- 1Almost Every Day Prelude
- 2Fall River Music Project - Alfie
- 3Keziah - Embellir Par la Torsion
- 4Lilic & Fall River Music Project - Nocturne
- 5Glint - High Tree Tops
- 6wish - Time Remembered
- 7Nudo - Prenda Del Alma
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Edition of 50
Almost Every Day - the first compilation from Deleted.
Lilic Fall River Music Project Keziah Glint Wish Nudo
Pop music – and the song form – always embeds itself in a place, sentiment, disposition.
A title can be considered as a poetics of location (in a similar way to a score, delineating the heart of a piece) – where these things solidify, can be reached (5AM in Toronto; Leaf in the Wind ; Sunshine on my Shoulder ; Evening Harmony).
Standards and covers can be read as games of signature : what is glimpsed in a title shifts, becomes hushed, is transfigured in the likeness of someone else – the song changes. The music gives under the genesis of a new and personal location – a different kind of morning, another shade of melancholy, a private pleasure : one’s way of walking through things (Softly as in a Morning Sunrise ; I Fall in Love too Easily ; Guess I’m Dumb ; April in Paris ; Autumn Serenade ).
As a compilation, Almost Every Day foregrounds the possibility of the standard and the cover as elastic compositional methods : what results when songs are restaged not only in the desire for their musical material but for the poetics of their titles and its musical implications.
Artwork by Eyrie Alzate
Mastered by Jack Callahan
Lilic Fall River Music Project Keziah Glint Wish Nudo
Pop music – and the song form – always embeds itself in a place, sentiment, disposition.
A title can be considered as a poetics of location (in a similar way to a score, delineating the heart of a piece) – where these things solidify, can be reached (5AM in Toronto; Leaf in the Wind ; Sunshine on my Shoulder ; Evening Harmony).
Standards and covers can be read as games of signature : what is glimpsed in a title shifts, becomes hushed, is transfigured in the likeness of someone else – the song changes. The music gives under the genesis of a new and personal location – a different kind of morning, another shade of melancholy, a private pleasure : one’s way of walking through things (Softly as in a Morning Sunrise ; I Fall in Love too Easily ; Guess I’m Dumb ; April in Paris ; Autumn Serenade ).
As a compilation, Almost Every Day foregrounds the possibility of the standard and the cover as elastic compositional methods : what results when songs are restaged not only in the desire for their musical material but for the poetics of their titles and its musical implications.
Artwork by Eyrie Alzate
Mastered by Jack Callahan
