BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN X-WR-CALNAME:JPR One World Series presents: Darlingside X-WR-TIMEZONE:Pacific Time (US & Canada) BEGIN:VEVENT DTSTAMP:20260914T120409Z UID:tag:localist.com\,2008:EventInstance_40371338600276 DTSTART:20221028T030000Z DTEND:20221028T040000Z DESCRIPTION:JPR One World Series presents: Darlingside (baroque-folk-pop).\ n\nThe band\, which saw their ten-year anniversary in May of 2020\, has lo ng been praised for their harmonies and intelligent songwriting\, describe d by NPR as “exquisitely-arranged\, literary-minded\, baroque folk-pop\, ” and which The New Yorker compared to David Crosby and the Byrds. Thei r dynamic presence (crowded tightly together onstage for the audience to w itness four voices turn to a singular texture of sound)\, paired with thei r sharp wit and wordplay\, have made them a live-performance favorite\, an d their songs treasures for literary and lyric-loving fans. \n\nVideo Link :\n\nhttps://www.youtube.com/watch?v=I8sHrD48zPU&list=RDI8sHrD48zPU&start_ radio=1&rv=I8sHrD48zPU&t=123\n\nIf Darlingside’s first album\, Birds Say (2015)\, focused on the past through nostalgia and memory\, and their sec ond\, Extralife (2018)\, contemplated uncertain futures\, Fish Pond Fish ( 2020) stands firmly in the present\, taking stock of what’s here and now . \n\nFish Pond Fish is one of geology\, meteorology\, ornithology\, astr onomy and botany. Band members Dave Senft (vocals\, bass)\, Don Mitchell (vocals\, guitar\, banjo)\, Auyon Mukharji (vocals\, violin\, mandolin)\, and Harris Paseltiner (vocals\, cello\, guitar) have created a natural his tory in song. An album that catalogues the weird nooks of our world with t he same curiosity of a botanist’s time-worn field journal. We’re led t hrough old growth forests\, down to the deep sea’s ‘true blue bottom w here the light ends\,’ and up to a few singled-out stars that shine ‘o chre’ overhead. Introduced with Woolgathering—as much a beckoning as i t is a first track—we are then taken through an album of gardens\, orcha rd rows\, almond groves\, and past morning glory vines. With daisies and t idal shifts\, singing cicadas and insects blowing over the ocean\, murmura tions of starlings and a circling sparrow hawk\, we enter an ecology of em otional experience. “Through the oak and poison ivy\,” the four sing in Green + Evergreen\, “As the lemon light was alkalining / I was growin g\, I was dying / Growing I was dying.” Here is an album to use alkaline when thinking sunlight\, and\, more\, finds the word best to describe tha t great organic paradox of growing towards death. \n\nBut in addition to the usual vocal charms and wordsmithing within verse\, Fish Pond Fish make s a finer point on the band’s broader storytelling philosophies. The sto ry here\, it seems\, is submitting to forces larger than yourself in the s ame way you do when heading outside—throwing your head back to the stars or diving down to the ocean floor\, looking for something without really knowing why. “In every walk with nature\,” naturalist John Muir wrote over a century ago\, “one receives far more than he seeks.” Nature is a looking glass\, with songs like Ocean Bed\, Green + Evergreen\, Mountain + Sea\, and Crystal Caving making metaphors of their titles. An experienc e of nature is an experience of self. \n\nThe experience of nature\, and t herefore of self\, in this album is one of stasis and change. You notice c hange\, and might desire to return to past states. Lyrics like “Keep com ing home\,” “Take me back to south of Denver\,” and “Tired of chas ing running following\,” follow that thread. With change\, comes the rep eated actions of passing time (“Time will see every tide recede / on the hour every hour”). In some cases\, repetition and return are a desirabl e way to deal with uncertain times (“Every little thing and large is off its track and banking hard”)\; in others\, the stagnancy of the present is overwhelming (“Nothing growing but the trees erupt in black light an d gold / you can't repurpose what was never there.”) Much of the album c onsiders how repetition and change complement one another — how either o ne can be a stress or a salve depending on the circumstances\, and how eve n change itself predictably repeats (“Things will change and change agai n.”).\n\nThe band started studio recording Fish Pond Fish in late 2019\, when they moved into Tarquin Studios—the Bridgeport\, Connecticut resid ential studio of Grammy Award-winning producer Peter Katis (Interpol\, The National). Those days included late-night and early morning recording ses sions\, family-style meals\, and up to four separate recording rigs runnin g in tandem. Living and working together in a residential studio brought t he band to their very early years living and writing together under one ro of in Hadley\, Massachusetts\, which seeded the origins of their intimate collaboration. \n\nThe bedrock of the album reflects that collaboration\, pervading almost every aspect of its making—from the multi-layered sound to the early stages of songwriting. “Song ideas emerged mostly from gro up exercises\,” Dave Senft said of making Fish Pond Fish\, “without mu ch premeditation or discussion until after the kernel of the song already existed. This yielded more lyrically-driven ideas\, or at least more lyric ally-developed ideas earlier on in our process.” That ‘kernel of song ’ sprouted and eventually flowered into something far beyond what any on e band member could foresee. Everyone was pushed to a new place in every l evel of songwriting. “There’s truth beyond the bounds of your horizons \,” Auyon Mukharji says of collaborating with three other people. “It ’s like you’re searching through three-fourths of foreign consciousnes s. Bringing you to a place you couldn’t imagine. You move beyond yoursel f.” \n\nAt Katis’s suggestion\, many components of the initial demos were preserved as layers in the produced tracks to retain the spirit of th e initial recordings\, resulting in a collection of songs that is simultan eously the most bedroom-tracked and production-heavy full-length album tha t the band has yet released. (In Ocean Bed\, a dog can be heard barking\, along with an iPhone recording of a faulty washing machine.)\n\nLike the powers of nature winnowing out the fittest\, shaping the crowns of flowers or horns of a deer or arc of a goldfish’s fin\, the most profound biolo gical event of our generation also shaped this album. The 2020 pandemic ca me just as the band was finalizing lyrics for the last batch of songs\, wh ich forced them to cancel the final weeks of recording at Tarquin Studios. Since they were unable to meet up in person during the quarantine\, each member set up a home recording rig to capture sounds individually\, while mixing\, writing\, and arrangement decisions were all carried out virtuall y. The band’s favored approaches for sound capture (playing and/or singi ng together around one mic\, for example) and in-studio discussion were ma de impossible by the quarantine\, so they evolved. They were forced to lea n more heavily on individual experimentation and decision-making\, both in recording and editing. As a result\, the album bears an imprint of each o f the four members in a way their previous releases have not. It’s sonic ally dense yet individually marked\, impossible to categorize by one textu re. \n\nReleasing an album during a pandemic is hard\, but here is their o ffering: a celebration of life\, in all its impulses and foliage and circl ing birds. “I picked the fruit\,” they sing in See You Change\, “It was right / In my hand / And it came to life.” They’ve given us a look at the weird and bursting offerings our planet has drummed up over the pa st three billion years—from tides to starlings to gravity. Here\, they s ing\, take this fruit\, and watch it come to life.\n\n-Ben Shattuck GEO:42.18683;-122.698807 LOCATION:SOU Music Recital Hall\, 114 SUMMARY:JPR One World Series presents: Darlingside URL;VALUE=URI:https://events.sou.edu/event/jpr_one_world_series_presents_da rlingside CATEGORIES:Local Events END:VEVENT END:VCALENDAR