A broken heart, an endless night thereafter, followed by sex or silence
Then smiling faces on the monsters of greed in a dream
A call to arms this isn’t
This is you struggling for survival through the turbulence of love and hate
Never to forget how beautiful you are, and how ugly you can be
And it’s in that graceful split that makes falling seem like flying
And the opening in between?
Feels like everything
This feels like the panic of lost
This is your song
SAI U DROM shows have been described as a poet party aboard a pirate ship. Using acoustic guitars, mandolins, accordions, keyboards, drums, stand up percussion, turntablism, and sequencing they perform there trademark “poetic pirate gypsy folkin rock”.
For all intensive purposes it is folk music. Some of the songs are easily labeled under that category. Others not so much. The slogan "poetic pirate gypsy folkin rock" was thrown together by some random drunk during a show. Someone else once referred to it as "a little kid’s nightmare" (seems more suiting honestly) despite it all, it could be classified as “stranger folk“, but haven’t found that label at the local record store yet.
All in all SAI U DROM is the shared heartbreak of the villain in the story. Never having a genuinely suitable song of redemption, this is what is being presented. The Fairytale-esque songs are memories translated through metaphor and to those "in the know" quite comic. There is a sense of esoteric but it is not pretension. It is more a belief that the obvious is overdone and sometimes quite boring. And that is what is truly being offered, something different.
Songs of hope and death was written and recorded over the course of three years and multiple states. It features many different people from many walks of life. A perfect example is “Anthem“ which took five years altogether to write and record. The beginning music and poetry was written outside of a bar after being stood up by the owner (she would resurface in other songs). It was laid to rest for two years when the music was reinforced by Élan "Mutt" Schwartz. The final poetry was written two years later while battling depression during which the turntablism factor was thrown in. It was recorded in two takes using a 90 year old classical guitar while all the vocal tracks were laid down in one take. Almost no studio effects were used making it come out somewhat rough compared to contemporary digital studios, but to weirdo’s like us that is fine.
Most tracks we’re done in one take and have very little studio effects, under the belief that the feel of the song will come across better that way.
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