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about the cd

The collective art practice of Gretchen Korsmo and Andrew Weathers is dubbed โ€œWind Tide.โ€ Wind Tide isnโ€™t a band, nor is it just a studio or practice space. It is all of these things and perhaps moreโ€”a container for the duo to neatly collect their collaborative curiosities.

On โ€œSings,โ€ they invited voices (both their own and others) into their primordial sound structures. Echoing their artistic practices, collage and reuse of scrap materials herald a slightly damaged quality in their work, but that damage is championed as experience, patina as a sign of any object's exposure to wisdom. Through intervention, new interactions with these worn things create a glittering nowness.

There is a brightness to these songs, a radiant reflection catching light. Contact mic slurping, fluttering piano phrases, woozy guitar drawls, and electronic textures swirl into an alchemical choir, a bed of moss for things to pool in. Spoken and sung language from guest collaborators acts as a means to supplant narrative, opera, hymn, poetry, and babble into these charming and strange works/worlds/words.

  1. 1 - Cricket Nightmare (feat. Christian Carter) 4:02
  2. 2 - I've Wed the Moss (feat. Lucy Liyou) 5:07
  3. 3 - Weird Tide (feat. Maya Weeks) 6:17
  4. 4 - Wildcat Magic 5:16
  5. 5 - Lamesa Shelf Cloud (feat. More Eaze) 5:24
  6. 6 - Caliche Horizons (feat. Brendan Landis) 3:48

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16,00

only 2 left

  1. 1 - Cricket Nightmare (feat. Christian Carter) 4:02
  2. 2 - I've Wed the Moss (feat. Lucy Liyou) 5:07
  3. 3 - Weird Tide (feat. Maya Weeks) 6:17
  4. 4 - Wildcat Magic 5:16
  5. 5 - Lamesa Shelf Cloud (feat. More Eaze) 5:24
  6. 6 - Caliche Horizons (feat. Brendan Landis) 3:48

Embed

Copy and paste this code to your site to embed.

about the cd

The collective art practice of Gretchen Korsmo and Andrew Weathers is dubbed โ€œWind Tide.โ€ Wind Tide isnโ€™t a band, nor is it just a studio or practice space. It is all of these things and perhaps moreโ€”a container for the duo to neatly collect their collaborative curiosities.

On โ€œSings,โ€ they invited voices (both their own and others) into their primordial sound structures. Echoing their artistic practices, collage and reuse of scrap materials herald a slightly damaged quality in their work, but that damage is championed as experience, patina as a sign of any object's exposure to wisdom. Through intervention, new interactions with these worn things create a glittering nowness.

There is a brightness to these songs, a radiant reflection catching light. Contact mic slurping, fluttering piano phrases, woozy guitar drawls, and electronic textures swirl into an alchemical choir, a bed of moss for things to pool in. Spoken and sung language from guest collaborators acts as a means to supplant narrative, opera, hymn, poetry, and babble into these charming and strange works/worlds/words.

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