The Alchemy of Mad Season's 'Above'
30 years after its initial release, Mad Season's 'Above' exemplifies what it means to follow the higher calling of an artist.
Music, in itself, is a transcendental medium. In its purest form, it can provide an otherworldly experience that exorcises emotions, and lays down a path for healing. It also brings people together from all walks of life. Not everyone recognizes this power, but those who do, understand the higher calling of being an artist. Nineties Seattle was a breeding ground for creative alchemy, but one of the finest examples was Mad Season's singular album, Above.
30 years later, Above has retained its status as one of Seattle's most important musical contributions. Released in 1995, the album represented a tonal shift that would define the rest of the decade. At the decade's midpoint, the grunge luster was wearing off and many of the bands' music was becoming more defiant, apprehensive of fame, capitalism, and their effects. Out of the chaos, Mad Season arose.
My best memory of Layne was when we were making the "Above" album."He was in the studio lounge reading Kahlil Gibran's "The Prophet." I had read it a few years earlier, so we started talking about what it meant to be an artist and have a spiritual message. I don't need to get into the specifics of the conversation, but suffice it to say that Layne Staley felt as though he was on a spiritual mission through his music. Not a rock mission, a spiritual mission. And I think that is evident in his words and in the timbre of his voice. When you hear it, you know it. He was an authentic artist in a time of imposters. - Barrett Martin
Mad Season's original lineup included guitarist Mike McCready (Pearl Jam), percussionist Barrett Martin (Screaming Trees), vocalist Layne Staley (Alice in Chains), and bassist John Baker Saunders (Walkabouts). McCready and Saunders met at a rehab facility in Minnesota, then recruited Martin upon their return to Seattle. Lastly, Staley was brought on board not only to round out the group but because the other members thought it would be a space to encourage his sobriety.
Originally named the Gacy Bunch, the group renamed themselves Mad Season, which was derived from an English term for when hallucinogenic mushrooms reach full bloom.
It seems that Above was created in a whirlwind. Recorded in about two weeks following only a handful of shows, Above was a rainbow among the storm brewing in Seattle, when lightning in a bottle phenomena were happening regularly. As quickly as Mad Season appeared, they were gone, but it was a sight to behold while the band did exist, and left a beautiful residue in its wake. It's a testament to what happens when community joins together in pursuit of something greater.
Going in, I knew that listening to Above was not going to be an easy experience. While I love the album, it became synonymous with a difficult breakup—a breakup with a person who struggles with addiction, at that. Any time I listen to Mad Season, I am forced to reckon with the repressed emotions that accompany loving someone I wanted to save from themselves.
The album opens with "Wake Up," a harrowing plea. The first line, "Wake Up," is an immediate call to action. With minimal instrumentals in its first minutes, Staley's voice barrels out of the sound system, which feels eerie as he sings the poignant lyrics "For ten long years... The leaves to rake us... Slow suicide's no way to go..."
The beauty of Mad Season is that the band allowed Staley full creative license to just... be. "Wake Up" allows Staley's vocal power to shine. McCready, Martin, and Saunders take their time playing, following Stayley's lead. "River of Deceit" equally as powerful as "Wake Up," allows Staley to showcase his songwriting skills.
My pain is self-chosen
At least so the prophet says
I could either burn
Or cut off my pride and buy some time
McCready's frenzied shredding builds up as Staley reaches a crescendo. Known for his explosive solos, McCready is completely unhinged throughout Above, but in the best of ways.
The band is joined by Mark Lanegan (Screaming Trees) in "I'm Above" and "Long Gone Day." Lanegan and Staley's harmonizing is hypnotic. Lanegan's smooth whiskey baritone voice always evokes a sense of nostalgia. I've even heard his voice described as the perfect companion for a long, winding road trip, as wherever you need to go, Lanegan's voice "will get you there."
"November Hotel" is a magnificent jam session that is the epitome of creative serendipity. Without lyrics, the song is merely an explosion of each musician at their best. It's a manifestation of years worth of frustration, a musical exorcism. It's joy and anger all rolled into seven minutes of whiplash. Like an airplane, McCready's riffs take off, soaring above Martin's percussion. One of the unsung musicians of the Seattle scene, Martin is a spectacle as he unleashes (he also plays cello, marimba, and other percussion on the album). Saunders is also underrated, as his heavy bass line is like a pulse.
The album ends gently with "Alone," following the fire storm that is "November Hotel." Simple and understated, "Alone" seems meditative, but not cynical. It's a comedown from the musical high.
In an interview with the Seattle Channel's Art Zone, McCready speaks on the formation of Mad Season and his naivety in trying to help his bandmates achieve sobriety. Speaking from experience, you can try to do everything in your power to help someone, but in the end, they have to decide to change. It's a bittersweet revelation, but Above inspired many individuals to make that big decision.
Layne Staley achieved his mission.
In terms of spirituality, when someone becomes a vessel for change or spreading a message, they are not always perfect. In fact, their humanity is what endears them to the masses. Mad Season's Above was a one-time occurrence, but it continues to deliver its message 30 years later. Luckily, McCready and Martin are still spreading the message in their own ways. Staley, Saunders, and Lanegan are no longer with us, but their music remains. The immortality of Above lies within the bravery and vulnerability of its members. The path of an artist is the road less traveled by, but Above shows us that we aren't really alone. There are other voices out there that can take us down the crossroads.
Jerry Cantrell Concludes the 'I Want Blood' Tour in Seattle
One of Seattle's hometown heroes, Jerry Cantrell returned to Seattle for the last stop of his 'I Want Blood' tour.
"It's good to be back..."
He's not usually the most talkative frontman. However, last night, Jerry Cantrell wasn't shy about his enthusiasm to be back in Seattle, the city that spawned his legendary career. An exceptional guitar slinger, accomplished solo artist, and member of one of Seattle's most famous bands, Alice in Chains, there was a lot of love inside the packed Moore Theater for the final stop of Cantrell's I Want Blood tour.
The Moore was a home to some of Cantrell's most memorable performances, the first of which was Alice in Chains's riveting December 1990 set that contained the band's infamous performance of "Love Hate Love." A venue as famous as many of the performers that have graced its stage, no other stage would have served Cantrell better. Both the venue and its star have a larger than life presence on screen, but the Moore in real life, is more intimate than it appears.
The night began with an opening set from Filter, who brought an electric energy to the stage. Filter frontman Richard Patrick urged the audience to get on their feet and expressed excitement about playing for the Seattle audience, which has built a significant reputation due to its place in rock lore.
Throughout their set, Patrick made little quips such as "Tip your bartender!," "I'm an atheist," and made it clear that "Hey Man Nice Shot," was written in 1991, although it wasn't released officially until 1995. The song was a major turning point for Patrick, who was previously a member of Nine Inch Nails.
Filter's current lineup includes Patrick, Jonathan Radtke (guitar, backing vocals), Bobby Miller (bass, backing vocals), and Tosh Peterson (drums). The band was a good fit to accompany Cantrell. Filter is heavy, dark, and was the best possible warm up for Cantrell, whose work is the embodiment of those things.
Filter's set list included:
- "You Walk Away"
- "The Drowning"
- "(Can't You) Trip Like I Do"
- "Obliteration"
- "Jurassitol"
- "Take a Picture"
- "Drug Boy"
- "Welcome to the Fold"
- "Hey Man Nice Shot"
Following what seemed like an eternity, and gracing the stage among the eager anticipation, was Cantrell, in all his rock-and-roll wizard-like glory. I have made numerous attempts to see Cantrell over the years, all of which didn't work out—until now. Luckily, he was worth the years-long wait.
Cantrell was joined by his band which includes Greg Puciato (vocals), Roy Mayorga (drums), Zach Throne (guitar), and Eliot Lorango (bass).
Cantrell opened with "Psychotic Break," from his Degradation Trip album, then quickly veered into Alice in Chains's high energy "Them Bones." Throughout the concert, Cantrell and his band would offer a balanced mix of songs from Cantrell's solo albums (I Want Blood, Boggy Depot, Degradation Trip, and Brighten), and also some fare from Alice in Chains, primarily from Dirt.
Cantrell played the majority of the songs from I Want Blood, with a live debut of "Throw Me a Line." Cantrell seemed slightly nervous about playing the song, but it sounded just fine. The song was met with a positive reception from the audience.
Close to the end of the show, Cantrell continued his tradition of performing a song written by his fallen bandmate, Layne Staley. Last night, Cantrell chose "Hate to Feel," which was followed by the seminal Alice in Chains song, "Would." Given "Would's" origins as a tribute to the late Andrew Wood of Mother Love Bone, it was a perfect way to conclude the main set.
Following rapturous applause and "Jerry" cheers, Cantrell and his band returned to the stage for a quick encore. Cantrell continued with the I Want Blood song "Let It Lie," then sang the title track from Brighten. Cantrell closed out the show with a spirited rendition of his most important song, "Rooster."
It was cathartic to sing along with Cantrell's familiar work, but also witness his I Want Blood songs for the first time. Always professional, but still personable, Cantrell is still at the top of his game nearly 40 years after his music career launched.
For the entirety of the show, Cantrell was well-accompanied by his band. Greg Puciato is a great vocal accomplice, as much of Cantrell's work (both solo and Alice in Chains) utilizes harmonizing. Puciato remains a powerful ingredient in Cantrell's solo tracks but holds his own while covering Layne Staley's vocal contributions. Roy Mayorga is a feverish percussionist, keeping the pace between Cantrell's various high-energy, heavy songs. Zach Throne, next to the "Riff Lord" himself, is an impressive guitarist who brings the energy alongside Cantrell's complex riffs and solos. Lastly, Eliot Lorango's bass ties everything down. Each band member contributes greatly to Cantrell's signature sludgy sound and migrate seamlessly between Cantrell's old and new work.
With another tour in the books, here's to hoping that Cantrell returns to Seattle again soon. As one of the city's prodigal sons, he's always welcome.
The full set list for the night was:
- "Psychotic Break"
- "Them Bones" - Alice in Chains
- "Vilified"
- "Afterglow"
- "Atone"
- "Off the Rails"
- "Siren Song"
- "Held Your Tongue"
- "Down in a Hole" - Alice in Chains
- "Cut You In"
- "My Song"
- "I Want Blood"
- "Man in the Box" - Alice in Chains
- "Had to Know"
- "Angel Eyes"
- "Throw Me a Line" ... Live debut
- "Hate to Feel" - Alice in Chains
- "Would" - Alice in Chains
ENCORE
- "Let It Lie"
- "Brighten"
- "Rooster" - Alice in Chains
FEM du lit's 'Stigmata' Transmutes Stigma Into a Powerful Musical Experience
Up-and-coming French and Congolese artist FEM du lit challenges the stigma of queerness in the African diaspora through their emotionally striking storytelling.
According to Oxford Languages, stigmata is the plural form of stigma, a mark of disgrace associated with a particular circumstance, quality, or person. It's an all-too-familiar term for those of us who've dealt with shame, especially from Abrahamic religions. However, up-and-coming French and Congolese artist FEM du lit turns stigmata on its head and transmutes it into a body of work that challenges the stigma of queerness in the African diaspora through their emotionally striking storytelling.
I've always been fascinated by the intersection between religion, sexuality, and shame, so the album title Stigmata called out to me before I even had a full chance to listen. The description alone sold me.
According to FEM du lit's website, Stigmata "juxtaposes religious and occult motifs interwoven throughout the 13-song full-length album."
Described as "deep witchy electro-soul," and music "pour la fin du temps," FEM du lit's music is trippy, thought-provoking, and at times, sexy. The artist behind FEM du li, Francesca Eluhu (who was also the primary writer and producer on the tracks), has channeled their innermost thoughts and experiences into an album that will resonate with listeners. Additionally, I can best describe that Stigmata is a whole vibe, and the ideal nighttime listen.
Stigmata is a bilingual lyrical journey through familial joy, generational trauma, romance, and heartache. The album starts with the wordless "GUITARRARRARRA," which includes some tinkering in the studio over the sound of flowing water. It's the calm before the storm. The music then transtions to "SUCRE,"which translates to "sugar" in English. In the song, FEM du lit laments a long-distance relationship and the longing for connection.
The title track croons over a tune that's reminiscient of old school R&B. "Stigmata" is an ode to queer sex, yet at the same time questions the feelings behind it. Certainly, in the moment, intimacy in its purest form is the closest path to God, yet why is there so much shame in it?
"Stigmata" propels the rest of the album forward, hinting at the unintended consequences of queer romance and identity. However, the sometimes heavy lyrics are intertwined with smooth, jazzy beats interspersed with guitars, saxophones, piano, and sultry percussion. Going back and forth, FEM du lit ponders sex, family relations, domestic violence, and the pressure of capitalism while trying to create. The artist is joined by Da Qween on the sensual slow jam "LILYJAM," and then again on the tense "WITCHCUNT." On "BANKRUPT," FEM du li is accompanied by Obsvdian.
Throughout Stigmata, FEM du lit weaves together the French and English language within their lyrics. Songs such as "EUCHARISTIE/CREEPY CRITTERS," "COLD COLD WORLD," and "SORTILÈGES/SPELLS OF DOUBT" showcase the artist's mastery of bilingual storytelling. It not only heightens the impact of the musician's words, but sounds pleasing as well.
"SORTILÈGES/SPELLS OF DOUBT" is the album's closer, following the solemn "DEAD MAMA" and "SOLDIER." Before exiting, FEM du lit pleas for listeners to appreciate the time we have on this earth and repels "spells that plant seeds of doubt"... translated from the French lyrics. Based on the album's entirety, there's nothing left to doubt, as FEM du lit is the real deal.
So far, Francesca Eluhu has garnered comparisons to the likes of Anita Baker, Kadhja Bonet, and even Erykah Badu. However, Eluhu's point-of-view makes them a standout to continue to watch, because Stigmata is certainly a remedy for the soul.
Stigmata is now available to stream on Bandcamp as of February 28th.
Brandi Carlile and Elton John Encourage You to 'Swing for the Fences'
Although there are many forces actively aiming to destroy the spirit of the LGBTQ community, the two performers created an anthem meant to inspire gay youth.
In times like these, we could all use a little more joy in our lives. Luckily, music superstars Brandi Carlile and Elton John have joined forces to debut a song that reminds listeners to "Swing for the Fences."
Although there are many forces actively aiming to destroy the spirit of the LGBTQ community, the two performers created an anthem meant to inspire gay youth. As people who've achieved their wildest dreams, Carlile and John want them to believe that it's still OK to dream and that anything is STILL possible.
According to Carlile, "'Swing For The Fences’ was a little gem I took into the studio with me: I’m a gay woman, Elton’s a gay man and we both have families, and our dreams have come true. I was thinking, wouldn’t it be cool to write an anthem for young gay kids out there that calls them into a bigger, more elegant, more fabulous life. Just like ‘go, go! don’t let anything hold you back!’”
The opening of the song states, "Go on and swing for the fences! Take a shot at the moon! A dandelion that dances takes chances and fancies every little light in the room."
"Swing for the Fences" is pure rock-and-roll. It's loud, contains an impactful message, and is just plain fun. The song was co-written by Grammy-nominated Andrew Watt and Bernie Taupin. Carlile and John were also joined in the studio by Chad Smith (Red Hot Chili Peppers) on percussion, Josh Klingoffer (Pearl Jam, Beck) on keyboard and synthesizer, and Pino Palladino (John Mayer Trio, Tears for Fears) on bass.
The new single was produced by Watt, who has recently worked with acts such as Pearl Jam, the Rolling Stones, and Iggy Pop.
"Swing for the Fences" is now available to stream on all major platforms as of March 5th.
The song will be included on the duo's upcoming album, Who Believes in Angels?, set to release on April 4th. Pre-order the album here.
Brittany Davis's 'Stand Up' Is the Official Anthem of the Seattle Reign
Approached by the team itself, Davis was tasked with creating an anthem ahead of Reign's 2025 season.
"Stand up is what you do after you rise. It's that 'I'm here' energy. It's show up energy, powerhouse energy, champion energy... You can't buy this in a store!"
If anyone in the city of Seattle can create a feel-good anthem, it's self-proclaimed vessel of sound Brittany Davis. With songs such as "I Choose to Live," "Sepricon," and "So Fly," that succeed in uplifting listeners' spirits (and making them dance in the process), Davis is in familiar territory.
Davis's new song "Stand Up" has been designated as the official anthem of the Seattle Reign women's soccer team. Approached by the team itself after a difficult year, Davis was tasked with creating an anthem ahead of Reign's 2025 season with the National Women's Soccer League. As a result, Davis created a song that is an homage to community, triumphing over obstacles, and standing in your power.
Soulful and high energy, "Stand Up" was directly inspired by Andra Day's "Rise Up," which Davis covered in Reign's past season at the jersey retirement of Megan Rapinoe. The anthem also includes backing vocals from members of Reign and the Reign Academy players, in addition to support from The Royal Guard fan organization, Reign City Riot band, and the Sound Wave band.
In celebration of the new anthem, Davis and the Seattle Reign Football Club released a short film documenting Davis' creative process. In the documentary, Davis also discusses her connection to Seattle, how she creates as a blind person, and how the camaraderie of the Reign fanbase inspired her. The film was directed by Jason Bergh, who has previously worked with talents such as Jennifer Lopez, Alicia Keys, Migos, and Michelle Obama.
Whether or not you're a sports fanatic, "Stand Up" is the song to listen to when you need those big winner vibes.
"Stand Up" is now available to stream on all major platforms as of March 4th. The song will also be played before every Reign game.
Read the review for Brittany Davis's Image Issues.
Welcome (Back) to The AuralisMag
A site born out of the love of sound and storytelling.
I often think of trying to describe the music that moves me. It’s about as indescribable as an orgasm. It’s this otherworldly experience that leaves your heart racing, and there is an electric sensation on the skin that makes you tingle all over as the sounds from the speakers ripple through the crowd. For a moment, there’s a lightness in the body and you’re one with the Universe. And all your troubles melt away—at least until the artist disappears behind the curtain and the lights go up. Sadly, you're always left chasing that high. How horrid it is to feel left wanting more each time...
The correlations between sex and music are endless, and certainly, I don't think one can exist without the other... They both inspire each other, in an endless symbiotic relationship. Great sex inspires great music and great music can lead to great sex. And even more so, music is better shared with others than alone. Music, especially live, is about the communal experience. For a while, I've found myself in a messy entanglement that I can't seem to get myself out of.
However, music is my safe space and writing is my resistance.
I found it necessary to marry the two as both are constantly under threat.
Last year, I started this site as a way to talk about my favorite artists and what's happening here in Seattle (and the Pacific Northwest as a whole). Unfortunately, I didn't quite take off due to work commitments, personal emergencies, and self-doubt. Luckily, at the start of 2025, I decided to course correct and continue on my writing journey. I made it a mission to openly express my art (primarily in the form of poetry), support other art out in the community, and find people I align with. Something is brewing locally and collectively, and I thought, why not participate?
With a renewed perspective on music, writing, and life as a whole, welcome to The AuralisMag.
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Deep Sea Diver's 'Billboard Heart' Deserves the Love
Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases Deep Sea Diver at their best.
Five years after Impossible Weight, Deep Sea Diver has achieved the seemingly impossible by cementing their status as a musical heavyweight. Their latest album, Billboard Heart, is a breath of fresh air in a time of tension. It’s the perfect accompaniment for a Washington ferry ride (where most of this piece was written). It’s the soundtrack for a spontaneous night out—when life imitates an indie movie. Billboard Heart is a body of work that was created with heart and soul.
Deep Sea Diver has matured since their debut album History Speaks, yet the band's fourth effort (and first release from renowned label Sub Pop) exudes a youthful joy that cuts deep. The record's 11 songs are a mix of radio-friendly pop, pensive synth tunes, and riff-heavy fare that's fit for stadiums. Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases the band at their best.
Following a stint opening for Pearl Jam on their Dark Matter tour, Deep Sea Diver is ready to embark on their own headlining tour in the United States. With their Seattle date already completely sold out, and following a week-long celebration of album release events, the band is basking in their well-deserved success. The band's ascent has been over a decade in the making.
Born of a strained recording process between Los Angeles and Seattle, Dobson and Deep Sea Diver have emerged triumphant with a fresh voice. Billboard Heart was written by lead singer and instrumentalist Jessica Dobson. Dobson is joined by Peter Mansen on drums, Elliot Jackson on guitar and synthesizer, and Garrett Gue on bass. Composers for the album include Dobson, Mansen, Jackson, Yuuki Matthews, Adam Schatz, and California folk artist Madison Cunningham. Additionally, the album was produced by Dobson and Andy D. Park.
The title track leads the record, the audio opening like a sunrise. "Billboard Heart" sets the tone for the rest of the album, as a wistful song about a lost love. "What Do I Know," "Emergency," and "Shovel" are more urgent, although catchy songs. The album slows down with its fourth track, "Tiny Threads," which continues the element of unraveling in a toxic relationship. Later on, "Let Me Go" includes the talents of Madison Cunningham in another heartbreaker of a song. Billboard Heart is an extremely cohesive album, an homage to the relationships strewn about the past.
Dobson's colorful lyricism is the key ingredient that anchors Deep Sea Diver's artistry and distinguishes their music. Dobson has penned lines such as "Don't fan these sympathy flames... I'll give you anything..." (Emergency), "And I think I love you the most when you're unraveling... Always held together by tiny little threads..." (Tiny Threads), "Your confetti of thoughts are lying on the rug..." (Always Waving Goodbye), just to name a few examples of clever wordsmithing.
Mansen's frenzied percussion, Jackson and Dobson's guitars and synth work round out Gue's steady bass riffs. Not unlike its previous work, Deep Sea Diver plays with polish.
Not surprisingly, Billboard Heart contains no skips. A musical journey from start to finish, the record culminates in a melancholy, yet inviting "Happiness Is Not a Given." Dobson's lyrics leave a space for more with "I'll be the door you can open up into the arms of an ocean."
It's evident that Deep Sea Diver prioritizes quality over quantity, but hopefully the wait between albums won't feel too long, if the band plans to move forward. Overall, Billboard Heart in its entirety feels like some sort of long goodbye, but hopefully, it's not an actual goodbye.
Billboard Heart is now available on all major streaming platforms.
The record was released on February 28th and is now available on vinyl.
Deep Sea Diver is set to tour in the United States beginning March 30th. For tour dates, visit the band's website.
Townsend's Solitaire Debuts New Album 'Glad to Be Alive'
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, 'Glad to Be Alive' does precisely that.
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, Glad to Be Alive does precisely that. Following a series of losses, Seattle-based classically trained musician Bobby Odle took the time to document the emotional journey during his transformative 27th year. Following the events, Odle wore his heart on his sleeve and transmuted that grief into a powerful series of songs. Combined with Odle's storytelling, Glad to Be Alive is a path to healing and a piece that aims to destigmatize the conversations around grief and mental health.
For Glad to Be Alive, Odle joined forces with fellow classically trained musicians (Kirill Polyanskiy on violin, Emma McGuire on flute, Steven Higbee on clarinet, Nathan Moore on cello, and Elle Castelli on piano, with Odle on guitar and vocals) to bring forth a unique sound dubbed as "chamber folk." Glad to Be Alive is preceded by two EPs: 2023's Knitting Needles and 2022's When We Were Far Away.
As mentioned in the write-up about Glad to Be Alive's first single of the same name, "the album was recorded at Sage Arts Studios under the production of Jordan Cunningham and then mastered by Rachel Field at Resonant Mastering. Odle also takes an unfiltered approach to the rest of the musical process, as Glad to Be Alive was produced, engineered, and recorded live to two-inch 16-track tape and mixed to half-inch, two-track tape, which means that all band members were present at all times in studio."
According to Townsend's Solitaire's bio, Odle cites influences such as The Tallest Man on Earth, Adrianne Lenker, Bright Eyes, and Sufjan Stevens.
Glad to Be Alive is a direct look into Odle's life as he sings candidly about the past year's events and his pivotal relationships. Although The album was ignited by several tragedies, at its core, there is still some optimism for the journey that lies ahead.
The album opens with "Dear Old Friend," a tribute to Odle's childhood best friend Tanner (who passed away by suicide). The album transitions to "Keluarga," a song about suicidal ideation where Odle is honest about his efforts to stay alive. Later, there are audio letters to Odle's sister in "To You, From Bali," and an homage to his deceased brother Chris in "Little Brothers." The album also includes love songs such as "Raining In June pt. I" and "Raining in June pt. II."
One of the highlights of the album is "Glad to Be Alive," the album's title track. In the song, Odle ponders the meaning of happiness and grapples with trying to keep going while everything seems to be collapsing around him. The track to casual listeners may seem upbeat, but upon a closer listener, it takes on a heavier meaning.
The album concludes with "In the Morning," a call to action that urges listeners (and himself) to "Stay calm, be kind, please take your time." It's a song that encourages listeners to keep going as there's so much out there to live for. Odle is right.
As of June 28th, Glad to Be Alive is now available on Spotify and vinyl. Townsend's Solitaire is also currently on tour. For upcoming show dates, visit townsendssolitaire.com/shows.
