"Blind" is the second single off Chris Bartels' upcoming solo EP Myths and Mold.
"Blind" on Soundcloud (private stream): https://soundcloud.com/chrisbartels/blind/s-Gd86s
anthemfallsmusic.com/chrisbartels (bio, photos, streaming music)
"Experimental, soulful, and dynamic... He departs from stricter musical boundaries to a sphere ruled only by imagination" - Indie Shuffle
- "Blind" is sung from the perspective of a family member or friend suggesting, almost begging, someone struggling with alcoholism to get help. They don't want to see them get hurt or go further down a dark road. The most intense vocal part of the song is a near-scream "And you know you can't hide, when I see you can't drive."
- The full EP, Myths And Mold, will be released Friday, April 28th. The release show will be that night in St. Paul, Minnesota at Turf Club, with Chris' band featuring his wife Rebekah, Cory Wong (Vulfpeck, Ben Rector), Aaron Johnson, Dan Musselman, and Matt Call.
Chris Bartels is a producer, musician, husband, and father from Minneapolis, Minnesota. He has spent hours upon hours of his life crafting textures, melodies, emotions, soundscapes, and stories through music.
Bartels’ musical obsessions are varied, plentiful, and often. From the oceanic sounds of ambient project Elskavon, to the synth-driven dream pop of Bora York, to the moody dance songs of Hi-Fi Cali, there’s always another string of albums in the works.
Myths and Mold is the second official release under his own name. As a whole, the 5-song album delves into unique song structures previously unexplored by his former songs and projects. There was no initial direction Bartels had in mind when he first started writing what would become “Missoula,” and the starts of other songs. It was simply an escape from the task of songwriting the highly produced sound of a sophomore Bora York album. This was all about layers of drums and plenty of percussion, heavy emphasis on room microphones, different feels of guitar, and even more layers of vocals, including lower registers than before. Careful not to place boundaries, however, Bartels, along with the mixing finesse and co-songwriting of Taylor Lewin, would not shy away from things that felt right, whether that was a synth bass line or a rich mess of delay effects.
This is a collection of songs that go neither with nor against the grain. It’s not territory completely unfamiliar, and it’s not something identifiable. These songs are personal, albeit abstract, and were birthed during a season of life that merged gratitude and trial, solitude and struggle.
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