Casual rambles, short stories and poetry done casually

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You gotta convince the fools in the pit that…you fell asleep with that thing, your thing, an instrument, your instrument across your chest or under your head, passed out after exploring it with the curiosity of a serial cave diver.

The third album is a pain in the ass, an asshole, a bastard. It broke the Mint Chicks and sent Ruben Nielson scurrying to Portland, Oregon to cache himself in graphic design and commercial art. However, the foxhole he ended up in was a basement studio filled with all the gadgets and toys a growing musician needs.

We may have been too carried away last record not to notice that the now-known Mortal behind the Orchestra didn’t particularly enjoy being high as a kite on a mountainside all the time. Perhaps we forgot why it’s called a daytrip and why we take them. Abnormal days require special cool-down times.

In a sober-state, the Unknown Mortal voice behind the Orchestra would confuse me. He’s flexing Harrison-esque vocal muscles cloaked in studio effects, as if trying hide what is so painfully obvious: the mind-flaying musical alphabet starts with a B-Eatles and the drugs make you see shit, hear shit, believe shit.

With The Spark everything changes. Each time I feel like I have listened to a band who grew up in the same area as me. The same stomping grounds as I. Over 12 tracks, Sol Seed dials me into my Oregon roots and the many musical experiences of my life.

The band sounds gracious yet geared from the get-go, crafting a band anthem in “Family Tree” replete with reggaetón, record scratches and some swaggering horns. This is the band’s “Bad Company,” a title track resonating with more happiness and horns than Bad Company.