New EP 'Resist' from The Missed Trees out on Thursday
My alt-folk duo released our debut EP back in April to some great feedback, as you can see in this blog post I wrote back then. At the time, I said we were deciding whether to release an EP of songs we had been playing for a while called Solitude, or to go for a more political EP - well as you can see we've gone the later.
Earlier this year, I was incensed by the rhetoric of the government, as they were trying to whip up anger about vulnerable people arriving on our shores in the most desperate way to deflect from their failings. They made it a specific pledge to stop small boats and spent a lot of time and effort dehumanising victims of global issues, like the climate crisis, war and poverty, which have been largely caused by countries like ours. At the same time, these privileged, wealthy politicians, who are so detached from the everyday life of normal people, were making it impossible for anyone to arrive here legally to claim asylum, thereby forcing more people onto small boats and into the hands of criminals.
The song I wrote is not really an angry-sounding protest song. I went for a more subtle approach with a very melodic classic-sounding English pop/folk song, but with some biting lyrics. For example, the second verse goes:
"We are told there's not enough to go round/ We must close the borders while children are drowned/ But bad guys come in private jets not little boats"
I take the lead vocal on this with Louisa playing fiddle during the verses and then joining me to sing harmonies in the chorus, which goes:
"The wealth won't trickle down, oh no/ It's offshore anyway/ Look good by setting up a charity/ It's good for their ego, but why not just pay taxes?"
I love Louisa's fiddle solo in this song, where she double tracked it to play a harmony with herself. I think it sounds great, although we won't be able to replicate it live unless we clone Louisa.
The second song on the EP is called Guilty Bystanders and is based on a story about the black British activist Olive Morris. I read about a short film that was made about her and it immediately sparked my interest, so I read up a bit more about her and wrote the song very quickly.
Olive was in a record shop one day when she saw a man being pulled out of his car by the police, who thought it must be stolen. He was a Nigerian diplomat and, because the racist offiers didn't believe a black man could possibly drive this car, he was being brutally mistreated. Olive stepped in to try to stop this, but was beaten and arrested herself. The horrendous incident made Olive even more determined to fight injustice and she became a prominent activist in Brixton up until her tragically early death from cancer.
In the song, I contrast Olive's bravery and determination to stand up to protect someone else's rights with the crowd of bystanders, who were happy just to watch and let it all happen. As the final lines say: "We need to be more like Olive Morris when they're trampling on our rights"
See the trailer for the film here:
The third song is called Bunker. It's a song about Vladimir Putin inspired by a Russian friend who told me his nickname was "бункерный дедь" which translates as Bunker Grandpa. Far from being seen as the macho alpha male that he always used to try to appear as, he's now seen as a sad old man cowering in his bunker getting more paranoid and scared of everyone as his health deteriorates.
I felt this was a better way of standing up to him than just talking about the massive corruption he's overseen and benefitted from, or talking about his horrendous human rights record. He doesn't care about truth and will use an army of bots to fight back and make people doubt such things are true. However, like all dictators with fragile egos he hates being mocked, so I hope you enjoy listening to a song half in Russian and half in English. It's my little attempt to show solidarity with the Ukranian people and also the Russians who hate what he's done to their country.
You can pre-save the EP here.
We're playing a gig to launch the EP this Thursday 28th September at one of my favourite venues, Kitchen Garden Cafe, so if you're in Birmingham, please get a ticket and come and see us.
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It's Juvinilia Season
Yes, the makers of Kane and Feels are sticking their old work up on Patreon from back when they were itty bitty tiny 20 year olds. See their nonsense develop in real time and watch how their shows used to sound much much worse. Tune in on Patreon! Every Monday we'll drop some fresh cringe!
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Suspects I can spot so far who haven’t been highlighted in the first two episodes:
Howard (Michael Cyril Creighton): his love interest Jonathan is Ben’s mistreated understudy — and MCC is the only person billed as main cast who isn’t the Podcast Three or a celebrity guest
one or both of the producers, especially the mom: we found out at the funeral that the show was going to get panned. if you kill the star, the terrible reviews will never run!
[incidentally, I think the above is also what’ll get Oliver onto the suspect board as seen in the trailers]
Joy (Andrea Martin): she knows the show is bad and Charles is bad in it. with Ben dead, Charles can spend time with her again, and he’s spared the humiliation of being in a turkey
Who else am I missing? (Again, skipping the ones who already have a suspect spotlight on them: Streep, the random assemblage of young co-stars, and I suppose Jonathan)
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Episode 4 is easily my favorite episode of the season so far. It makes such a difference for the trio to be together + I enjoyed spending time with Cinda. Oh what familiar characters and relationships can do for my happiness.
Other thoughts:
He isn’t my favorite for the role, but Howard’s behavior this episode is making me like him more for the moriarty/mastermind role that John Hoffman has talked about (him and Oliver having a ‘layered relationship’ wherein he doesn't hand over the keys when he doesn't want to even though he works for Oliver, him being ‘the eyes and ears of this production,’ the lying.)
‘Like a sweater… unraveling.’
Okay, my hope for the Joy/Charles stuff is that he ends the season realizing he doesn’t want a (heteronormative) romantic relationship and what actually makes him happy is his found family with Oliver and Mabel and Lucy. However, now might be a good time to mention that I think Lucy might be getting Oscer’d. (A review said she isn’t in the first eight episodes.)
Oh! Kimber’s line about Ben looking like a 50 year old baby feels meaningful when in the play everyone’s meant to think a baby did it. It's a point to the theory that Ben faked his own death when he collapsed on stage.
I think this is the first time Mabel's worn white and not gotten blood on her.
Maybe Tom (piano guy) did it. I say this solely because of the lack of focus on him.
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