The playlist below includes four examples of what BELLS≥ has been doing towards our next album, a collection of music called North American Spirituals. If you saw any of our performances on our tour last August, you heard quartet versions of another two of the pieces (“The First Ray” and “May You Bury Me”), both of which were written thus far with the group’s then-current line-up in mind.
To write at all is to dwell in the illusion of language, the rapture of communication that comes as we surrender our troubled individual isolated experiences to the communal consciousness.
— Robert Duncan, The H.D. Book
There is no punk without its music.
There are forms and styles of rebellion other than punk, and though their success or failure may be measured along the same lines as those of punk, if they have a music at all, it is usually complementary to their fundamental missions. In punk’s case, the music is the primary expression of the mission.
Mark Strand once said that poets reach maturity when they move from saying private things in a public language to saying public things in a private language. I understand this statement to mean that a poet matures into not only a sense of scale wherein his/her work comes to describe more universal things than personal feelings or personal feelings as universal things; but, simultaneously, a style.
Because our general understanding of humility is calibrated by its outward expression, it seems arrogant when an artist is sufficiently satisfied with her or his own work to eschew the conventions of approval and praise.
The failure in this understanding is to recognize that humility exists not in the face of praise or recognition for or of one’s work but rather in the respect for the work’s materials, deference to the practice of making art in the first place, the pleasure of the work, the labor, the creation itself.