"It's fun to die when you are here with me / Under the moonlight / Let's stay alive and make beautiful things..."
It's not just the magical synth notes floating like spinning tops or the funk tinged post rock bass heaviness wrapping around tightly wound drums of "Electric Fingertips" that pulls you in. It is the evocative dreamy vox, and huge walls of sound that feel like the fuzz drone of massive tape degaussers, "I don't wanna wake up now // I don't wanna wake up now // I don't wanna wake up now // I don't wanna wake up now // I don't wanna wake up now // I don't wanna wake up now", that take you on a trippy ride to another place, maybe even another plane of existence.
KC Abrams (frontperson & multi-instrumentalist) possesses a vocal countenance that feels self aware, artfully existential, present and maybe wanting to believe in things that might not yet be proven like Fox Muldar (wink).
About this track, he shares:
["Electric Fingertips" touches on feeling something you thought you were incapable of feeling, and wanting it to last forever, like a dream you don't want to wake up from.
I like songs that feel like a journey, disregarding conventional structures, letting the song go where it wants to go. In a way, songs will sort of write themselves when they come out as naturally as that, which is precisely what happened with "Electric Fingertips".]
I like songs that feel like a journey, disregarding conventional structures, letting the song go where it wants to go. In a way, songs will sort of write themselves when they come out as naturally as that, which is precisely what happened with "Electric Fingertips".]
Under the moonlight
Let's stay alive and make beautiful things
Under the sunshine
Anything absurd will start to make sense
Under the moonlight
And once again I feel like a human being
Under the sunshine
I don't wanna wake up now
I don't wanna wake up now
Sometimes, when the sanity of our lives or the current world seems in question, it can be depressing watching humanity devolve. At times like this sometimes I don't want to wake up either.
Sometimes, when the sanity of our lives or the current world seems in question, it can be depressing watching humanity devolve. At times like this sometimes I don't want to wake up either.
-Robb Donker Curtius
Hello: Anyone enjoying this read and American Pancake, end of year is always a more difficult time in terms of finances. If you can help out by contributing to our Go Fund Me below it would be super appreciated. Cheers Robb
https://pinebarons.bandcamp.com/track/electric-fingertips
https://www.instagram.com/pinebarons/
https://www.tiktok.com/@pinebarons
https://www.facebook.com/pinebarons
https://twitter.com/pinebaronsband
The band’s debut LP, The Acchin Book (released in 2017), possessed a unique quality from the auxiliary instruments and recording techniques used; feathered paper dragged across paintings, field recordings in the woods at night, accordion, string arrangements and bowed guitars all contributing to the various moods and textures of the record.
It was praised by Consequence who noted: “their complex arrangements echo the type of perplexing subject matter at hand, and their metaphorical lyricism sees them evoking a world beyond reality in hopes of finding the right answers”.
Pine Barons’ follow up effort, 2020’s Mirage on the Meadow, released during the throes of the pandemic, was a more insular effort, as all songs were written, produced and engineered by frontman & multi-instrumentalist, Keith Abrams, who explored themes of human connection while acknowledging impermanence and death’s inevitability. Sonically, Mirage on the Meadow is a psychedelic amalgamation of graveyard shifting indie rock – full of the dread we all experience while retaining a cautious optimism that propels its rich, colorful sound towards a brighter future.
During the mixing process, Abrams stumbled upon the music of cult favorite Japanese band, Fishmans (active throughout the late 80’s and 90’s) and fell in love with their peerless mix of dream pop, psychedelic rock, trip-hop and dub/reggae. Unable to speak the Japanese language himself, Abrams set out to discover what the lyrics actually meant, and with the help of a Japanese-speaking friend, came up with lyrical English interpretations of the late Shinji Sato’s words. After Sato’s copyright successor passed along his blessing to move forward, I LOVE FISH was officially born.
I LOVE FISH is a tribute album in the truest sense. Also produced and engineered in house, Pine Barons brings its own flavor to the arrangements and compositions that comprise nine Fishmans songs, including ambitious fan favorite, the 30-minute plus “LONG SEASON”, a song that has never been attempted as a cover before. Abrams recalls hearing Sato’s voice for the first time, noticing that “without even knowing what the lyrics were, I felt such a strong connection to the voice that sang them. It confirms to me the genuine beauty of that voice and how universal music truly is."
Hello: Anyone enjoying this read and American Pancake, end of year is always a more difficult time in terms of finances. If you can help out by contributing to our Go Fund Me below it would be super appreciated. Cheers Robb
THE FACTS AS WE KNOW THEM
https://open.spotify.com/artist/6i5PXBtxdTuDi3S6MDCEVHhttps://pinebarons.bandcamp.com/track/electric-fingertips
https://www.instagram.com/pinebarons/
https://www.tiktok.com/@pinebarons
https://www.facebook.com/pinebarons
https://twitter.com/pinebaronsband
The band’s debut LP, The Acchin Book (released in 2017), possessed a unique quality from the auxiliary instruments and recording techniques used; feathered paper dragged across paintings, field recordings in the woods at night, accordion, string arrangements and bowed guitars all contributing to the various moods and textures of the record.
It was praised by Consequence who noted: “their complex arrangements echo the type of perplexing subject matter at hand, and their metaphorical lyricism sees them evoking a world beyond reality in hopes of finding the right answers”.
Pine Barons’ follow up effort, 2020’s Mirage on the Meadow, released during the throes of the pandemic, was a more insular effort, as all songs were written, produced and engineered by frontman & multi-instrumentalist, Keith Abrams, who explored themes of human connection while acknowledging impermanence and death’s inevitability. Sonically, Mirage on the Meadow is a psychedelic amalgamation of graveyard shifting indie rock – full of the dread we all experience while retaining a cautious optimism that propels its rich, colorful sound towards a brighter future.
During the mixing process, Abrams stumbled upon the music of cult favorite Japanese band, Fishmans (active throughout the late 80’s and 90’s) and fell in love with their peerless mix of dream pop, psychedelic rock, trip-hop and dub/reggae. Unable to speak the Japanese language himself, Abrams set out to discover what the lyrics actually meant, and with the help of a Japanese-speaking friend, came up with lyrical English interpretations of the late Shinji Sato’s words. After Sato’s copyright successor passed along his blessing to move forward, I LOVE FISH was officially born.
I LOVE FISH is a tribute album in the truest sense. Also produced and engineered in house, Pine Barons brings its own flavor to the arrangements and compositions that comprise nine Fishmans songs, including ambitious fan favorite, the 30-minute plus “LONG SEASON”, a song that has never been attempted as a cover before. Abrams recalls hearing Sato’s voice for the first time, noticing that “without even knowing what the lyrics were, I felt such a strong connection to the voice that sang them. It confirms to me the genuine beauty of that voice and how universal music truly is."
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