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SHARON VAN ETTEN – ” The Albums “

Posted: May 15, 2022 in CLASSIC ALBUMS, MUSIC
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Sharon Van Etten contemplates life and love and the accompanying kaleidoscope of emotions.” Throughout her discography, consisting of six sublime studio albums, the singer/songwriter has consistently merged the dark and the dazzling, proving herself to be one of the best lyricists of the 2010s.

This Spring Sharon Van Etten released “We’ve Been Going About This All Wrong“, her sixth and most instrumentally diverse record in a storied 13-year career. Before releasing her debut, “Because I Was in Love“, in 2009, and forging a blueprint of heavy, sometimes sparse, emotional upheavals, Van Etten worked as a publicist for Ba Da Bing Records and sold handmade, self-released CDs. Now, a half-dozen LPs and more than a decade later, Van Etten has never been side-lined by formulaic exhaustion each of her projects tap into similar emotional headspaces, but never flirt with redundancy. She’s enigmatic and self-aware; graceful and humorous understanding of what weight a song can hold, what reactions restraint can provoke.

Van Etten’s journey to where she is now has been a slow burn, as she’s patiently amassed a discography that’s always remaking itself sonically. Each record has built an empire out of the one predating it, and Van Etten’s work has become a cornerstone in indie rock through consistency, experimentation and brilliance—and her collaborations with Josh Homme, Norah Jones and Angel Olsen, among others, showcase her adaptability, how she can so comfortably fit into any song with anyone. (She’s even linking up with Julien Baker and reuniting with Olsen for the powerhouse Wild Hearts Tour this summer.)

As the Brooklyn singer/songwriter celebrates “We’ve Been Going About This All Wrong“, another triumphant document of romance, pitfalls and joys, in a discography patented by it, is highlighting each project’s acclaim. Below we look at all six Sharon Van Etten albums, which range from gentle acts of anti-romantic balladry to powerful declarations of hard-earned healing.

Because I Was in Love (2009)

Van Etten’s debut chronicles the balance between disaster and joy in love, exploring the improbability of easy, happy endings. It’s not as instrumentally rich as her subsequent records, but there’s a raw power that beautifully upends our perceptions of the bounds a singer/songwriter project has to abide by. The place of intimacy from which Van Etten has worked is always palpable and addicting, and “Because I Was in Love” exists as proof.

Sharon Van Etten’s first recordings are among her most delicate. “Consolation Prize,” the second song on her debut “Because I Was In Love” is a spare and beautiful venture in plucking. The narrator of this tune doesn’t want to be someone’s last choice, or even their second. “The moral of the story / is don’t walk away again,” Van Etten warns. “No, I’ll never be your consolation prize.”

“For You” is still a standout in her catalogue, with that intoxicating “I was running home to you / I was hoping that you knew” melody; “I Wish I Knew” remains her most triumphant opener, as she immediately leans into the vulnerable song writing she’s made her blueprint. “I wish I knew what to do with you,” she sings on the track, capturing the gist of the entire record: a tender, brilliant testament to love’s greatest confusions.

Epic (2010)

With her second album, “Epic”, Van Etten perfectly built off her debut effort in a concise way, adding depth and rich textures to a shaped voice and daring, outspoken lyrics in just seven tracks. What sets her apart from many contemporaries is how she chooses to open herself up, as she chronicles second-person interactions with a memorable eye for self-analysis. “Don’t leave me now, you might love me back,” she sings on “One Day,” her best pre-“Tramp” tune.

On this track from 2010’s “epic”, Van Etten is all of a sudden an emboldened troubadour, chasing the sounds of an adventure. She starts the song unsure: “I was somewhat afraid / I was something.” But, after a too-short couple of minutes of bouncing drum and choral backing vocals, she’s awake and self-assured: “When I woke up I was already me / And I am not afraid / I am something.”

Sharon Van Etten is a master slow-burner, and “Love More,” the album kicker from “epic“, is a particularly beautiful shedding of the wax. Her retelling of an emotionally abusive relationship, and a way of coping with the aftermath of it, is sad but cathartic.

The synth-driven closing track “Love More” got a lot of attention because Bon Iver covered it, but, on its own, is one of Van Etten’s most affecting codas. (“You chained me like a dog in our room / It made me love, it made me love, it made me love more” is still a heater of a lyric couplet.) When “Because I Was in Love” arrived in our hearts in 2009, Van Etten was drawing comparisons to Marissa Nadler and Norah Jones (with whom she would later collaborate); by the time she wrote “Epic” a year later, she’d surpassed both of them completely.

Tramp (2012)

She pivoted to Jagjaguwar for her next album, “Tramp”, and has remained at the label since. But in the years since 2014, when that fourth record, “Are We There” arrived, something happened. Actually, a lot of things happened: Van Etten started a romantic relationship with her once-drummer and now-partner Zeke Hutchins, went back to school at Brooklyn College, secured a recurring role on the Netflix show The OA and had a baby—in that order. 

It takes some courage to admit “I am bad at loving.” Using clever rhymes (“Well, well, hell”) and folksy acoustic guitar, Van Etten looks back on a soured relationship and shares the blame for its demise. The track, which Van Etten says was inspired by Leonard Cohen (and also the “Kevin” who’s referenced on the preceding track) is one of the best on “Tramp“.

Produced by The National’s Aaron Dessner, “Tramp” is Van Etten’s most forward creation, littered with angry ballads of isolation and mistrust. The production of this record is plucky and visceral, an industrial precursor of the detouring, harmonious leap she would make, instrumentally, on “Are We There” two years later. When she goes up a register on the scoffing, jangly “Warsaw,” in come stark, clamorous echoes of that familiar heartache Van Etten has consistently plucked from her own emotional repertoire. But the shining parts of “Tramp” arrive when she comes back around and tilts the spotlight away from herself.

Love is torture. What do you do when a relationship is clearly toxic, but the feelings are so strong, so all-consuming? In the case of this song’s narrator, you freeze. Van Etten said writing the song was her “therapy.” But it might be useful for more than just herself: The signs of an unhealthy relationship (“Break my legs so I won’t walk to you / Cut my tongue so I can’t talk to you / Burn my skin so I can’t feel you”) show themselves in varying ways, and Van Etten’s assessment is a look at the very worst. But it’s a song that moves and stirs, drawing more empathy out of me than I knew was possible from an anti-love song.

On “Kevin’s,” she strains her voice while singing of someone else’s self-destruction, lamenting, “You dig your own grave / Buried in masculine pain all the time”; on “We Are Fine,” she helps a friend out of a panic attack.

During “Serpents,” the album’s lead single and Van Etten’s most eruptive and punishing track, she pleads for the simple act of consideration, belting, “I had a thought you would take me seriously,” before the memorable, racing choral breakdown. 

Above it all, “Tramp” is about healing, both individually and in relationships. “I want my scars to help and heal,” she sings on “All I Can.” On the two previous records, Van Etten sang of a world stopped while the pain came rushing in; on “Tramp“, she decided to keep moving forward through the crumbling.

Are We There (2014)

“Are We There” showcases what we’ve come to love about Van Etten: The New Yorker is self-possessed in the most beautiful ways. This record came into the peripherals of many listeners by way of Twin Peaks: The Return, when Van Etten performed “Tarifa” at the Bang Bang Bar at the end of episode six. Beyond that cameo, “Tarifa” is Van Etten’s prettiest song, sandwiched between the intoxicating, electronic “Our Love” and the nervous, stark “I Love You But I’m Lost.”

The heart of “Are We There” is its finale, “Every Time the Sun Comes Up,” which endures as a declaration of the record’s anti-romantic ethos. “People say I’m a one-hit wonder / But what happens when I have two?” she sings on the track, before obliterating the song’s anonymous subject with the “I washed your dishes, but I shit in your bathroom” line. “Are We There” is a bridge between “Tramp” and “Remind Me Tomorrow”; an immense follow-up to the former and a bold, gentle predecessor to the latter.

While she’s spent plenty of time studying despair, Sharon Van Etten knows her way around a love song—a real one, with butterflies aplenty and googly, awestruck eyes for days. “Our Love” sort of straddles love’s light and dark sides. The chorus, just a repeated crooning of “it’s our love” and “in our love” and, eventually, “it’s all love” exists in the light side. The verses, however, are more uncertain. The droning drum loop lopes along as twangy, sorrowful guitar lulls you into a trance, leaving the listener with the responsibility of deciding whether or not this song has a happy ending. One thing’s for sure, though, someone rescued her from the bottom of the “well,” making everything else worth it.

How we approach that banality of everyday life, however, is up to us. Van Etten has said “Every Time the Sun Comes Up,” a brooding and funny take on the humdrum, started as a joke, just the product of some late-night silliness with her bandmates, but that doesn’t make it any less smart. It’s both a look at burdernous rituals and some kind of deeply personal anecdote, but Van Etten makes them feel like one in the same. It’s a song about nothing and everything—and also weed (“People say I’m a one hit wonder / But what happens when I have two?”). Or—wait—was she actually referring to her well-performing singles? The great thing about Sharon Van Etten is that we’ll never need to know.

Remind Me Tomorrow (2019)

“Remind Me Tomorrow” careens from the almost-galloping pace of songs like “Comeback Kid” or the third-verse howl of single Seventeen, to more restrained and almost crooning tracks like “Malibu” or “I Told You Everything“.

The three singles ahead of the album—”Comeback Kid,” “Jupiter” and “Seventeen”—are intense and grandiose in a way we haven’t seen before from Van Etten. She’s working with a new toolbox, using more synth and beats and production. It’s an exciting display of rock ’n’ roll and a noticeable break from her folk-leaning beginnings,

The release of “Comeback Kid,” the first single from “Remind Me Tomorrow” was when we realized 1. the old Sharon can’t come to the phone right now and 2. the new Sharon is a dark queen. Of all the songs on this record, this slingshot is the most intense, and it also marks a pivotal point in Van Etten’s career, when she introduced us to a whole new trove of her capabilities as a musician. Van Etten returned with firepower, a song so loud and alive we couldn’t tune it out.

The intensity of “Seventeen” matches that of the two previously released singles from “Remind Me Tomorrow, “Comeback Kid” and “Jupiter 4.” We’ve always counted on Van Etten to bring excellent lyrics and brooding melodies to the table, but we’ve never heard her like this—emboldened and chasing a darker, more driving strand of rock ‘n’ roll. “Seventeen” is almost Springsteen-esque in its grandiosity and nostalgia, though it’s more charged. The track’s companion video is, as Van Etten put it in a tweet, a “love letter” to New York City. In the clip, Van Etten chases a perfectly cast “shadow” of her former self (seriously—it’s eerie how similar these two look) around NYC, reckoning with her past and remembering when “she used to be 17.” The video is sentimental, but Van Etten is skeptical of youth’s glow, too: “I used to feel free, or was it just a dream?” she sings.

Van Etten gravitated towards synths on this record, thanks in part to indie archetype Michael Cera – they shared a practice space – which sees her formerly guitar-based music open up to new sonic textures. Yet the album remains anchored by Van Etten’s vulnerable, honest and good-humoured lyricism, which while haunted by a recurring “shadow”, glows with the loving perspective of a new mother.

We’ve Been Going About This All Wrong (2022)

“We’ve Been Going About This All Wrong” is a career-spanning Van Etten record. She elected to not share any singles prior to the album’s release, making a statement on artistic control, productivity and the dedication she has to her craft. The record beautifully taps into every era of Van Etten’s career, weaving in and out of acoustic ballads, synthy, atmospheric flickers and orchestral compositions fit for high-ceiling chambers or starry amphitheaters. It’s less a follow-up to “Remind Me Tomorrow” and more a first step towards something grander, something Van Etten perhaps hasn’t even figured out yet. “Born” is a magnetic, sprawling opera (“It was something like a window / And I wanted to break free”), while “Headspace” follows as a sensual, brash tune with inversely sublime lyrics (“I want to touch you in the dark”). Lyrically, Van Etten has stripped back her usual approach, trading in on-the-nose dissections for more accessible couplets about desire and moving on.

But instrumentally, she’s never been more experimental, electing to make these songs feel conversational through arrangements that perfectly complement her vocal performances. On every preceding project, Van Etten sounded like she was scratching at some kind of revelation; on “We’ve Been Going About This All Wrong“, she’s made peace with what she has, or hasn’t, discovered.

The Albums:

  • Because I Was in Love (2009)
  • epic (2010)
  • Tramp (2012)
  • Are We There (2014)
  • Remind Me Tomorrow (2019)
  • We’ve Been Going About This All Wrong, (2022)

The EPs:

  • Amazon Artist Lounge – EP (2014)
  • I Don’t Want to Let You Down – EP (2015)

GENTLE SINNERS – ” These Actions Cannot Be Undone “

Posted: May 15, 2022 in MUSIC
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Arab Strap’s Aidan Moffat and The Twilight Sad’s James Graham join forces to make an album unlike any either have made before, “Killing This Time” is the first single by Gentle Sinners.
Gentle Sinners are James Graham (The Twilight Sad) & someone else.

Aidan Moffat and James Graham have known each other for years, traveling in similar circles of Glasgow’s indie rock scene as frontmen for Arab Strap and The Twilight Sad, respectively. In 2021, Graham was moving out of the city he’d called home for most of his life and relocating to Northeast Scotland, and met up with Moffat before leaving town. A long admirer of Moffat’s work in and out of Arab Strap, Graham wanted his advice on working on a solo project. Moffatt in turn suggested they work together on something, and said he actually had some music he’d been working on he thought would be perfect.

“I really wanted to try something I’d never done before, which is make music for other people to sing to, and that sort of became a theme of the album,” Moffat says. “If we hadn’t done it before, we should definitely do it now.” Mission accomplished, above and beyond those intentions. Gentle Sinners sound like no other music either have made before. 

“These Actions Cannot Be Undone” is grand, striking sophistipop, closer to Wild Beasts or The Associates than the widescreen anthemic indie rock that might come to mind with this pair. Graham almost sounds like a different person, often working in the upper registers of his voice. “Killing This Time” is a sweeping and synthy dancefloor thumper, while “Don’t Say Goodnight” weaves layers of Graham’s vocals with delicate strings and glitchy electronic flourishes.

There are a couple moments where Gentle Sinners go where you think — or maybe hope — they might. “Shores of Anhedonia” features Moffat’s distinctive, breathy and sinister spoken word delivery — “You know what it’s like when you stop to ask the Big Questions, but it’s a messy business and who needs the drama?” — paired with Graham’s plaintive wails of “I want to fade away.” This is drama we need and lyrically “These Actions Cannot Be Undone” is what you’d expect, with lots of weighty soul searching. But it’s a better that “Shores of Anhedonia” is the anomaly here, as this album offers surprises at every turn.

released May 13th, 2022

NICK LOWE – ” Bowi ” EP

Posted: May 15, 2022 in MUSIC
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“Bowi” was the first EP released on Stiff Records. Recorded by Nick Lowe, who had also released the first Stiff single, the title and cover were intended as a humorous response to the David Bowie album “Low”, which had been released earlier in the year. Lowe decided that as Bowie had made an album with his name, but without the final “e”, he would reciprocate by making a record with Bowie’s name, also lacking the final “e”.

Of the four tracks on the EP, only “Marie Provost” was initially re-released on an album, 1978’s “Jesus of Cool” (issued as “Pure Pop for Now People” in the US), although all four tracks appear on the 2008 deluxe re-release edition of Jesus of Cool. The opening track “Born a Woman”, written by Martha Sharp, had previously been performed by Sandy Posey “as a lament about the world’s cruelty and inequality”, whereas Lowe sings it with glee, unclear whether he is “decrying the information he’s sharing or revelling in it”.

“Marie Provost” was written about the death of silent screen star Marie Prevost, whose body was discovered several days after she had died, alone and penniless in her Hollywood apartment. When she was found, she had bite marks on her legs, courtesy of her dog. That was the basis for the refrain, “She was a winner / that became the doggie’s dinner”, as well as other lines indicating that her pet dachshund had eaten her. In contrast to the sad content of the lyrics, which evoke the transitory nature of fame, the melody is deliberately “bouncy … with chiming guitars”

All songs written by Nick Lowe, except “Born a Woman” by Martha Sharpe.

  1. “Born a Woman” (originally performed by Sandy Posey)
  2. “Shake That Rat”
  3. “Marie Provost”
  4. “Endless Sleep”

CLAIRE HAMILL – ” The Man Who Cannot See Tomorrows Sunshine “

Posted: May 15, 2022 in MUSIC
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A beautiful track from the album “One House Left Standing”, released in 1972 on Island Records.

Claire Hamill was only 17 when she recorded her debut album, “One House Left Standing”. Island Records was looking for an English version of Joni Mitchell, who was a huge influence on Hamill. Label owner and producer Chris Blackwell realized the potential but was worried about her young age. She remembers: “He tried to convince me to wait and pointed out all the bad things about the music business.

He saw how naïve and ingenious I was and was scared about the responsibility of introducing someone so young to a business steeped in sex and drugs! I turned all my girlish charm and even made him laugh when I asked if I could have shares in Island as part of my contract.” Shares where not forthcoming, but Blackwell got her a number of top notch musicians to play on that album. Paul Buckmaster was hired to arrange a few songs, including “The Man Who Cannot See Tomorrows Sunshine”, where he also plays the cello and John Martyn plays guitar.

PANIC SHACK – ” The Ick “

Posted: May 15, 2022 in MUSIC
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Comprised of Sarah Harvey (vocals), Meg Fretwell (guitar/backing vocals), Romi Lawrence (guitar/backing vocals), Em Smith (bass) and Ed Barker (drums), the band were officially formed in late 2018 as an affront to how music can feel like a ‘members-only club’ at the best of times, a phallocracy at the worst. They’ve since built a word-of-mouth following for their frenetic live show with barely a shred of music available online.

It’s that sense of inclusiveness that permeates everything Panic Shack do: a band writing killer, off-kilter songs whose guitarists could barely play four chords a year ago having dusted off guitars from the attic; who got started covering Dead or Alive and Stealers Wheel from Googled tabs. It’s the kind of trajectory you could compare to a modern Young Marble Giants or ESG, but those bands rarely sounded this fun or alive. You could say there’s no one out there doing this right now, but that would probably defeat the point.

The EP presents the band’s first singles ‘Who’s Got My Lighter?’, ‘Jiu Jits You’ and ‘I Don’t Really Like It’ alongside brand new material, ‘Mannequin Man’ – ‘Baby’ and ‘The Ick’.

BEEN STELLAR – ” Kids 1995 “

Posted: May 15, 2022 in MUSIC
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The core characteristic of New York rock has always been a raucous, youthful, devil-may-care energy—stumbling around the Lower East Side at 4 AM, or having a drunken conversation on an L train heading east. And it’s a description that aptly fits Been Stellar.

In preparation for a UK tour with The Goa Express, New York’s Been Stellar have just released their new single, “Kids 1995”.  A jubilant celebration of youth, the song’s title is taken from Larry Clark’s seminal film.  It’s exactly the sort of music a late night romp through city streets lends itself towards.  The tune reflects the ruleless odyssey portrayed in the movie, traversing a scorching 90’s New York summer.  It contemplates innocence lost and the acceptance of life as it is.

Released April 26th, 2022

VIAGRA BOYS – ” Cave World “

Posted: May 15, 2022 in MUSIC
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Viagra Boys have consumed the utterly incomprehensible chaos of our era and distilled it into 12 immaculate tracks of post-truth-cow-funk-kraut-wave-enlightenment. This album is a pure feral attack and an absolute immense release. In this time of strife, insanity and confusion, only one band is depraved enough to offer themselves up as herald. Like sin-eaters if sins had to be ingested from a very small spoon,

Swedish post-punk band Viagra Boys shared a new single, “Troglodyte.” It is the latest release from their forthcoming album, “Cave World”, which will be out on July 8th via YEAR0001 Records.

In a press release, frontman Sebastian Murphy states: “People look down at apes as primitive life forms, but we’re just this horrible, lazy society killing each other and starting wars, while they’re able to love and feel. Does that make them the true ape or us?”

“Cave World” — Out July 8th 2022 on YEAR0001

TRAAMS – ” Breathe “

Posted: May 14, 2022 in MUSIC
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Post rock band TRAAMS are releasing a new album, “Personal Best”, on July 22nd via FatCat Records. They have just released its third single, the nine-minute-long track “Breathe,” which features guest vocals from Softlizard (aka Liza Violet of Menace Beach).

In a press release, Hopkins had this to say about the new single: “During one of 2020’s seemingly endless lockdowns once it was legal to do so, we began meeting up in Stu’s basement (due to our regular rehearsal space being shut). It was a strange time and we all felt palpably odd. “We already had a couple of tracks from a previous session, but ‘Breathe’ felt new. It took us down a very different path, one that ultimately shaped the tone of the whole record—right down to the artwork.

“A soft, meandering lullaby, born out of a trip to the GP—waiting room imagery, mismatched furnishings, gaudy posters, and jarring slogans all coming together in a fleeting moment of calm, before expanding out into a celebration of life’s repetition.”

“Personal best” also includes “Sleeper,” a new song TRAAMS shared in February, When the album was announced the band shared its second single, “The Light at Night,” which features Joe Casey of Protomartyr and was shared via a video directed by Lee Kiernan of IDLES and Charlotte Gosch.

“I couldn’t really write, and I didn’t have the motivation to do anything musical. I’m pretty sure I didn’t pick up a guitar for two years,” Hopkins said in a previous press release of the long gap between albums. “I was waiting for that feeling to come back.”

In 2020, TRAAMS shared the songs “The Greyhound” and “Intercontinental Radio Waves”. Neither track is featured on the new album and both were leftover TRAAMS songs Hopkins finished.

“They had been left as instrumental demos with no vocal takes, and to be honest they were beginning to drive me a little mad,” Hopkins explained. “I needed them finished and out of my head.”

At the end of 2019 the trio reconvened to begin work on new music and they began recording in 2020 when pandemic lockdown restrictions in the UK began to ease. “I like the fact that it touches on old ideas and new ideas, created in this weird middle period of our lives when we were locked down and didn’t know when we’d get on stage again,” bassist Leigh Padley said. “We focused more on the writing than we had done before.”

Hopkins added: “Lockdown heightened how much we realized we needed to do this, after so many years inactive. We realized that TRAAMS was something we all really needed.” 

“Personal best” is the band’s first full-length in seven years, since 2015’s “Modern Dancing“.

TRAAMS are Stu Hopkins (vocals, guitar), Leigh Padley (bass, vocals), and Adam Stock (drums, synths).

‘Breathe featuring Softlizard’, from TRAAMS new album ‘Personal Best’ available July 22nd 2022.

STELLA DONNELLY – ” Lungs “

Posted: May 14, 2022 in MUSIC
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Australian singer/songwriter Stella Donnelly is back with word of her sophomore album, “Flood“, coming August 26th on Secretly Canadian, and with a world tour slated for this Autumn. Lead single “Lungs” is out now, complete with a music video. On “Lungs,” Flood’s opener, Donnelly writes from the perspective of a child whose family is being evicted, vocalizing acrobatically as she insists in its choruses, “Don’t watch us when we leave / Won’t let you see us.” Up-tempo percussion and a roomy arrangement of bass, distant guitar distortion and organ lend the song some lightness, but Donnelly’s lyrics, masked by the sing-song delivery she assumes so as to better inhabit her character, are quietly harrowing: “Stretching out the leather on your wallet / That my lungs are filling up / Long live the asbestos on the rental / Yeah it looks alright to me,” she sings, alluding to the ultimate cost of poverty. “I’ll be a child, rest of my life,” she swears as the song winds down, imploring, “History again, teach me like a friend, what you know and why.”

This is my song “Lungs“, an attempt to tell a story of classism and city limits suburbia through the honesty of a child.

It’s the first single from my new album, “Flood”, which will be released on Friday August 26th. “Flood” is another compilation of diary entries and fictional stories that allow me to expand on moments between humans.

“Lungs” by Stella Donnelly from the forthcoming album ‘Flood’, out August 26th on Secretly Canadian.

CRACK CLOUD – ” Tough Baby “

Posted: May 14, 2022 in MUSIC
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Vancouver collective Crack Cloud have announced the release of a new album, “Tough Baby”, which will be out on September 16th via Meat Machine and Crack Cloud Media Studio. They also shared a strange video for a new single from the album, “Please Yourself.” as in the video the song’s solo piano outro is partially obscured by dialogue from a fake sitcom.

In a press release, frontman Zach Choy states: “As a kid, my bedroom was an altar. The images on the wall represented much of what I idolized and aspired to be. This sort of deification of pop culture helped to reinforce my sense of self narrative, however fabricated. But it also provided a sense of solidarity…with a subculture that validated insecurities in a personable way. This is what makes the media industry such a profound paradox. It is as much a source of inspiration for people, as it is an engineered illusion.

“The subtext of the video is really as follows: art is a mechanism for healing and discovery. You learn through it, and you grow with it. In our culture we’re predisposed to quantifying art, to sanctioning it, and to manufacturing it. But underneath all of that, it is a form of living inquiry; it’s how we learn to unravel the extremities in life so that we may better understand ourselves, and each other.”

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