ANTRIM DELLS



I am very excited to say I am now in a band called ANTRIM DELLS! When I graduated from college last May, I entered a place where I had to take careful consideration of what being a musician means to me. Making a larger commitment to art as a career choice, I realized a need to create music that is more aesthetically compelling and more personally challenging. One result of this journey is Antrim Dells. Here is a video of a song titled "Follow Me" which will be on our work-in-progress album Mother, Father out this summer!!




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Currently in full production mode finishing up Separate Bodies (the music companion) before this Thursday. This album is written for Chris' photographs and will only be available for purchase at the exhibition opening. I am making an edition of 30 of these albums and they will be sold at $3. Below is a song called "Off the Track", one of the seven songs on the album - listen to it and get stoked! (Here is the Facebook event: http://on.fb.me/ynR3c0)




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SEPARATE BODIES: MORE THAN TRAVELOG
What to think of those images pulled from the New Zealand expanse? Flat blue layers of water, mossy mountain ridges at their shore, above it sky hung as a billowing sheet. This is a land made of two islands: each of their interiors distinct but still covered in the Pacific’s foggy mantle – separate bodies, each nook in their scattered landscape reflecting the entire island’s very own complexity, depth, and place in the world. 
This is the very complexity that traveler, student, and photographer Chris Cox immersed himself in while studying abroad at New Zealand’s acclaimed, Massey University, Wellington. Cox, currently finishing his Studio Art degree at Hope College, Holland, Michigan, saw New Zealand’s North and South islands not as simply geography to traipse across, but as beings to interact with in the very same spirit as his human companions, commonly photographed; captured in the Kiwi landscapes. These islands were gracious hosts, spirited locals, mysterious storytellers. Never latent earth or solemn geography, but earnest companions in his journeys.
In this way Chris Cox’s Separate Bodies is more than travelog. More than documentation and even more than a response to New Zealand, it is a sincere relationship with the land. Photographs in this series were collected through many weeks of travel in and around New Zealand’s North and South Islands: Wellington, Abel Tasman, Fiordland National Park, the Southern Alps, the far Northland. Shooting exclusively with medium format film, these are photographs crafted and intentional. Respectful, sensitive, but still emotional. It is the cinematic nature of Separate Bodies that further identifies how these photographs supersede any kind of journalistic character. Cox’s subjects are aware of the camera, the scenes are interested in story and history, there is a tangible, sentimental connection between the photographer, the subject, and the overall environment. 
It is with great care that Chris Cox presents Separate Bodies, photographs that are open enough to move around in. We must find our place in these photographs. Bring to them our darkness and we will find it there, spoken in the gloom of a coastal cave and the dawn light of a tent. Bring our childlike wonder, and find it also, suspended in the gold gleam of dry grasslands. 



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MORGAN'S STEEP: Sewanee, Tennessee 


These are photos Michael Newsted took while at a place in Sewanee called Morgan's Steep: its steep rock, its leafy scattering, moss growth, mystic river, cool, shadowy but still warm for February. Our time in this place may have been my favorite of all while in Tennessee this last weekend, traveling to visit my friends Josh and Luca and play a couple shows with The Soil & The Sun

At Morgan's Steep we stood atop tall stones. We cheered at the splendor laid out in the valley. I can remember how Alex warmed his face, turning it up towards the bare forest canopy and the pale sun. I can see Will clinging to every piece of stone, nimble as a billy goat skipping on a ledge just above my head. Gracie was our friend and guide and showed Joanna the grainy mud that oozed from the walls in different colors. Heather carried Cedar through the sanctuary, bundled in her papoose until Ben set her down, his body wrapped behind hers to let her feel the twigs and leaves. 

I hope to go back soon. Josh has my pillow I accidentally left behind. 





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SEPARATE BODIES

The following image is a poster for a significant event coming up this March/April, an event I am grateful to be involved in – photographer Chris Cox will be exhibiting his work in a solo showing at CultureWorks gallery in Holland, MI under the title, Separate Bodies. 

I am currently writing music specifically in response to / for the Separate Bodies photographs that will be presented on opening night (MARCH 8) as a soundtrack to the photographs. It will not be a live performance. I am working with Alex McGrath of the Soil & the Sun on these songs and I hope that they are every bit as spirited and full of depth as the photos Chris will be exhibiting. 

Both photographs and music will be available for purchase. Please, be a part of this!



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FUTURE GLORY




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FEBRUARY FOG 
(concerning a trip from Grand Rapids, MI to Holland, MI)



When I walk over some patch of swollen dirt, down the length of a slimy sidewalk and come to my car, see my reflection exhale that opaque slither of breath in the driver’s side window, I'll get in and want to turn on the windshield wipers almost immediately. You must turn them on to wipe off the mist that sits on your car like you imagine moss would on a redwood root. 
There is mist on every window. Even the back, and even though your car has a rear windshield wiper, you don’t turn it on because today, a misted back windshield feels right. It seems right to keep it fogged when the air and the melting snow and the back windshield and everything is fogged. I think about my mind, and how it is fogged, maybe the most mist-coated thing of all, and so today it seems right to drive to Holland with a misty back windshield. 
On my way back from Holland, I stopped at Meijer. It was, by now, starting to get late but I (had some cleaning to do the next day and) decided to stop for a cleaning product called “Goo Gone”. Entering Meijer I was surprised to see a greeter still working. I actually did not see him until I heard his greeting. The greeting that he gets paid to give. This is a man who greets people as his profession and I don’t know if it’s him, or that job, or Meijer, or that I’m weird, but interacting with those greeters, hearing that man’s voice and turning and seeing nothing and looking down to see his docile form in a wheelchair, I am saddened. I am moved by an emotion I do not fully understand. It seems this is a sadness, not for him, but for the whole, seething world: the oily grayness of a thawed out February, a crumpled Red Bull can stuck in a storm drain, someone pressing a winter-cracked hand into their eyes, his wheelchair, his stutter, my ungratefulness, my brash voice, for everything and everyone that is feeling or has ever felt pain. 
Is it fair for me to say that there is a profound loneliness that comes out of these people? It rides on their very greeting until it touches your ears and stirs, like a spiritual song in the temple of your body, every bit of your own loneliness. They are there like gatekeepers, speaking to any who enter and no one speaks to them. There are few that are willing to look them in the eye and see in them their greatest fear. These greeters are employed by such a distant company to humanize it, but instead, they seem to confirm the fluorescent reality that we are so lonely. 
I asked this man where I might find “Goo Gone” and he tells me where to go and when I come back by him with no “Goo Gone”, he is concerned that I did not find it. He tells me of another section I might find it, but when I tell him I don’t have time to go back look for it, he asks what I need it for. I tell him tape. 
It is the residue. Old tape caked to the hard plastic surface it was stuck. I can’t get the tape off. Even if I scrape it enough for it to crack off in bits, it still leaves residue. So, it sits on the plastic like fog. It coats it with its thin, gray layer. 
He leaned forward in his wheelchair, and leaned back and he might of smiled when he told me a secret. He lifted a wilted arm from his lap, he barely pointed at me and before he spoke, the whole sprawling mess around me seemed to freeze: he said the secret is oranges. Their juice will cut through the gray residue. Squeeze it out, let it run, the sweetness, that natural acid, the juice of an orange. 


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A WEEKEND IN THE NORTHLAND




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GROWIN' SEED - AVAILABLE NOW


This is the latest release, three songs recorded last summer in a big chapel mixed here and there and available to you now with love free of cost: DOWNLOAD HERE.

Growin' Seed: the tangled, jungle of history that is your body: universal desires, successes, lifelong friends, stupid jobs, trips out west, night swims, re-watched films, un-read books, weird memories, bad dreams, and even broken love. These long branches and thin leaves, vines, and weeds are always growing, filling you out and shaping you to an undefined point - all starting as only a soft and unseen, growin' seed.

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NOVEMBER

It is the stillness of November: this stillness, a somber movement and non-movement, a color and non-color, wind, no wind, leaves, and no leaves, the man with the bent cigarette who walked passed my window (large front window with half opened blinds). He passed, crossed the street, disappeared and reappeared and crossed back over the street. His limp looking like that of a hurried grandmother, a hurried old woman late for public transit. Public transit, that huge blue and grey bus that has a kind of beautiful internal glow at night. It makes me feel very urban - looking into that aquarium. Some people standing, some people sitting, heads bowed, slouched, hands folded in their laps, hands together, fingers laced with a kind of weight pulling the wrists towards the feet. 

A woman almost missed the bus today. In Grand Rapids, Michigan, a woman almost missed the bus on Ionia street where it crossed Monroe Center: I wonder what the woman next to me at the crosswalk thought of the overweight, circular woman who was squealing in a voice much like a 5 year old's, "that's my bus!" True desperation. There was accusation of betrayal in her voice. Did the woman next to me at the crosswalk wonder, like I did, if that tone of hurt reflected a lifetime of sadness, and betrayal, and pain? Did she for a moment secretly find immature amusement, like I did, in the way the woman sounded - how foolish she looked barely bending her knees as she ran? 

I walked back to my apartment thinking the sky was an alpaca sweater, soft and yarn and woven into a low layer of monotone smokiness from where the snow flakes fell in perfect form: they appeared probably only 30 feet up. They drifted in the prefect speed and non-speed. Filled with memory and no memory at all. Hinting at a beautiful winter to come and hinting at a spring that will be miserable like it is every year.

I anticipate that so much will change in the next few months: something that will make me believe, in some later moment, that "those were truly better times". I will grow slowly, be weathered to a deeper level and in the spring barely be able to remember what was happening in November. So much will have changed and I will have changed but at the end of the day still be dreaming the same dreams I've been dreaming since I was 12. I will be thinking about making it big with the band, I will think everyday about my family, I will feel guilty for sleeping in, be thought of as a freak by somebody and think of someone else as a freak, I will probably not have a girlfriend, I will be exploring the meaning of the place I grew up in, I will be trying too hard, thinking too much, thinking not enough at all. I will be afraid of the future and of being left out and of being alone and self-absorbed and wrong and too loud and lame. 

Adjusting the collar, lifting and resting the shoulders, I put on a coat I haven't worn in months. I like the way it hugs my arms, the weight across my neck, it's steel blue color on the backdrop of this November stillness. 

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GROWIN' SEED – DECEMBER 10




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BODY, THE FILM




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WARM OUR HANDS

"I asked a poet once if he walked around experiencing his waking life thinking, 'now that experience…there is a poem in that.' He said that no, we must first warm our hands around the fire of existence and then later work to find what will emerge as art."

Read more on my friend Josh's blog: Ordinary Neighbor


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SEPT. 29th



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