Vol 2 radio company

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Similar to Quarter To, this song was released before the rest of the album in April. Then again, this also may be a product of emulating Swift, who often makes odd writing choices like this. Overall, I think that Vol 2. The transitions from one song to the next are much better and the mood develops in a way that sounds natural. My only complaint about the musical development is that at no point during the album are we ever returned to that same level of energy set by the beginning of the album.

I wish that we could could match the intensity of All My Livin Time at least by the end. I also think that in losing their momentum, the tracks also lose some complexity by the end. I wondered by the end of City Grown Willow what happened to the orchestral gestures we were making towards the beginning, with the vocal layering and stacked instrumentals. The most effective gesture that Vol. It feels unfinished, and therefore unsatisfying. This is a familiar choice for sophomore albums, and I do find it a bit more compelling in terms of content.

I was looking forward to seeing how the folks at Radio Company have been coping with stepping into their new roles as recording artists, and for their takes on age-old art questions: why are we moved to create, and what moves us at all? I think with Vol. The album opens innocently enough. This structure bears a suspicious resemblance to the invocation typical of classic poetry. The invocation to the muse opens many major works and later becomes incorporated into most subsequent literary movements: the artist-speaker directs a plea or a prayer for assistance from a muse so that they may bless them move them to compose good art.

When all the rage Climbs out of the silence This paper and pen Always been the weapon of choice. How can they express themselves in a way that does justice to what the speaker feels? Is their form of expression even welcome? Composition comes to them. The immediate next track, Watching over Me, seems to confirm a more metaphysical reading.

This person, blessed with strength and foresight, is a shelter for when bouts of uncontrollable emotion like rage or the frustration of inexpressibility gets the speaker down. In their presence, things suddenly become more manageable.

The idea of collaboration and leaning on others to truly thrive returns from Vol. But the divine undertones to this song are, I think, obvious. We often think of angels watching over us , or God more generally, with traditional conceptions of a Judeo-Christian God washing away doubt by filling us with love. This role is not filled by a God here, but instead by the love object, the partner, the deity-muse. But on another level, perhaps this song can be read as another version of the invocation: a call for the muse to join the speaker on earth at last.

Join me, they ask. Move me. Their argument? The music video for City Grown Willow features one man alone in the wilderness, with imposed images of a guitar and sweeping pans upward into a gray and open sky. The whole song is a kind of confessional, prayer. A beautiful move in its circularity. This album can thus be read as commentary on what it means to be creative, both the ups and downs, on a spiritual level. I have noticed that this reading is largely supported by songs where Jensen features most heavily.

However, some of his language does link up with this reading about art and divinity. Truly Forgotten in particular tells the story of a love triangle between the fictional Roy, Lori, and an unidentified suitor. And so the love that grows between them and their muse is rendered holy. The relationship between the deity-muse and the artist-speaker is essential here because without it, there is no true experiencing of life; the artist might as well be as dead as Roy.

Life as the speaker experiences it without the muse is oftentimes unbearable, which is what pushes them towards art in the first place. You want to be the one that say You love the rainfall When all the while The angels call And the only way to see How it comes to be every day To know it all falls away.

While explicitly mentioning angels, these lines could be read from the perspective of the speaker addressing themselves as a kind of rebuke. Lots of art is made on this premise. This realization is divine of the highest order, misunderstood or overlooked or unknown to most mortals, including our artist-speaker. Artistic expression helps them cope with how they feel living as a mortal on earth, but they struggle to express themselves at all. It is the great struggle in life for us all: how can we push ourselves to make things, to be authentic to ourselves, when often the world around us is harsh and unforgiving, full of danger and violence?

You jump into the fire and you stay true to your voice, which is valued by all those that love you. That love is a blessing. Possessing this divine knowledge puts them on equal footing with the angel muse, the city grown willow, that they long for.

Reckoning with being alive and both the opportunities and pitfalls that art poses seems to be the tense underpinning of these tracks in Vol. It is a sobering conclusion. I personally enjoy the story arc of the artist and muse and how their relationship develops through the art the speaker makes.

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