The earliest days of writing good grief took place in our eldest sibling Sako's apartment in Seattle. This happened to be during one of the weeks in fall of 2020 when Seattle was engulfed in smoke as a result of the nearby fires, a year after our mom transitioned. Sako was staying with her partner at the time, and the only instrument available to offer respite to my idle hands and need for musical processing was her well seasoned, veteran acoustic guitar, very much in need of restringing. Writing good grief was formative in our collaborative musical practice, its name lightly honoring the heavy, multidimensional nature of of loss and healing; we hoped for this balance of light and heavy to be expressed in music as well.
The song structurally encapsulates our journey, one that has included many conversations (verbally and with guitars), a long pause when space and rest are needed, an introduction of new elements and textures of life (as expressed in the layered composition), moments of profound catharsis (sung by the string section at the end, performed by our talented friend Azzurra Cox), and a reminder that our inner selves will always be present, through the return of the main guitar hook at the end.
Shoegaze ist die Kunst des Dröhnens, doch „Everything Is Alive“ setzt diese Elemente nur sparsam ein. Statt Hall- und Zerr-Sounds aufzutürmen, schäumt die Musik in feinen Bläschen über.
https://tortue.substack.com/i/140348114/slowdive-everything-is-alive-dead-oceans Daniel Welsch
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