#nick bassett | Explore Tumblr Posts and Blogs

lylithq · 4 months

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perfectly describes my life as of recently

#whirr #pipe dream #junebouvier #nick bassett #Spotify

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sinceileftyoublog · 1 year

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The Lost Days Interview: 8-Track Document

Sarah Rose Janko & Tony Molina; Photo by Alicia Vanden Heuvel

BY JORDAN MAINZER

The combination of lo-fi power pop and warm-hearted Americana is not one I would have chalked up to work on paper, but The Lost Days are pretty perfect. Tony Molina and Dawn Riding’s Sarah Rose Janko met at a memorial, quickly hitting it off and turning their mutual musical admiration into a full-blown home recording project. They released the Lost Demos EP in 2021, and afterwards, Molina, still wanting to churn out bursting, cassette-recorded pop songs a la Bill Fox’s first three records, started to write with Sarah’s voice in mind. The two eventually recorded these songs at Nick Bassett’s basement studio on his Yamaha MT8X 8 track; the result is The Lost Days’ debut album In The Store, out today via Speakeasy Studios SF.

Molina and Janko’s musical relationship early on was defined by all-night singing sessions and empty wine bottles; In The Store, in contrast, is a 13-minute document of alcoholism, being subsumed by it, the self-involvement of it, and ultimate recovery from it. Alongside shimmery guitar, keyboard, and organ, jangly percussion, and Janko’s sweet coo are fatalistic lyrics. “I think I’m gonna have to tell you that the present don’t look too good,” they sing on the album’s opening song. On the chugging, wiry “For Today”, they sing, in a duet of dependency, “The hardest part of staying sober is any time that you come over.” On the layered and melancholy “Long Before You Know”, Molina realizes that “Everyone will talk about when you have fallen,” toeing the line between self-awareness and egocentrism. If on Molina’s solo records he jam packs a thousand musical ideas into a runtime in the teens, on In The Store, he and Janko tell a whole story, too, at once personal and universal.

Last month, I sent Molina some questions over email about The Lost Days, working with Sarah, In The Store, and his favorite Guided By Voices record. Read his responses below, edited for clarity.

Since I Left You: How would you compare writing for another person's voice versus your own? What are the similarities and differences?

Tony Molina: For this record, the only difference was that I had to change the key of certain songs for Sarah to sing them because I have a lower register with my voice. So it wasn’t an issue as long as I had a capo on me.

SILY: A lot of the influences on this record (Bill Fox, Guided By Voices, The Beatles) are named influences in your solo records, too. Were there any newfound touchpoints for this specific project?

TM: Mainly, The Lost Days are a home recording project and not a studio entity. I had been on a Bill Fox bender for about three and a half years when I made this one, so the concept was to make the record on cassette. Bill uses a 4-track; we used a cassette 8-track. Besides Bill and the Tobin [Sprout]-era GBV classics, I’ve been wanting to make a record on cassette since my mentors and older brothers from the West Bay, Los Rabbis, Tommy Lasorda, and Broken Strings were on that tip when I was a youngster. It took me about 20 years to get the guts to do it, but it finally happened.

SILY: How do you achieve the contrast of bright, sunny melodies and harmonies with melancholy or dark lyrics?

TM: I don’t know, melodies are melodies, I’m not someone who can write a song about surfing or having pizza parties or whatever other fools do.

SILY: Many of the songs on In The Store reference alcoholism. This project was also born out of a time when you and Sarah were "singing to an audience of empty wine bottles" and frequenting a liquor store you frequented in a formative time in your career. What's your relationship with alcohol these days, especially as it pertains to music? I've read that you often don't pull from your personal life in your songwriting, but I'm wondering if this record is an exception.

TM: Yo shout out Jacksons Liquors!!! The whole album is about alcoholism and from the perspective of someone who sees the world through an alcoholic lens. The thing about alcoholics is that we have a lot in common and share similar stories and experiences. So I was touching on some things from my personal life that I think are super common among others who live a similar life. From the darkest points of addiction, struggling with recovery, and chronic relapse, to the paranoia and anxiety that comes from withdrawal. As a person in recovery, I felt like I needed to document these things at the time when I was going through it.

SILY: Songs like "Long Before You Know" and "Pass The Time" make references to other people's perception of you, and how it may or may not affect you. How often are you thinking about these outward feelings in your songwriting?

TM: These songs are also about the life of a fader, specifically the self-centeredness that comes with addiction.

SILY: The title track is the longest song on here, with two verses and comparatively complex arrangements. What compels you to write shorter songs? Do you think you'll ever play around with more non-traditional pop song structures?

TM: I think I just do what feels right. The first time Ovens were ever on wax in ‘04 we had an 8-minute song on the compilation Letters From The Landfill. That song was long as fuck! So it kinda just depends.

SILY: What's the story behind the album art?

TM: I didn’t know what to use, so I think Sarah and I decided a liquor store and a fool getting faded in a graveyard would look sick. Sarah was down to do it, so there you go.

SILY: What's your favorite GBV album, and why?

TM: Same Place the Fly Got Smashed, hands down!!! Its a concept record about an alcoholic fool who turns into a murderer! Its got some super dark moments, and it sounds like a gloomy rainy day in Dayton. On some true Midwest darkness. There’s also some great upbeat feel good songs on it, too. But you know, “Drinker’s Peace”, “Club Molluska”, those are heavy. That is easily my favorite GBV ever and has been for a long time.

SILY: What else is next for you in the short and long term future?

TM: Some reissues of old stuff, and I still record all the time.

SILY: What have you been listening to, watching, and reading lately?

TM: I’ve been listening to Heron's self-titled and Duncan Browne’s self-titled (with bonus tracks) religiously.

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sleepynegress · 2 months

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So, I Just Watched Netflix's DAMSEL...

...And I'm wiping tears?? ...Because I loved this movie and the allegory and it was the perfect girl movie for International Women's Day which was yesterday??? This movie got a 58% Rotten Tomatoes score and I'm honestly confused! It was a beautiful perfectly original fairytale. In the good old days, this would have either been a sleeper hit in the theatres or a beloved classic discovery in the VHS rental market and likely overplayed at odd times on HBO like The Neverending Story. It for me is on tier with The Seabeast and Predator for excellent modern "girl-power" films, that should have been released in the theaters. It subverts so many fairytale tropes, and while it's predictable, I'm an old soul who still can cast myself back to girlhood and for me, again, the allegory touched me. Much in a similar way that Maleficent did, with its origin for the title character as a metaphor for the loss of trust and innocence after a violation, "a sexual assault" with loss of wings. It 100% wasn't intentionally this deep, but this for me was about the price of colonization; of adhered-to ancestral memory that the "winners" who write history carry, sacrificing 'the other" for generations destroying their own souls.... Until the convenient lies are finally faced. Ugh, I loved what they did with the dragon, with all the supporting characters, with the amount of harrow, and some consequential violence, enough to genuinely scare but not enough to scar. It felt very old school in that way. -Like a good solid 80's style fantasy, except for some of the non-practical effects. IDK, maybe it's just about my soft heart, but again...

This movie made me cry. I honestly and truly adored this fairytale.

#THISISAREC --For the fairytale girlies... The ones who like dragons, Grimm teas, and girls bloodied and determined.

#loved it #damsel #angela bassett #millie bobby brown #nick robinson #robin wright #shohreh aghdashloo #netflix #loved-loved-loved #thisisarec #I was totally absorbed and onboard from first to final frame

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ahorrorstorycircle · 7 months

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American Horror Story: Coven' premiered 10 years ago.

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gayforwanda · 2 years

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kwistowee · 1 year

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JAMES SPADER in SUPERNOVA (2000) ft. Angela Bassett, Lou Diamond Phillips & Wilson Cruz

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neverscreens · 2 months

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— DAMSEL.

Part One, 348 Screencaps.

Part Two, 348 Screencaps.

Part Three, 350 Screencaps.

Like or reblog if it was useful, every interaction shows us that we should keep making screencaps for y'all ♡

#screencaps #damsel #damsel screencaps #millie bobby brown #angela bassett #brooke carter #nick robinson #robin wright #ray winstone #millie bobby brown screencaps #yeahps #screencaps of movies #movies #packs for download #pack of screencaps #movies screencaps #coral #netflix movies

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women-4life · 6 months

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WOMEN I LOVE ❤️

I also posted this on my tiktok - @_fan_of_people_

and instagram - @_fan_of_people

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trendfilmsetter · 4 months

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The new poster for DAMSEL starring Millie Bobby Brown, Angela Bassett, Robin Wright, and Nick Robinson

Releasing on Netflix March 8th

#damsel #damsel Netflix #Netflix damsel #millie bobby brown #angela bassett #robin wright #nick robinson #movie poster #movies #netflix movie

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lavoixhumaine · 2 months

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Tim Minear, I got a fucking bone to pick with you.

How the fuck did Nick and Nora, made during the infamous Hays Code era by the way, make out more times than Bobby and Athena? Like I’m not counting (I am and it is zero) but how is that exactly possible?

The film’s characters, supposedly married, weren’t even allowed for sleep in one bed because of those ridiculous rules and yet they seemed to convey more affection and sexual tension.

Meanwhile, you have no such restrictions with these actors today. We’re not even asking them to have movie magic sex, sir. We were just hoping for some actual fun sleuthing adventures with our favorite chaotic couple.

—because that was the expectation you set when you said they were going to be like The Thin Man.

(This should have been a red flag honestly because—in my opinion—apart from “The Thrilling Adventure Hour’s Beyond Belief” with Frank and Sadie Doyle, there has never been a truly good adaptation or inspired piece of The Thin Man which actually has led me to think it’s some kind of curse on its own, like a mini-Macbeth)

How do you reference The Thin Man regarding the episode you wrote? Like sir, Nick and Nora were a rich, chaotic, drunk honeymooning, sleuthing couple with a funny little dog who just happened to solve crimes for funsies because the wise-cracking wife and her cute little nose would not let her husband stay out of trouble.

They made sleuthing look fun and marriage seem sexy which was already a revolutionary idea in the silver screens of the 1930s…like that is the complete opposite of what you wrote in “Abandon ‘Ships”, Mr. Minear. Did you even watch the movies or did someone just say, ‘hey, you know those black and white movies…?’

I don’t mind what you did in the episode. I mind that you uttered complete bullshit about it saying it’s like The Thin Man movies because, no, hell no. Not even close. I really don’t get how you pulled that comment from your ass, sir. Respectfully.

So did you lie or did you just choose to reference the film series because this is another jab at the Oscars? Because as it happens, they also presented the actress who played Nora, Myrna Loy (sidenote: everyone knew she should have won for the 1946 film “The Best Years of Our Lives”) an Honorary Oscar.

So what I’m actually saying is, you kinda suck for lying through your stupid teeth, Tim Minear. So like go kick rocks or something. And maybe don’t ever speak of The Thin Man again if you’re just gonna lie about it.