Session Credit: Words by @Sean Moeller, （記事 by ショーン・モーラー） Illustration by Johnnie Cluney, （イラスト by ジョニー・クーラー） Recording engineered and mastered by Matt Oliver （レコーディングエンジニア&マスタリング by マット・オリバー） Japanese Translation by Teshi （日本語翻訳 by テシ） Japanese Tittled by @Kennyy_MELTRICK （日本語タイトル by ケニー＿メルトリック）
★Thursday / "No Answers" live
at Looney Tunes in W.Brooklyn, NY - RecordStoreDay2011
Thursday Discog for the session:
All the 3 song from their latest and 6th studio album "No Devolución" (April 2011)
今回収録の３曲は全曲新曲、一週間で作曲し上げたという楽曲による今年４月リリースの最新作にしてラスト作の６枚目のスタジオアルバム「ノー・ディヴォルション」にオリジナル収録です。
Buy the record (vinyl) on Amazon.com / Amazon.co.jp
New Jerseyで活動するバンド、Thursdayは整合がとれた数学とむちゃくちゃな合計値が混在する世界に僕らを連れて行く。問題が解決するという「計算」があるけれど、現実は大体それと異なって、車たちはそういう予想できない答えに苦労して対処している。時間の問題だが、結局道路脇で故障してしまう。その車（同じ製番のもの）のメタルの心臓にはストックが詰め込まれている。僕らは車がこれからもずっと調子よく動いて、ちゃんと昼か夜に与える栄養をパイプから受け取ってくれると信じている。彼らがおとなしくすれば、他の車のメタルの心臓も同じように行儀良くしてくれると信じている。それがお互いの利益になるしね。でもわからないかな。貧乏くじって大体引かれてしまうものなんだよ。他の機械と同じように、欠陥車もたくさんある。しかし、汚くなって、整備してみないと殆ど気づかれない。彼女達と寝て、自分が彼女達のことを好きだと気づくまで。
Some days we pretend like we're machines. We act as if we're just automobiles - counted on to start reliably every morning, in any condition. It could be bitterly cold. It could be unhealthily hot. There could be a deluge of rain, snow, hail, whatever could be falling from the sky at any given moment. We are relied on to react to the "key" being turned and he parts given their little doses of gasoline - getting that fuel into the lines. We haul the bones and the muscles, all the organs and our pleasantness wherever our day planner of Google calendar tells us to haul them. We act as if everyone else is an automobile, as well, doing similar hauling and being counted on to operate without paying much attention to what's really affecting it.
New Jersey band Thursday, takes us into this world of clean math and messy summations, where there's a belief that things should work out, but the truth is typically nothing like that and these machines have a hard time dealing with these travesties, with being broken down on the side of the road, even if that was only a matter of time. There's stock put into the metal hearts of these machines, these versions of machines. We trust that they'll stay in good shape, that they'll continue to receive whatever nourishment we send their ways, via the gullet, via the day or night. We trust that they'll behave themselves and that other metal hearts, in those other passing machines will do the same. It will all be mutually beneficial, but, wouldn't you know it, the short straw usually gets pulled. As machines go, there are a lot of lemons and they're always hard to tell until you begin to get dirty and start kicking their tires some, sleeping with them, finding yourself caring for them too much.
Thursday lead singer Geoff Rickly has made it a point to chronicle these abrasive tendencies in humans and the ways that they find of orbiting around each other, coming in contact with one another and spinning out, busting through the guard rails and plunging over the sides of mountains into heaps of mangled metal and surprise. He finds magic in the moments when people are falling apart, when they're breaking down and leaving wide swatches of their hide behind them, as if a trail, like the scattered pieces of semi tractor tires lying on the interstate to be dodged and avoided by everyone following.
He finds magic in the ways that people act as if they're islands, or the unstoppable machines mentioned above, moving through their dawns and dusks as if they'll always be there and they can't be bested or dented, ruffled or rearranged. He brings this beautiful coldness, an arching kind of free-fall or flailing feeling into the words that he sings.
He offers, "The more you take, the more you leave," here and there's an unbearable openness to the sentiment that still allows it all to be said. It's a slab of rubbery tread causing another swerving machine to react, hopefully well enough.
These three guys Pearl and the Beard from the current Brooklynsphere or more feels like Brooklyness are amazing. Amazed me a lot in such a very first moment when I met them, when I met their music. First that I still ever remember then was my dear friend, and my big love of, Aly of Lady Lamb the Beekeeper (from Portland, ME / currently in NYC/NewEnglands) had had a show with PATB once before sometime in just before summer season in this year as well as even that time was just after LLTB moved up(?) into the big apple, which had announced from her but I just couldn't make it because it was in NYC, and the big apple is apparently NOT my favorite city in the world entirely, so wasn't really so into it. BUT I got be crazy like immediately since I once checked PATB then from LLTB's announced show's lineup. Which was "no-complain-or-more-like-CAN'T-compalain" music for me, and also more like just "Threaten of Brooklyn Music Scene" for me. This is the big chance to being a time to be just into Brooklyn's scene every single Indie music fan says. And finally I got be able to make one of bunch of their shows was in Boston they came down to play in.. probably July of 2011. The lineup was so so, but totally they PATB made the night super. I think I still have the video my creepy ipod took.
This is like this sort of a long shot:
★Pearl and the Beard - intro "Black Vessel" ~ "Reverend" ~ "Letter to California" live in Boston. @TT.the bears, Cambridge, MA *16min video／１６分ものビデオなので、気長にお楽しみください。
And half a month ago? at my city and neighbor Somerville's newest venue called "Radio"had Pearl and the Beard with awesome bands together. Then I had talked to the band, three of them then a sexiest lady from the band told me they already got a session for Daytrotter which was soon releasing out. Oh got it. I must translate it. I must get start to make a beautiful relationship with/for this fucking amazing band from the Brooklyn artistic world, especially for Japanese of their new fans!! This is it. This is probably it for most of you first touch on them, theirs. To make a great encounter in between band/artist and fan/audience. I confidentially would say, this is my job for my god. This band reminded me more like gave me realized the thing. Yes, yes yes.
I'll get you in it.
~~~
マイ・イントロ；
英語部のイントロで珍しく気持ちがもの凄くシンプルに綺麗に書けた気がしたものを、新たに日本語にしたり日本語で書くのは、ナンセンスな感じはありませんが個人的にはとても感覚的に切り替えが美味い事で来そうな気がしません。双方の言語に関して。（これがもっとマルチリンガルとかの方にはどうなるのだろうと想像してみたりしますが、まあ無駄ですね、その想像は（笑））ということで、Pearl and the Beard（パール・アンド・ザ・ベアード）、今年の初旬に友達でありそれ以前に音楽的にも人間的にももう大好きなAly（アリー）の、音楽的にディスクライヴするとソウルフォークみたいな、一人バンドLady Lamb the Beekeeper（レディー・ラム・ザ・ビーキーパー）が地元メイン州ポートランドから昨年の１１月にビッグアップルことNYCに拠点を引っ越して直後か今年の初めかに少し大きいイベントか彼女にとって大事なNYでのイベントのメインゲストに呼んでいたバンドがこのPATBでした。男女３人組によるソウルフルな歌とコーラスハーモニーとシンプルなのにその歌をも超える勢いで鳴り渡る楽器の力と彼、彼女達の人間性がじっくりと合わさった音。その時のイベント時にはNYという街、ないしはもう何年も前からインディーシーンを中心に”熱い”ブルックリンというエリアの街、にそこからの音楽は好きでもそこまで興味がなかったので（笑）ライヴに足を運びはしませんでしたが、そのラインナップが妙に気になったのでオンラインからチェックしました。数センテンス前に書いた通りのことを感じ、直感的に「ブルックリンの脅威」に少し怯え始めました、その時。そして、忘れもしない今年６月、PATBがやっとボストンに来てくれてライブを観ました。釘付けでした。音を初めて聞いたときには比べ物にならない衝撃とその脅威さが膨張しました。もう言葉通り「ブルックリンに脅されている」くらいのものです。
*I have also more photos and some new song they played at Radio in Somervile-MA in November 2011, last month that I had shot but hadn't edited yet. Stay tune!!
Oh but wait! there is already one the show video by my friend and my favorite awesomeness live music video taker Bob's one!! Take a look at:
★Pearl and the Beard - "Vessel" live at Radio on 11/30/2011
★Pearl and the Beard / "James" (brand new song) at Radio on 11/30th/2011 recorded by Bob.
僕の撮った先月１１月の彼らのライヴの写真とその時の新曲映像もありますので、近々、英語ブロッグの方にでもアップ出来ればと思います。それまで、この僕が初めて彼らのライヴを観た時のケンブリッジ TT the Bearsでのライヴ模様のiPod映像をご覧下さい。（その映像のオープニングのロング映像はこの記事英語部にて。）
★Pearl and the Beard / "Swimming" @TT.the Bears [() June//2011]
（レコーディング・エンジニア by マイク・ジェントリー） Japanese translation+tittle by @Kennyy_MELTRICK （日本語文＋タイトル翻訳 by ケニー・メルトリック）
Session Tracks:
Welcome to Daytrotter from Peal and the Beard
"The Lament of Coronado"
"Lost In Singapore"
"Vessel"
"Douglas Douglass"
P&tB Discog: Pysical cd on Amazon.com // MP3 on Amazon.co.jp
M-2 & 5 from PATB's 2nd album "Killing the Darlings" (2011) *There is also vinyl for only this album from their all discog which can be bought from their label website or at their show. (Check the below) この作品のみヴァイナルもリリースがあるのですが、基本的にはライヴ会場もしくは彼らのレーベルサイトでのオーダーのみの扱いです。
M-3 & 4 from 1st album "God Bless Your Weary Soul, Amanda Richardson"(2009)
~~~
And also they have one more EP released in 2010 in between the 1st and the latest 2nd record called "Black Vessel EP" (cd/MP3)
*Their physical records are probably only sold at their show or online Family Records online Store!! Get your hard ones!! (They ship internationally!!) PLUS, you can grab their home recording live EP called "At Home With Pearl & Beard" for FREE on the website!!!!
You can picture the look of the sky in the Pearl and the Beard song, "Vessel." It gives you the willies. You're looking into the piercing eyes of tumult. It's the worst in air and clouds staring at you like they'll stop at nothing to end you, to wipe you clean off the map. The building acoustic guitars - played as if they were stuttering, stammering and losing their shit a little bit - and the sweeping, depths of the ocean strings make a scene that's crawling with villains. We're outnumbered by the bad vibes, but we're not sure if we're just imagining things. It could be just that. We're faced with a sea full of voices, with creatures restlessly roaming and swimming, flipping and flashing their tails and fins back and forth, bored and scared - tired of being both. There's a feeling that everything out there in the waters, upon the waters is plotting some kind of revenge. Some of it may have already happened - say, phase one of the revenge mechanism - as the song begins with a murder. It feels like something out of one of Hemingway's fishing excursions, but the spirit of the captive, the prize and the meal is speaking from the beyond. It could be a sturgeon or a tuna, some big, scaly conquest, and in defeat it sings, "Drain my gut/Spill it all out on the deck/Burn their hands/Sure as hell has burned my own/Sailor, come to me/Bend the wind and seas/Restless wandering/Sailor, come!" asking for the end. It feels like a suicide note, a begging for sweet mercy. It will all be over soon, on that deck, strung up, kicking and twitching for the last times.
Jocelyn Mackenzie, Emily Hope Price and Jeremy Styles, of this New York trio, set us up for these wonderful tales of open-ended horror and glory. "Vessel" might be a sea-based escapade, with waves cracking boats and people in half, winning mostly, though not getting too far, but "Douglas Douglass," from the New York band's latest record, "Killing The Darlings" is a revival song of the seediest provocations. It's a low-down, sweaty affair - a man stuck between a temptress of a new woman and a wife that makes his life hell. He wants something that he shouldn't take, but it's not going to stop him. The stomping and the clapping overtake us - providing his conniving heartbeat, the leader of the astray. Everything gets out of hand, he chokes his wife after a bender of apple wine and thinking through those swirling dark thoughts and goes to chase down the lady he believes he wants, the one who had said, "Give me give me what you've got/I'm gonna make you what you're not…/Give me, give me all your soul/I'm gonna dip you in my bowl." Mackenzie, Price and Styles continue, singing, "Long way down/It's a long way down/And he knows it." Douglas takes the tumble. It feels like a mighty drop and yet Pearl and the Beard still make it sound wholesome and buoyant, like the man had no choice and would do it the same way, given the opportunity. It's the splendor of folks making their own poor choices and getting to watch or listen through the consequences. It's our most rewarding form of entertainment.
I've decided that I'm going to make a cooking blog or erotic blog since I turned on my birthday a week ago, so the little start, I'm putting the stuff from here.
一週間前の誕生日、
: 
【as trace in 2011】 