Ball of Wax 53 Songs: Virgin of the Birds – “The Earth Won’t Die, We Will”

Sometime around the release of Ball of Wax 38: Songs of Protest, I began referring to the genre Virgin of the Birds occupies and has mastered as “Wiki Rock.” This is due to the large number and wide range of references that typically inhabit their songs. For that release, Virgin of Birds offered “In 1970, Across Philadelphia, Frank Rizzo Broke the Black Panther Party,” a song that in a small handful of verses travels backwards and forwards in time to reflect upon Frank Rizzo, the Black Panthers, Richard Nixon, MOVE, white flight, Nativism, Bishop John Hughes, John F. Kennedy, Saint Augustine of Hippo, Pelagius, free will, and T.S. Eliot. There are several Ph.D.’s waiting to be explored in this and other Virgin of the Birds songs . . . or days’ worth of web browsing and screen time for the less academically minded but equally curious listener. It is striking that the Virgin of the Birds track found on Ball of Wax 53 is without words.

“The Earth Won’t Die, We Will” is a quiet and contemplative instrumental piece. Without its title this song would sit comfortably with Brian Eno’s Music for Airports or as a companion to “Laura and Jennifer, Bright in Some Soft Sky,” the Virgin of the Birds’ song found on Ball of Wax 51: Long Songs. However, words are important, and these six little words employed by Virgin of the Birds steer the listener in a different direction. We live in a world out of balance. We will die. This is a certainty. A planet will remain.

“The Earth Won’t Die, We Will” is the soundtrack of what comes next. It evokes images of dust traveling across a barren landscape and plants reclaiming city sidewalks. But, as creatures of free will, one can, if one chooses to, also hear within the song a new day rising. Perhaps, if we can learn to live in harmony with the environment generously offered to us, the earth won’t die, we will, and in passing we will provide to future generations a life in balance with all that is around.

Perhaps if we were to again pair Virgin of the Birds with T.S. Eliot, we can hope to find some resolution. “For us, there is only the trying. The rest is not our business.”

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Ball of Wax 53 Songs: Matriarch – “Fracking”

“Fracking,” by the Seattle punk band Matriarch, begins with a guitar screaming like a buzzsaw and crashing drums and cymbals that do not let up until the close of the piece. It is ferocious. A fast and hard introductory few bars full of drive and attitude lead to the song’s first verse, in which Matriarch provides their opening argument for a case against fracking. Fracking, or hydraulic fracturing, is the process of injecting under high pressure water, sand, and a slurry of chemicals into the earth to release then capture oil and natural gas trapped within the earth. Fracking has been associated with air and water pollution, health issues, and an increase in earthquake frequency in areas in which it is practiced. Fracking has made certain people very wealthy. As mentioned above, Matriarch opposes the practice.

Matriarch, after a summary of the European settlement of America that includes the displacement and resettlement of the indigenous people that has allowed for the development of today’s urban environment, moves from verse to chorus, from opening argument to an indictment of the greedy, and then to a call to arms to wake up and end fracking. What a call it is. Punctuated with a staccato vocal delivery, that guitar, and those drums, this is full-on fight the power punk rock.

“Fracking” is a terrifying, exhilarating, smart, and inspiring song. In the less than three minutes that it takes Matriarch to rip through to its conclusion, they alert us to our fate if we do not heed their call and fight to save the planet from being exploited and wasted until nothing is left. With fists pumping and my voice raised, I stand with Matriarch in spreading their call:

We’ve got to wake up to it!
We’ve got to fight them through it!

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Ball of Wax 53 Songs: Levi Fuller – “Scott Pruitt Must Die”

In Scott Pruitt’s home state of Oklahoma, the concept of “castle doctrine” – the idea that you can protect your domicile with deadly force without fear of prosecution – extends outside the home, in the form of a “stand your ground” law. Along with those of 26 other states, Oklahoma’s stand your ground law indicates that a person cannot be charged when committing homicide “if he or she reasonably believes it is necessary to do so to prevent death or great bodily harm to himself or herself or another.”
That said, Levi Fuller’s “Scott Pruitt Must Die” is neither a call to assassination nor to justifiable homicide. From the chorus:

Scott Pruitt must die, as must we all, and the world we’ll leave behind
Will barely be fit for human life and that’s his fault and yours and mine

So while Trump’s most cartoonishly corrupt former cabinet member has been enthusiastically bad for this country and the world, Levi reminds us that we must all confront our own complicity in environmental degradation. Similarly, Oklahomans and other Americans who own a firearm are much more likely to be injured or killed by that firearm (or to themselves use it in a crime) than they are to use it effectively in self-defense. There are no easy answers.

Levi Fuller & the Library will play this and other songs at the Ball of Wax 53 show on Friday, August 3rd. Be there!

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Ball of Wax 53 Songs: Caroline Keys – “Supplies”

If you’re like me, and pride yourself on being able to accurately judge a song within the first ten seconds, then I recommend throwing that out the window with Caroline Keys‘s “Supplies.” As soon as the track began I thought, “wait, what kind of a ride am I about to get on here?” It turned out to be, in equal parts: catchy-as-hell, funny, and hungry for watermelon, whisky, and wasabi. Just listen. You’ll understand. Enjoy.

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Ball of Wax 53 Songs: Meade Krosby – “Never a Sure Thing”

Longtime Ball of Wax listeners may remember Meade Krosby’s voice https://www.arabfinancials.org/بيتكوين and spellbinding guitar playing from way back on Volume 16, when her band Secret Highways shared their song “Ortolan” (which I think you can maybe still hear on Myspace? Or you can just buy yourself a copy of BoW 16.) Meade has been busy being a climate scientist and raising a child in the past several years, so we haven’t heard much from her, but I was able to get her to pick up the guitar and record a song for this volume of Ball of Wax, as it was on a theme close to her heart. “Never a Sure Thing” is an achingly beautiful meditation on the bittersweet nature of love in a (probably) doomed world. Meade lays out various likely (but not certain) unpleasant scenarios about our planet’s future, but no matter how awful things get, comes back to “I’ll love you anyway,” and reminds us that none of this has ever been a sure thing – our love, the human race’s survival, or, conversely, the bleakest predictions of our planet’s future. As a husband and parent, this speaks directly to me. The fact that it’s a beautifully written and performed piece of music certainly doesn’t hurt either.

Meade will perform this song (and more, I hope) at the Ball of Wax 53 show on Friday, August 3rd.

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Ball of Wax 53 Songs: Isaac Castillo – “Someday I’ll Be”

Isaac Castillo’s “Someday I’ll Be” is a fast paced, fingerpicking exploration of the post-life experience. The ever-expanding journey that Isaac takes us on in under two minutes reminds me of the iconic short film “Powers of Ten.” In his afterlife, the narrator requests in verse that we offer to him an earthly grave, then a burial at sea, and finally to cast him up into the stars. Each final resting place is exponentially larger and grander than the one before it.

Isaac offers glimpses of what could be chilling scenes of decomposition, but he does not give us time to wallow.  Each new death bears fruit of a new existence.  Even if there was not light at the end of Isaac’s tunnel, the upbeat, up-tempo bluegrass keeps us tapping our toes and moving along our life’s journey by way of his song.

“Someday I’ll Be” does not ask the question, “To be or not to be?” According to Isaac Castillo, we are, and someday we will be something far greater than discarded bones in the ground.

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Ball of Wax 53 Songs: Chris Poage – “What a Gas”

Duane Eddy may have invented the reverbed tremolo twang, but Chris Poage opens up a whole new Ball of Wax with “What a Gas.” Busting out of the gate at an allegro clip, Chris (and what I believe are a few of his Panda Conspiracy cohorts) firmly stake themselves in the Tex-Mex-by-way-of-Washington territory of roots rock, complete with trumpet, trombone, and loads of twang.

Chris’s voice is not unlike that of fellow Americana veteran Alejandro Escovedo, a slightly dry hail with a pleasant range that was practically designed for laments on the futility of environmental stewardship in this age of increasing dependence on outdated fossil fuels and exponential carbon footprint growth. Heavy stuff? Well, yes, and perfectly suited for ushering in Ball of Wax 53. Poage’s lyrics call us out on our every sin whilst comparing the west coast to burnt toast and offering a tsk-tsk for the failure of our leaders and captains of industry to put real consideration into alternative fuels and sustainable energy.

I’m down with the message, but any who have read any of my reviews know that I’m all about the arrangement and the accompaniment (full disclosure: I’m not very intelligent, so most lyrics go over my head) and Poage and his band have laid down a groove and progression so enjoyable that I had to pull out my dusty six-string and play along. Bonus: Katie and Liana Green not only carry the tune along, they get to show off their horn talents with a trumpet-and-trombone break that’s got to bring down the house live. (Make sure to catch Chris and friends at the Ball of Wax 53 show on August 3rd!)

Guided by those reverbed tremolo twang guitar licks, this works great as night-driving music . . . especially fitting for these times when we’re so close to permanently blocking out the sun.

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Ball of Wax 53: August 3rd at Substation, for the Benefit of 350 Seattle

Ball of Wax 53
With Levi Fuller & the Library, Poor Neighbors, Chris Poage, Danbert Nobacon, and Meade Krosby
Friday, August 3rd, 8pm
Substation, 645 NW 45th St.

$8 cover includes copy of BoW 53 CD
All profits to 350 Seattle

Since it’s been about a year and a half since our last volume of protest songs, I figured it was about time to issue a new collection, this time with a selection of music specifically talking about (and inspired by) environmental issues. Ball of Wax 53 features new and newish music from the above-listed artists as well as Matriarch, Isaac Castillo, climate scientist Judy Twedt, Kaeley Pruitt-Hamm, and many more. It also features brand-new music from some old friends of Ball of Wax, such as Joshua Morrison‘s band Poor Neighbors, and Meade Krosby of Secret Highways (also, by the way, a climate scientist).

We have collectively chosen to support 350 Seattle for their vital work on this front right here in the Puget Sound. All profits from this show and compilation will go to them, so help us make it a big night!

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Submit Environmentally-themed Songs for Ball of Wax 53

Photo credit: NASAWith my usual dearth of proper planning, I have decided that Ball of Wax 53 will be devoted to songs about the environment/earth/climate/etc., and it will be released on or around August 4th, the date our Dear Leader announced the US’s withdrawal from the Paris Agreement.

I welcome strident political statements, fatalistic lamentations, hopeful ballads, and everything in between, above, below, and around. (Climate change denialism or free market apologism will be rejected out of hand.)

Deadline: June 24th (early submission encouraged!)
Guidelines and more info: Here
Questions? Drop me a line (or comment on this post)

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Ball of Wax 52 Songs: Patrick Wurzwallner and Kole Galbraith – “Hi friend, Good Morning!”

To close Ball of Wax 52, Seattle multi-instrumental dronemonger Kole Galbraith and Austrian drum-pummeler Patrick Wurzwallner bring us 5 or so minutes of joyful, improvised noise. I always think it’s funny when people use the term “noise rock” to describe bands that have singers and choruses and song forms, but just turn up pretty loud and enjoy the use of dissonance. This, my friends, is noise rock. Wurzwallner seems to hit all of his drums all at once all the time, but maintain an artful cohesion all the while. Galbraith plays barely a discernible note, wrenching unholy combinations of feedback, pick scrapes, and other noises from his instrument with gleeful brutality and merciless precision. Wurzwallner and Galbraith’s sonic explosion makes Lightning Bolt sound like AC/DC. (No insult intended; I love Lightning Bolt. And AC/DC.)

This performance was recorded live in Austria, so I have no idea if we’ll get to experience this delightful ruckus live here in Seattle any time soon, but if you keep your eyes and ears peeled you’ll probably see or hear Kole playing somewhere before too long.

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