute searching for material. You’ve got it. Burn that keyboard up! Type! (Or scrawl it, if pen and paper is your thing.)

5) Write. Every. Day. Everyone always says this. They say it because it’s true. Getting a schedule is important because humans are creatures of habit. Our brains are tiny (everyone always says huge, but they’re lying). There are a few things that we don’t have to do habitually to remember, like riding a bike, reading words once we’re literate, etc. But things like remembering the details of a story? We forget. If you put aside a book you’re casually reading and don’t pick it up for a month, sometimes less, generally you won’t remember what the hell is going on in it. That same thing happens with the book you’re writing. You don’t want to waste writing time re-reading your entire story because you put it down for a year. So set a daily word limit. Make it simple at first–100 words, 300, 500. Whatever works. Make it reachable so that you have the pleasure of accomplishing the goal. That way you don’t give up immediately. If you write more than your goal, great. But don’t beat yourself up if you don’t go significantly over it.

If you can follow at least four of these, you too can write a book. Or a short story. Or whatever it is you want to write. Like anything in life, you simply have to want it. The best advice? Take the Nike slogan to heart: “Just do it.”

Like most people, I don’t have time to write. I create time, then I make it work for me. Make time work for you! The above five steps have helped me manage to continue to work (for the most part) through having two kids. Babies are needy. Kids are needy. And of course my kids are of the utmost importance to me, but . . . so is my work. I actively create the time to do it. And you can as well, if it’s what you want.

Writing a Sequel to Feed

First things first, I just discovered this gem. It’s so good. And, confession, something about the vocalist reminds me of Tracy Chapman. Weird! But it’s lovely and brooding and pensive. It makes me want to break up just so I can have a bit of drama. Haha!

 

So, anyway, I’ve been thinking about how working on a book now, for me, is different. Like, oddly different. Other-worldly different.

When I first wrote Feed, it was built on a short story called “Life Feeds.” I liked the damn thing so much, I wanted to do more with it. So I did. It was great. No one was waiting for me to finish. No one cared but me. I could write at the pace that worked for me and I did. I only had one kid, a baby, and when he napped, I could scribble off a thousand words no problem. Sometimes more, sometimes less.

I published it when it was done and didn’t do any marketing at all. I had no idea how to even approach that. I didn’t research that stuff because I didn’t know that marketing my indie book was even a thing!

So, because of that, it made absolutely no splash. It slipped into the water like Greg Louganis: nary a drop. Hardly anyone read it. It snuck under the radar and pretty much stayed there. Forever. Even now it only has something like 15 reviews on Amazon.

But that has never deterred me and it didn’t then. So I began working on Blue Hearts of Mars right after that and worked hard on it, sometimes feeling like someone else was doing all the work because it came so effortlessly to me. I loved the story and I just did what felt natural.

I published Blue Hearts a year after Feed. And I didn’t market that one either. It was January, and I put it up for a short free period on Amazon. That helped a bit. But not much.

Then, I met my friend and author Megan Thomason, because her YA book Daynight was also running a free promotion and Blue Hearts couldn’t knock hers out of the number one free spot. So of course I emailed her to razz her for beating me (I’m competitive like that). Well, she’s awesome and went out of her way to teach me about marketing and much of what I learned for her I’ve implemented. It helped with Blue Hearts, but that’s still the only book of mine I’ve ever pushed.

Why? I don’t know. Confidence, maybe. I’m still insecure about my abilities and my stories, despite loving the hell out of them. At this point, I’m working on a sequel to Feed even though I never planned one.

Feed ended in what some have called a cliffhanger. I get it. In today’s world, it seems like a cliffhanger because everyone writes sequels, and the best way to do a sequel is to leave room for one. But Feed is a dystopian story, modeled after something like Eugene Zamiatin’s We, which was one of the first dystopian books, along with Jack London’s The Iron Heel and E.M. Forester’s “The Machine Stops.” If you’ve read We, you know that the end is just sort of mundane. There is the hint of hope and change, but it’s not totally certain. Nothing is. The protagonist is ruined by the One State and the real hero is revealed to be I-303.

When I wrote the end to Feed, I saw that I left hope for the reader. My original ending was that [****former plot spoiler alert****] Ramone died, but the resistance lived on, which is hopeful, right? Well. A few people read it and got REALLY REALLY REALLY PISSED. So I changed it.

People are still pissed. It didn’t seem to help that I altered the ending. Some people still find reasons to get pissed! It can be discouraging.

And so, here’s what I’m getting at: I like the world and the characters in Feed, so I thought, what the hell. I’ll write a sequel.

That’s what I’m doing.

But I’m still torn about how I’m responding to readers. Lord knows I didn’t want them to hate the ending of Feed, either of them, the controversial death included. I want to them to appreciate the story and feel something: rage, relief, whatever. I don’t want them to hate me for not fulfilling them in some way.

The rub is: I’ve learned that I can’t make everyone happy. Or anyone, even, possibly. Maybe? I’m experiencing a bit of external pressure to perform, to write the story and do it well and keep it exciting and thoughtful. I’m not sure I’m doing that. They always say, “Write for yourself.” “Write what you know.” Nice little pieces of advice, those are. But what the hell do I know? And what does that even mean? If I’m writing it, you can be damn sure I’m writing for me.

But that just doesn’t change the pressure and the knowledge that people are waiting. Patrick Rothfuss wrote his first book over the space of something like ten years. And it went viral (can books go viral?). Working on the second was a huge ordeal for him. He’s published some of the emails he’s gotten where people beg him to finish the second and tell him to get to work rather than playing around with his son and such, which just show that some people are huge dicks. Where do they get off telling him to write his book and how fast? That’s not helpful.

Luckily no one is really doing that to me, either because my fan base is the size of a sample cup at Costco (not to diminish how awesome my fans are! I love you guys!) or because they’re an unusually quiet bunch. Whatever reason, I’m not under direct pressure from them. Just from what I perceive, I think. I want to be past this. I want to move on. But I’m in this limbo spot where I have to tie up loose ends. I can’t move on. Not yet. I have to do something first.

 

 

 

Stars Light Up The Night With an Homage to the Club Scene

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Stars’ newest album No One Is Lost opens with one of their favorite tricks: a sound clip from their musical vaults. They’ve probably got an entire database designed for just this thing. Some clips are powerful statements, like the one that opened 2005’s Set Yourself On Fire, which was written by singer Torquil Campbell and recorded by his father (“When there is nothing left to burn, you’ve got to set yourself on fire”), while some seem to be from films or TV shows. “From the Night,” the opening song to No One Is Lost, and one of their best songs to date, features ambient street sounds and what sounds like a group of speakers conversing in French. {Read More}

Karen O Crushes On Her First Solo Album

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Karen O is nothing if not unpredictable. As lead vocalist for the Yeah Yeah Yeahs — a band that delivers songs with deliberate throat-punches as well as having written some of the best love songs ever, she uses her voice like a whip — backed by musical arrangements as loud and thunderous as ten thousand horses. On her first solo album,Crush Songs, she strips away the landscape of the big instrumentation featured on her group productions and gives us songs about being unfulfilled and lonely in a lo-fi, half-finished demo-tape kind of way. {Read More}

New Pornographers Pull No Punches with “Brill Bruisers”

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New Pornographers frontman A.C. Newman said before the release of the band’s sixth album, Brill Bruisers, that he  “feel[s] more confident about this record than [he’s] ever felt about anything before.” He’s also called it a “celebration record,” and has explained how he’s got nothing in his life dragging him down and that his art reflects this. The thing is that all of the albums AC Newman’s indie supergroup have released are pretty much fantastic, from Mass Romantic to Challengers, on up to the similarly solid Together. But there’s a palpable sense of something extra this time around, considering how alive and glittery Brill Bruisers is. Even the tracks guided by the more meditative and poetic Dan Bejar — also of Destroyer — leap from the speaker at a jackrabbit pace. It’s just a shame that summer is almost over — this album, much like the Pornos’ best, is custom fit for a beachgoing blowout. {Read More}

JJ Changes Their Name Slightly, But Not How Good They Are

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V is full of the polished sounds that have made JJ’s previous albums stunning opuses built on catchy instrumental loops and layered vocals. Tracks like “All White Everything,” “Full,” and “I” are so heavy they threaten to collapse inward, creating a musical singularity. They’re beautiful. Perhaps too beautiful. That contrasts starkly with the production decision to not tune Kastlander’s vocals. There are moments when she falters at the cusp of the proper note, and there’s something ironically angelic about it, because why does an artist decide to show their imperfections over the easy conceal? It’s baffling and attractive to hear this human vulnerability within the context of Benon’s and Kastlander’s slick production. The messy vocals—they’re right at home in the unkempt wilderness of the guitar/vocal track like  2‘s “Me & Dean.” That makes sense. This puzzling production decision on V is strangely alluring and respectable. Somehow it casts them as even more compelling artists. {Read More}

Feed 2: Teaser #5

This is most likely the prologue to book 2. Most likely. Because all the usual stuff remains true: content is subject to change, there may be typos and grammar mistakes, as well as continuity errors.

With all that in mind, read on! Oh, and if you’re interested in reading along as I do my first draft, please leave a comment below. I plan to get that up and running soon.
Fredric Chaubin

Blythe shrugged away the chills that flashed across her skin like an electrified cloak as she gazed through the trees up at the hill halfway across the valley. Though the night was moonless and dark, the building and its surrounding area gave off as much light as an eclipsed sun. Thousands of watts burned. It was like looking at a small city nestled on the foothills of a distant mountain. Only, the lives that city knew were the billions of human stories turned into digital signal and pixels and broadcast across airwaves.

She knew this place. Had known it as a barren mountain that was beautiful in its own quiet way—it was unobtrusive, something a person only noticed in passing, unless they’d grown up around it, like she had. The concrete structure, the enormous electrical substation nearby that powered it, and the glaring lights that consumed the formerly welcome darkness, all of it represented a sort of untamable leviathan. A thing that could never be overwhelmed or reduced to a manageable size or broken down and forced into submission. It was too big. Or so it had always seemed.

She would be glad to see it crumble.

Feed 2: Teaser #4

This is a scene featuring Blythe and Ghosteye. All the usual stuff remains true: content is subject to change, there may be typos and grammar mistakes, as well as continuity errors.

For those who have already read the first book: the Decemviri has been changed to a corporation called Kirkwood (after feedback from other readers, I decided to make this change).

With all that in mind, read on! Oh, and if you’re interested in reading along as I do my first draft, please leave a comment below. I plan to get that up and running soon.

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Ghosteye laughed. “Listen, I don’t really think Beth’s going to be able to turn these, well, refugees, really, into soldiers before something needs to be done. To save Ramone, I mean. You’re still planning to launch a rescue, aren’t you?” He hobbled along beside her, occasionally wincing when his foot bumped against the inside edge of his crutch.

“Look, no offense, but I’m not sure I want anyone getting in my way. With that injured foot, you’d be in my way,” she said, glancing down at the thing. An oversized sock covered it and a mess of leaves and brambles stuck to the fabric.

“Of course not. But you need me. And you could use Marci. We’ve been a team before. We can work together again,” Ghosteye said in a level voice. “Look, I’m the last one in the veritable universe who wants to ‘work together.’ Why do you think I became an Editor? Because I work best alone. I hate groups. This is all different, though. A life depends on this. Ramone’s life.”

He stopped, having whispered that last part, and Blythe turned. His face had gone more pale than what it normally was.

“What’s wrong?” Blythe asked, cocking her head to one side.

“This is Ramone, Blythe. He’s special, somehow. You know it. We all know it. That’s why we’ve given up our normal lives for him. You, me, Marci. We’re not the only ones who get it. All these people are here for him, not Beth. Not for some idealized rebellion. For Ramone. Don’t let your pride, or whatever it is, crush Ramone’s chance for surviving whatever they’re doing to him. He needs us.”

Briefly, Blythe considered smacking Ghosteye in that pertinent, British-looking face for calling her out on her pride. Who did he think he was? She could just see his spiky hair—floppy this morning—responding in a satisfying jolt from the tiny assault. Instead she narrowed her eyes into a begrudging glare. “Nice one. You’re lucky I don’t believe in responding to verbal abuse with physical abuse. Otherwise you’d have my handprint on your pasty white cheek.”