impulse-records

Broken, Beautiful, Brilliant Divinity
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Broken, Beautiful, Brilliant Divinity

I was having Kazubisha feels today so I wrote another song about them ;____; 

Can we say what’s on our minds for once?
Chasing storms, we’re running out of time.
The world won’t wait for us.

Numb confessions on our tongues
die like falling sand seconds.
Can I hide my heart in this disaster?

Veins turns to sunlight when
you’re bleeding out.
If I were better, I would close my eyes, but I can’t be without
you in all your broken, beautiful, brilliant divinity.
Bring my ghost to life.

We write promises in the blood we leave behind.
But I can’t decipher a language you keep locked inside.
You don’t have to die alone.

Numb confessions on our tongues.
Fire burning up our lungs.
My pain isn’t your weight to carry.

Veins turns to sunlight when
you’re bleeding out.
If I were better, I would close my eyes, but I can’t be without
you in all your broken, beautiful, brilliant divinity.
Bring my ghost to life.

Is this all too much?
Can you trust in me?
Don’t let me lose touch
of who you wanted me to be.

You commandeer more than sunlight.
One day maybe we’ll be alright.
I will help you fight the thunder.
Just don’t let me fall back under.

Veins turns to sunlight when
you’re bleeding out.
If I were better, I would close my eyes, but I can’t be without
you in all your broken, beautiful, brilliant divinity.
Bring my ghost to life.

Come Wayward Souls (Cover)
Obsidolin
Come Wayward Souls (Cover)

A cover of “Come Wayward Souls,” specifically evoking the image of a bad-end/lantern-bearer Wirt wandering the woods alone in winter.

This was sort of an impulse thing I recorded?? Also, that’s my voice but not exactly my voice, it’s pitched down slightly to sound masculine (and also a little older than in canon) for the sake of fitting the vibe I was going for.

Yours
Garbage Bag
Yours

My hand slipped and I accidentally wrote another Royai song. I have no explanation except that I love them and hope you like this if you listen. I WROTE IT TODAY. IMPULSE-RECORDED. IMPULSE-POSTED. AHH. EXCUSE SLOPPY GUITAR. *tosses self into garbage*

We’re caught in a rainstorm that never ends.
Time stops for the beast ravaging my head.
Can I pretend to fall asleep with you?
I know you’re scarred, tormented, grieving too.

I’ve untied my bloody wrists.
How do we move on from this?
Do you know how you’ve saved me?

Pull the trigger again.
Watch the soul inside
your bullet find the sky.

The barrel’s pressed to my head.
Take my heart as yours.
I won’t hurt you anymore.

If I surrender to our monster’s pain
and somehow I can’t remember my name, 
you know my truth better than anyone.
Bring us deliverance, once and for all.

You’ve given me all of you.
There is nothing we can’t do.
Do you know how you’ve saved me?

Pull the trigger again.
Watch the soul inside
your bullet find the sky.

The barrel’s pressed to my head.
Take my heart as yours.
I won’t hurt you anymore.

Words are passing through our hands.
Like the rain that never ends.
Your promise follows it down.
Don’t let me forget the sound.

Pull the trigger again.
Watch the soul inside
your bullet find the sky.

The barrel’s pressed to my head.
Take my heart as yours.
I won’t hurt you anymore.

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On this day in music history: October 6, 1967 - “Wave”, the fourth album by Antonio Carlos Jobim is released. Produced by Creed Taylor, it is recorded at Van Gelder Recording Studios in Englewood Cliffs, NJ from May 22-24, 1967 and June 15, 1967. Sparking the international bossa nova craze in 1962 with “Desafinado” and in 1964 with “The Girl From Ipanema”, its writer musician Antonio Carlos Jobim begins to make a major name for himself outside of his native Brazil. Considered one of the most gifted songwriters of his generation, Jobim’s songs are covered by numerous jazz and pop musicians. Recording and releasing his US debut solo album “The Composer Of Desafinado Plays” for Verve Records in 1963, he follows it up with numerous collaborations with Dori Caymmi, Astrud Gilberto, Herbie Mann and Stan Getz. After recording two more solo albums for Warner Bros in 1965 and 1966, Jobim re-connects with producer Creed Taylor when he becomes one of the first artists signed to Taylor’s new label CTI Records, distributed by A&M. Having written several new songs, the composer flies to the US in the Spring of 1967 to work on the album. Recorded at famed engineer Rudy Van Gelder’s studio in Englewood Cliffs, NJ, Jobim is featured on piano, guitar and harpsichord, and is supported by a group of top flight musicians that include Ron Carter (bass), Claudio Slon, Bobby Rosegarden, Dom Um Romão (drums and percussion), Urbie Green, Jimmy Cleveland (trombone), Joseph Singer (french horn), Raymond Beckenstein, Romeo Penque and Jerome Richardson (flute, piccolo). The string arrangements are written by Claus Ogerman (Wes Montgomery, George Benson), conducting a group of violin players that feature Bernard Eichen, Emanuel Green, Gene Orloff, Harry Lookofsky, Irving Spice, Joseph Malignaggi, Julius Held, Leo Kruczek, Lewis Eley, Louis Haber, Louis Stone, Paul Gershman and Raoul Poliakin. The albums cover photo featuring a giraffe running along the African plains is taken by photographer Pete Turner, who becomes reknown for his distinctive cover photos for various releases on CTI, Verve and Impulse Records. Once released, “Wave” spins off several songs that become jazz standards including “Look To The Sky”, “Triste”, “Mojave” and the title track. In time, the album becomes regarded as one of Antonio Carlos Jobim’s greatest works, and a definitive bossa nova/Brazilian jazz album. Original copies of the LP feature Turner’s cover photo tinted in a red and purple hue. Later reissue pressings are printed in error in a green and bluish tint, and is not corrected for many years. First released on CD in 1986, “Wave” is remastered and reissued in Japan in 1992 and 2000 respectively, with the latter restoring the original 1967 cover artwork. It is also reissued as a 180 gram vinyl LP by Speaker’s Corner Records in 2004. “Wave” peaks at number five on the Billboard Jazz album chart, and number one hundred fourteen on the Billboard Top 200.

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Charles Mingus - The Black Saint and the Sinner Lady.
The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in 1963. The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements.

0:00 Solo Dancer
6:40 Duet Solo Dancers
13:23 Group Dancers
20:45 Trio and Group Dancers/
Single Solos and Group Dance/
Group and Solo Dance

waryalbatross  asked:

Hi John, there's a lot of stuff I want to ask you, but I've just had a terrible week of loss and rejection in my "budding art career" and it really sucks and it seems like something you would have a piece of wisdom for. How do you cope with putting your ego and life's work on the line over and over?

I tried to answer this a bunch of times but I don’t really know! You hold onto Berryman’s line – “It is idle to reply to critics” – and understand that the actual work isn’t the thing you make, but the process that makes it, whose inherent value and dignity is well beyond any debate, because it is an expression of your self and therefore nobody can really judge it. 

this is an unsatisfying answer, I know, artists have struggled with varying degrees of success over how to deal with these problems forever. the simple terrible platitudes of kindergarten are actually applicable here – the ones that tell you your work is good no matter what anyone thinks of it – but they seldom help much in the short term. in the long term, they do. people didn’t get very excited about Get Lonely when it was new. we were bummed! we felt it was our best work. we thought we’d gone somewhere special, unique in our work, its own place. over time, the people who relate to our impulse on that record have found it and connected with it, and the people who didn’t care for it have stopped thinking about it, because not many people spend a lot of time dwelling on work they didn’t care for.

but as I say this is a question people struggle with, I don’t think there’s a “here’s what you do” answer (and I reject, with thanks, any allegations that I am wise). you keep your focus on the work, I figure. when your focus wanders, you bring it back.