This is an odd connection to draw, but this album reminds me a bit of Thursday's "No Devolución" - in that the vocals take a step back and become an instrument of their own, blending in with the rest to make a larger composition of sounds. There are definitely fewer hooks or melodic choruses on "Blushing", but it works perfectly. I've been obsessed with Copeland's instrumentation since YAMS, and they've really taken it to a level I've dreamed of. This record is all of the best parts of their past decade as a band, fully realized. It's Ixora+Twin dialed up to 11, confidently rising to meet the day, riding the wave of a caffeine rush. I'm just vomiting words, but that's how it makes me feel.
Anyone else get as frustrated as me when an album as exceptional as this just goes by absolutely unnoticed by the press? I have found 1 review in total so far... Ixora only managed to reign in 4 mainstream reviews and one of them was from this website
My commute today was rainy, cold, and the EXACT length of this album, and I’m in love again. Time to listen to nothing but this for another few days until it’s 70 degrees again.
ha, so when it warms up this album won't be the one, huh? Glad we've got at least another month of cold weather in jersey. Last week the record was fantastic to go with the snow coming down. We are expected snow on Wednesday as well, should have my vinyl by then too.
Unfortunately it really didn’t click while it was warm and sunny. It may be something I can listen to at night while driving, or it may be someone else’s summer album, but it is not mine for sure. Luckily, Texas weather can’t seem to settle on a season so I’m getting a few more weeks of this before the weather kills it for me.
How do you interpret this? I'm stuck between reading these lines as a melancholy "this is my life" and then "everything is okay because I'm with you." I should probably pull up the whole lyrics to get some context but I'm at work can't do a deep dive ATM.
This question comes up often for me throughout the record. There's a deep sense of submission and defeat when Aaron/the narrator writes about his love, even going as far as to describe himself lying at his love's feet. There is a battle between the desire to drift into reverie and the responsibility he owes to survive in this reality. I see this record blossoming from the dissonance between the narrator's conception of love and the truth of his actual partner. He's caught in between dream and wake, perhaps to a point of complete surrender and blind loyalty.
I see it as him essentially being powerless to the love he’s in, in a depressing defeatist kind of way
Held tight, held tight fast to your hand, I'm a crashing passenger since the last time it felt right.
So it’s going to rain for the next 5 days, bring on Copeland! Listening again more intently today, really caring for Lay Here and Suddenly
I'm impressed that this seems a collection of love songs essentially but they're so much more complex and dark. It feels authentic and lived in.
Since being in my first real long term adult relationship I’ve found myself relating to Copeland’s entire discography even more than before because this has always been a recurring theme. They really capture the heartache that comes with being in love with someone
I think this why I never loved Copeland as a kid even though they've always been on my radar, well said
I didn’t realize this. First time I heard Pope I thought damn they really nailed Jon’s feel perfectly.
The opening keys in Lay Here make me feel like I'm about to play Castlevania but instead I'm about to be hit with a face full of feelings
Fuck, the pink looks good because it matches the album art well. The blue looks nice too. Decisions....