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Self-Reliance: The four exercises of Ralph Waldo Emerson

Ralph Waldo Emerson’s idealism remains an intrinsically baffling strain of thought to for readers interpret even today.  Yet Emerson’s intellectual stock has never been valued higher. Emersonian thought has become the model of the independent American mind heroically transcending personal and social limitations to liberate its genius. The concept of self-reliance, perhaps Emerson’s most potent and misunderstood concept, constructed in the essay Self-Reliance, is not the philosophy of rugged individualism, nor is it the ideological doctrine of strict libertarianism.  Self-reliance is always a method or an instrument, presenting itself in different masks depending on the era and circumstance.  It is a cookbook for making lucid universal objective truth through the act of finding the totality of a universe in oneself, seeing oneself as a creator.

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Ralph Waldo Emerson’s idealism remains an intrinsically baffling strain of thought to for readers interpret even today.  Yet Emerson’s intellectual stock has never been valued higher. Emersonian thought has become the model of the independent American mind heroically transcending personal and social limitations to liberate its genius.
The concept of self-reliance, perhaps Emerson’s most potent and misunderstood concept, constructed in the essay Self-Reliance, is not the philosophy of rugged individualism, nor is it the ideological doctrine of strict libertarianism.  Self-reliance is always a method or an instrument, presenting itself in different masks depending on the era and circumstance.  It is a cookbook for making lucid universal objective truth through the act of finding the totality of a universe in oneself, seeing oneself as a creator.

Self-reliant individuals accept that personality grows from the root of society and relation to others; however, in the same actualization resolves personality must be extinguished to grasp universality and their full human potential.  The essential aspect of the person is found in solitude, devoid of personality.  In his essay, Self-Reliance, Emerson outlines four exercises for achieving self-reliance.  

First, an individual may reach ultimate reality through nonconformity.  Nonconformity is the exercise of devotion to individuality.  The nonconformist exercise taps into an individual’s passionate capacity, sublimating the rich spectrum of emotions into self-compassion and self-reliance, bringing her and him closer to a fundamental inner-centeredness.  Nonconformity appeals to an emotional temperament.

Nonconformity and Compassion

Ralph Waldo Emerson makes it explicit from the start of Self-Reliance that “Whoso be a man, must be a nonconformist.  He who would gather immortal palms must not be hindered by the name of goodness, but must explore if it be goodness.”  In other words, even the concept of goodness cannot be taken for granted and should be subject to scrutiny.  And if what the normative culture calls ‘good’ shows itself as not corresponding with the individual’s internal impression of good, measured emotionally in terms of whether it promotes self-compassion, then the status quo should be rejected.  This principle is played out in Self-Reliance when Emerson recounts, “I remember an answer which when quite young I was prompted to make to a valued advisor who was wont with opportune me with the dear old doctrines of the Church.  On my saying, ‘What have I to do with the sacredness of traditions, if I live wholly from within?’ my friend suggested – ‘But these impulses may be from below, not from above.’  I replied, ‘They do not seem to me to be such; but if I am the Devil’s child, I will live then from the Devil.’” This is to say the motto of Emersonian nonconformity reads ‘When in America, Kill the King.  Follow what is Deep’.  And in concrete language Emerson concludes, “No law can be sacred to me but that of my nature… The only right is what is after my constitution; the only wrong what is against it.”  The exercise of nonconformity maximizes self-reliance by cultivating a sense of self-love in the individual that transcends normative culture.

Second, an individual becomes universal through the exercise of selfless action and cutting ties with materialistic habits.  The institutions of society, as well as those of family and friendship become problematic for the will to self-reliance in that these entanglements create the relative mirrors by which individuals see themselves and construct identity that obscures what is essentially individual, namely, our duty carried out in solitude.  The exercise of ‘letting go’ appeals to a pragmatic temperament.

Society and Selfless Action

Society is self-serving; and Emerson asserts “Society everywhere is in conspiracy against the manhood [and womanhood] of every one of its members.” Society urges individuals to act in preservation of self to conserve traditions, and these structures inhibit an individual’s ability to be self-reliant.  To act selflessly is not to act without regard to one’s well being; selfless action is to act and behave toward others and the environment as you would if there was no egotistic-self relative to them and it, to normal, to consistent.  Even the institution of family must be repainted before the individual can become self-reliant in society.  Emerson instructs, for this exercise, let go of all ties to society and tell friends and family “I cannot break myself any longer for you.  If you can love me for what I am, we shall be the happier.  If you cannot, I will seek to deserve that you should.  I will not hide my tastes or aversions… If you are noble, I will love you; if you are not, I will not hurt you or myself… I do this not selfishly but humbly and truly… Be it known unto you that henceforward I obey no laws less than the eternal law.  I will have no covenants but proximities.”  The individual has let go of social entanglement, narrowed awareness to immediate relations and duties, interacts with other individuals in various contexts, but now exercises self-reliance through selfless action.

Third, an individual cuts through the veil of ignorance and constructs inward self-reliance by relentlessly seeking the unbound creativity seen in youth.  What becomes True is not tradition but what is Deep.  Youth brings no limitation to imagination and creativity; Experience only testifies to impossibility.  There is no wall the youth cannot walk through.  The exercise of proliferating youthful imagination appeals to the philosophical and intellectual temperament.

Youth and Inward Revolution

Reconnecting with the creative condition of youth, for Emerson, is one of the most potent means for achieving self-reliance.  Emerson professes, in contrast to the youth, “Man is timid and apologetic; he is no longer upright; he dares not say ‘I Think,’ ‘I Am,’ but quotes some saint or sage.”  For Emerson the object of youth is creativity and inquiry.  With a view of reality unobstructed by the structures of tradition, youth seeks answers to the obstacles it faces with synthetic thought, namely, the solution of combining what is understood to be how nature works and inner instinct.  Emerson prescribes his reader the exercise of adopting radical inward malleability in daily thought and criticism.  But more than that, Emerson reminds the experienced and influential not to make the mistake of letting their ambitious imagination decay and “think that the youth has no force, because he cannot speak to you and me.  Hark! In the next room his voice is sufficiently clear and emphatic.  It seems he knows how to speak to his contemporaries.  Bashful or bold then, he will know how to make us seniors very unnecessary.”  For Emerson, experience without growth is hardly worth having lived for.  And the principle underlying Emerson’s anthem for the youth and call for inward revolution culminates in his assertion that “This one fact the world hates; that the soul becomes; for that forever degrades the past, turns all riches to poverty, all reputation to shame, confounds the saint with the rouge, shoves Jesus and Judas equally aside…  Greatness appeals to the future.”  So, through youthful curiosity with perception focused inward and cultivated creative and critical capacities, the individual becomes self-reliant. 

Fourth, the individual achieves self-reliance through joining the momentum of the multiverse.  This is accomplished through autonomous adherence to the laws of nature.  In mastering one’s own mind through principle the individual becomes unified with their genius; and in the company of our genius the underlying cosmological constants become visible and thus the universe of the mind synchronizes with the energy of the multiverse.  The object of genius is freedom through inward discipline of the mind.  Genius appeals to the mystical and scientific temperament.

Genius and Principle

All thinkers at a point in their inward exploration tackle the question “What is the aboriginal Self, on which a universal reliance may be grounded?”  And Emerson explains that “This inquiry leads us to that source, at once the essence of genius, of virtue, and of life, which we call Spontaneity or Instinct.”  So in this way an individual exercises his or her genius by choosing their principle and fully living it out.  Emerson further exclaims, “To believe your own thought, to believe that what is true for you in your private heart is true for all men – that is genius.  Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost, and our first thought is rendered back to us by the trumpets of the last Judgment.”  This is to profess that where it is instinct and spontaneity that serves as the cornerstone interconnecting our universes, to exercise principled instinct is to tap into the multiversal consciousness.  Emerson concludes, “There is a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide…  The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does he know until he has tried.”  So through following instinct in principle the individual learns to trust their inner judge and create themselves – self-reliance.

Self-Reliance, for Emerson, is then fully articulated by the collective exercise of shifting vision inward toward universal truth, of revolution without movement, the proliferation of genius in youth, as well as illumination of human potential; to topple the ruins of a paradigm dominated by the traditions of obsolete institutions, illusory economies, dead religions, and hollow offices.

Bio and Other Important Works:

According to poets.org, “American poet, essayist, and philosopher Ralph Waldo Emerson was born in 1803 in Boston, Massachusetts. After studying at Harvard and teaching for a brief time, Emerson entered the ministry. He was appointed to the Old Second Church in his native city, but soon became an unwilling preacher. Unable in conscience to administer the sacrament of the Lord’s Supper after the death of his nineteen-year-old wife of tuberculosis, Emerson resigned his pastorate in 1831.

Known in the local literary circle as “The Sage of Concord,” Emerson became the chief spokesman for Transcendentalism, the American philosophic and literary movement. Centered in New England during the 19th century, Transcendentalism was a reaction against scientific rationalism.

Emerson’s first book, Nature (1836), is perhaps the best expression of his Transcendentalism, the belief that everything in our world—even a drop of dew—is a microcosm of the universe. His concept of the Over-Soul—a Supreme Mind that every man and woman share—allowed Transcendentalists to disregard external authority and to rely instead on direct experience.

Emerson wrote a poetic prose, ordering his essays by recurring themes and images. His poetry, on the other hand, is often called harsh and didactic. Among Emerson’s most well known works are Essays, First and Second Series (1841, 1844). The First Series includes Emerson’s famous essay, “Self-Reliance,” in which the writer instructs his listener to examine his relationship with Nature and God, and to trust his own judgment above all others.

Emerson’s other volumes include Poems (1847), Representative Men, The Conduct of Life (1860), and English Traits (1865). His best-known addresses are The American Scholar (1837) and The Divinity School Address, which he delivered before the graduates of the Harvard Divinity School.”

The Essential Writings of Ralph Waldo Emerson further observes, “Following the Civil War, Emerson continued to lecture energetically publishing Society and Solitude (1870) and the verse collection May Day and Other Pieces (1867).  In 1872 his health began to fail, and after a final trip to Europe he settled into a quieter routine as his memory gradually weakened.  Ralph Waldo Emerson died of pneumonia in 1882.”

Self-Reliance is available for free online at: http://www.math.dartmouth.edu/~doyle/docs/self/self.pdf

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Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

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Arts & Culture

Acoustic heartbreak in the Colorado San Juans with John Statz

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John Statz by Veronica Holyfield

Songs about heartbreak should resinate. And with John Statz they do. They’re equally soft and striking.

His new full-length album “Darkness on the San Juans,” available May 11, takes an acoustic turn from his other recent work. Then, he had full bands in studios. With this project, he gathered a few friends in his living room to record.

Like heartbreak itself, the album is more personal, more raw and more intimate. The Wisconsin native who now calls Denver home said he hasn’t done something quite as stripped down in a while, and when it came to get back into songwriting after the release of his last album last summer, there was also a reason to write.

It was the aftermath of a breakup.

“We retrace our steps. We look at what we thought we knew. We ultimately discover and face the truth under the stories we told ourselves along the way,” he says of the album.

In addition to the post-love songs, the album features a few songs Statz previously worked on but didn’t have a place on an album, and songs that are meant to be more acoustic. “Presidential Valet” is the story of Armistead, President John Tyler’s valet, or slave, who died alongside seven others in an explosion after Tyler and members of cabinet were watching the firing of the “peacemaker” in 1844.

So, this album is about heartbreak. Did that change how you wrote or approached the album at all?

Yeah. It just kind of comes out more — I don’t know — when you’re writing about heartbreak it’s just seems like the easiest type of writing. It’s just pouring out of you. You don’t have to come up with a concept or a story or any of that.

In the bio you released ahead of this album, it references a pretty famous Ernest Hemingway quotation: “Write hard and clear about what hurts.” Maybe as a writer I hear about this all of the time, but there’s definitely a writing style associated with Hemingway — to write very concise and clear. Did you take any of that with you into the songwriting or was it all about the emotion?

You know, it was the emotion part. I didn’t think about that, but the songs are fairly concise and short. So I appreciate that might also be relevant there even though I didn’t intend that.

The title of this album is “Darkness on the San Juans.” Explain that a little bit.

It’s a line in the song “Highways.” Geographical references are all over my songwriting. On every album I’ve ever written. So it’s a song about driving places with someone and either ending up back at those places later and having other memories being their previously. The San Juans was one of those locations that was important.

Why do you think you end up writing about places so much?

I mean, an obvious answer is that I spend a lot of time driving around to gigs, and I’ve been a lot of places because of that. And just for fun. I love roadtripping around Colorado, and camping and that sort of thing. So it’s not a planned thing. I’m living and breathing this lifestyle from A to B to C and that infiltrates the writing. But also, it’s a convenient rhyming scheme. Sometimes it can be hard to find a word, but there’s usually a city that will fill in.

How long did it take you to finish this album, being that the concept is fairly raw?

It all happened pretty fast. The two non-heartbreak songs, “Presidential Valet” and “Old Men Drinking Seagrem’s,” were older. They’re social commentary tunes. But I just hadn’t recorded them to yet and I was waiting for an acoustic album to do that. I started writing in the summer. I decided in December to record them. I called my friend Nate, flew him out in January. And we recorded it in three days in my living room.

Had you recorded like that before?

It’s been a while, but yeah. My first couple albums that I made when I lived in Madison, Wisconsin, were like that: recorded at home and more stripped down with the production and just making use of what we had. The last three albums were full bands or went to a really professional studio. This is how I made records way back.

Why did you decide to do it this way?

The songs mostly had an acoustic feel, and I sing in my living room a lot. I have this open, high ceiling. So I play my guitar and sing in my living room a lot. I think it sounds cool in there. I thought we could make a cool recording there. I liked the idea of making this intimate album in my home. It was a comfortable, cozy way to make an album.

So everything about this album seems more intimate that what you’ve done in the last few years.
Yeah. Definitely. Everything is. There’s only four musicians on this album, and one of those is my roommate who did knee slaps.

I also noticed on the album credits was an oatmeal container.

So I bought a plastic egg shaker because I thought I maybe wanted to some percussion. But it just didn’t sound that cool. I was like, well we have oatmeal around the house. There wasn’t much left in one container and so we shook it and it was a way better shaker sound, you know?

The inspiration for these songs were the feelings that linger after a break-up. Was there a cut-off point there since emotions always evolve, especially in these instances?

It’s a process. A relationship ends and we all go through the phases. Months go by and you change how you feel. The me that wrote those songs and recorded them months back is a different person. I’ve evolved in the process.

Did you have to simmer to write these songs or was it immediate?

I wrote the first song like a month after. I was trying to write again because I write in cycles. I had just put out an album at the beginning of last summer and when I’m in album release mode I’m not writing as much. But when that’s over I want to write. This time I wanted to write again and I had a fresh reason. I find it a little uncontrollable. I’ve never not written about any breakup I’ve ever had. It’s just part of the territory of being writer. I haven’t written anymore since I wrote those. I’m in album-release mode. I think I decided I’m done with these songs on this album. That’s part of the reason why I wanted to get it out. This part of my life is completed and now I will write a bunch of songs about U.S. presidents or something like that.

I noticed on your social media you like presidential biographies.

Yeah, I do. My friend Jeffrey Foucault is a songwriter and he gave me a LBJ biography. I really liked it, so I thought I’d give George Washington a try and I just kept going.

How many are you up to?

I’m almost done with Grant, so 18.

So far do you have a favorite based off of biographies?

Grant has been really interesting. Lincoln was fascinating. Martin Van Buren. Great sideburns.

Back to the album. Do you think the listener can hear an evolution throughout the album?

Yeah, those songs were written at different times, so probably. I’d say it’s a snapshot of what somebody goes through, or at least what I went through. But I think what most of us go through after a breakup.I just think most people have been through it so I hope they can identify.

I just think most people have been through it so I hope they can identify.

You can purchase Darkness in the San Juans at johnstatz.com. 

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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History

The Last Watchman: The lost story of Colorado’s worst train wreck

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The only reminder of one of the worst train wrecks in Colorado history is a weathered post with a small white sign that stands sentinel at the edge of an unassuming arroyo. It is cracked, and wrapped in barbed wire so you must stand very close to make out the fading words. “This historical marker is a tribute to author-historian Dow Helmers (1906-1976), author of THE TRAGEDY AT EDEN the story of Colorado’s most disastrous train wreck… ’” it begins.

In 1904, dirt roads may have been the main mode of travel, but they made going long distances impractical and often unpleasant, so the idea that a train could smoothly and quickly get you to your destination seemed an attractive choice for the regular traveler to take advantage of the special weekend rates.

The arroyo today. It was near bushes that probably looked a lot like this that Mayfield found the deceased Engineer Hinman after more searching. Many others were not as lucky to have been found. The Gartlands from Denver suffered profound losses. Kate Gartland and 4 of her 5 children were on the train. None survived and 9-year-old Walter was never found. (C.D. Prescott)

Nothing seemed out of the ordinary on that Sunday the 7th of August in 1904. A few scattered rain showers and even cloudbursts were often expected that time of year. The passenger train from Denver to Pueblo was running on schedule and ticket holders were gathering on the platform for their return trip home from their weekend jaunts.

The train was the No. 12 that had just made the trip from St. Louis to Pueblo where it picked up the dining car from the last southbound train and headed to Denver where it would be stocked, cleaned and staffed in preparation for the trip to Pueblo. Now that it would be heading south, it was redubbed the No. 11.

The No. 11 had seven cars including the engine. There was also a baggage car, a coach car, a chair car, two Pullman sleepers and the dining car. The well-regarded Henry Hinman would be the Engineer and his fireman would be David Mayfield. Both men were from Denver.

Passengers boarded and the No. 11 left the Denver station for its date with destiny on time at 5pm. It was in Colorado Springs that Hinman was given a bulletin order to use caution and watch for standing water. At least 50 more passengers also boarded. Many were headed for Pueblo but there were others that would be continuing on to further destinations.

Leaving the station about 5 minutes after the scheduled departure, Hinman carefully followed his orders and would eventually be running at least 15 minutes late. They were due in Pueblo at 8:15pm but were crossing Bridge 110-B over Hogan’s Gulch at almost 8:20pm at no more than 20 miles per hour.

The engine swayed to the sound of cracking timbers as Hinman eased the throttle forward hoping to quickly get to solid ground. The front had just reached the bank when it suddenly stopped, lurched backwards and began to slide into the churning waters below.

A panicked Mayfield managed to jump clear of the falling engine but after being struck by a timber from the bridge, he was washed downstream just far enough that when he crawled ashore, he was still able to see the train’s headlight shining into the sky. After searching and yelling for Hinman, to no avail, he made his way to the Eden Station for help.

Passengers that got out to investigate were immediately stunned to find that the engine, baggage, coach (smoker), and chair cars were gone. The bridge wasn’t simply empty as it was immediately apparent that it had also met the same fate. It was only the automatic air brakes that had kept the remaining cars from following suit.

Being the heaviest, the engine sank like a stone but the other three missing cars and their inhabitants tumbled in the rushing waters towards Fountain Creek. The angry waters smashed through glass and took lives quickly as they violently twisted the cars in an ultimate test of their very structure.

It was in this act of destruction that a few lucky survivors managed to find their escape. John Killin had to hold his breath as the car filled with water and it rolled with the current. He had just broken a window when the car collided with something and a large piece of the roof tore away.

Using the new exit, he was able to get out of the car and attempt a swim to shore. He was struck by a railroad tie and grabbed it for use as a floatation device. Falling from it a few times, he managed to find it again until he reached water shallow enough to wade to shore. Later, he would display the tie in his Pueblo store as he credited it to saving his life.

Henry Gilbert and Tony Fisher also managed to navigate their escape and the treacherous waters to find their way to shore where they met and immediately received medical attention. Rescue efforts started immediately as the water had already begun to recede and the first relief train took the survivors and the passengers from the remaining section of the train to Pueblo.

Men with lanterns rushed to try to find any other survivors. They lit fires along the shore for heat and light, but the searchers would have to wait for dawn before any real progress was made. Their rescue mission quickly became one of recovery and while they found most, they didn’t find everyone.

Word spread quickly that there had been an accident and it drew crowds wanting to help in the rescue efforts. It also brought looters that were willing to hunt for any bodies but only to relieve them of anything that they might be carrying of value. The macabre also arrived to spread blankets to picnic nearby as they watched the rescuers like they were attending a theater production.

The engine proved to be harder to recover than had been anticipated. The crane from Pueblo couldn’t handle the weight so a replacement from Salida had to be retrieved and that would take a little time. The bents from the new bridge were put in place while the engine still remained engulfed in the mud below.

The final death count had been 96. It would have been 97 if they had included Tony Fisher who survived the wreck but would die almost a month later from tetanus on September 1st from injuries related to the crash and his time in the water. The bridge was in place in time for the passenger train to run on schedule the next day.

At least 80 square miles of land used to drain through that arroyo but a better understanding of engineering and drainage improvements has changed that. Now water rarely flows through the dry ditch that was Hogan’s Gulch and when the sign was erected it wasn’t even called that anymore. It had been changed to Porter’s Draw as arroyos are usually named for the landowner.

Aside from what is left of the sign, there are no visible remnants of that fateful night. Even the replacement bridge has given way to the newer stronger, sleeker version to the east. The Eden train station has been moved and was used as a personal residence for a bit. Only the sign remains, but local lore claims that on cloudy nights, the lights from long gone lanterns bob in the distance along the banks searching for the lost to at last bring them home.

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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Arts & Culture

Soul mates: An interview with Colorado’s in/Planes

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I feel the need to take a quick second to clear something up—I watched the band in/PLANES get married. Not for this article, mind you; the ceremony was years ago. I have been friends with musical and otherwise soulmates Inaiah Lujan and Desirae Garcia for over a decade at this point (due in no small part I’m sure to our mutual enthusiasm and passion for local music). As a result, I have had the opportunity to bear witness as not only their music but also relationship has burst and bloomed into multiple amazing endeavors. Whether it was their passionate and spirited take on Dustbowl-era Americana as members of folk revivalists the Haunted Windchimes or the wonderfully intimate lo-fi solo albums the both of them have released over the years, these two have a continually impressive musical output and a charm that I have always been excited to delve into. Hell, they even played in my basement once upon a time.

But none of them have struck me quite the same way as in/PLANES has. “Radio Wave,” their first full-length offering via Denver indie record label GROUPHUG, is something altogether different; something wondrously unique. It could be their voices. THOSE voices—honeyed and harmonious—especially whilst entwined in the duets that frequent the songs of in/PLANES. It could be the melodies they create—a riding-high blend of 50’s sha-la-la doo-wop, 60’s sunshine pop and indie-birthed soul—that feels distinctly pop without the trappings of sounding glossy or over-produced. Where tons of modern indie acts are ready to make a loud racket, in/PLANES instead opts to let the grooves play out sparsely and intimately, with inviting musicianship and vocal performances that envelop the space surrounding them. Whether live in concert or in the car, the music of in/PLANES holds on tightly and never lets go.

PULP: It’s weird trying to formally interview you guys; being friends makes it weird to ask you questions in a regular way.

Inaiah Lujan (guitar/vocals): That’s okay.

Desirae Garcia (bass guitar/vocals): We’ll be semi-formal.

IL: Business casual. (laughs)

I did do some research though, and I realized that in/PLANES has been around for longer than I remembered. But this new album is your first full length?

IL: Yeah. This is our first formal release that isn’t an EP. And also first physical release. There is some intention with that. You know that we are champions of analog stuff; Cassette tapes are my first love; I grew up making mixtapes. And CD’s have always felt pointless to me, but for so long we played the game because you used to HAVE to have CD’s on the merch table. But this band has been pretty vocal about our disdain for CD’s; “Radio Wave” is only going to be available on cassette. You’ll get a digital download with purchase of the tape.

Speaking of which, what does the name “Radio Wave” mean in regard to the band?

DG: It’s a line from the song “Why Didn’t You,” a song that is actually not on the record. (laughs). But it’s the very first in/PLANES song we ever wrote. We wrote that song, and it felt like it was part of a totally different project; it felt different than anything we were doing. So maybe it’s a nod to the beginning of the project. We like to think of the song as kind of a breadcrumb to where we are at now.

IL: The benefit of this band is getting to take our time with things; to be more intentional. So now we have been releasing stuff retroactively. The EP we released just last month is stuff we had recorded from our apartment; “Radio Wave” is stuff we put together with Adam Hawkins from Right Heel Music and our drummer Carl Sorensen, and we already have another album in the works.

For me, it also has dual meaning; in/PLANES seems to always create this kind of duality. “Radio Wave” also musically reminds me of when people were only listening to the radio. It kind of plays to idea of this vintage-pop genre we’re kind of going with.

DG: That’s also the music that this record is really inspired by.

IL: The EP feels like kind of a sampler or mixtape for what we’re all about, but this full length is more focused; a little more of that classic pop sound. It’s a fitting title for sure.

DG: Also it’s 1,000,000% love songs; which is bad and good. (laughs)

When you wrote “Why Didn’t You,” did it feel like a song intentionally for a new project?

IL: I think it just presented itself that way; I had been toying around with some chords, and I had been trying to write a song and I didn’t know where to start with melody or lyrics, so I had Desi help me out and it came together really quickly.

In doing so, we realized that we hadn’t collaborated in that way with just the two of us since the beginning of the Haunted Windchimes. At that point, the ‘Chimes had already become four contributing songwriters and had developed a strong formula; in that way it felt like not exactly a departure, but something new that we could try and explore on our own.

DG: It came out really naturally and organically. And it didn’t fit anywhere, either with the ‘Chimes songs or solo songs.

Do you feel like fans of the ‘Chimes and your solo efforts are following you down this path?

IL: I think so. We are all taking a break with the ‘Chimes for now, but we haven’t officially announced that to our fans, so sometimes we’ll get messages asking where we’ve been and why haven’t they heard any news about the band. So maybe some people are a little resistant to it. I don’t know.

DG: It sounds different enough so that some people aren’t going to be into it, which is okay. The other day, someone left a comment on the Windchimes Facebook page asking about us, and another person commented back saying “you should check out in/PLANES and (Haunted Windchimes member Mike Clark’s) the River Arkansas” and the first person commented back “We just like ‘Chimes’ style music,” which is okay! You don’t have to follow us everywhere.

IL: The great thing about being an artist and a musician is the ability to shift gears and follow rabbits down different holes. And with in/PLANES, we’re already trying to get out of our own box and comfort zone. But the common thread that ties it all is that we write all of the songs together, and we wear our influences on our sleeves.

So if you had to explain what you think in/PLANES sounds like, what would you say?

DG: That is my least favorite question, because it’s so hard to explain. The shortcut i usually go for is throwback, vintage pop with some rock tendencies. And if they’re listening after that, then I’ll just keep talking until they walk away, because it’s so difficult to answer.

But like to go with vintage-pop, because if someone says rock & roll, I don’t feel attached to that. We write pop music; all the formulas, the lack of formulas…

IL: It does feel like something you would turn on the radio and hear in the 50’ or 60’s to me, but our modern influences still sneak in; we’re both big fans of hip-hop and country music, and it all gets in one way or another.

DG: Digital drums are where we lose a lot of people. They’re like “WHAT? Is that a digital drum?” And I’m like, “Yup, it is.” (laughs) It’s those 808 beats.

The electronics are really subtle in your songs though.

IL: I think so too. I think we just want to be able to write a song without putting it in a box, you know? But at the same time, making sure to trim all of the fat; which may be contradictory.

We’re not trying to write complex songs. I don’t like to have any rules, but I do like to set limitations on myself; almost like limiting your color pallette if you’re a painter.

DG: Not to be pigeonholed, but also maintain some cohesion. Present yourself in a way people can understand. I don’t like to tell people what genre of music we are, but it is helpful for us; it makes us more focused.

IL: Knowing where the line or limitation is and knowing how far we can push it over causes a tension we like to work under. It’s good tension.

DG: You can’t put me in a box—only I can put me in a box!

“Radio Wave” from in/PLANES is out 5/3 on cassette via GROUPHUG records, with a slew of release shows and a digital release to come soon thereafter. For full dates and info, head to inPlanes.com

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