Circulatory System are back with a new double album called Mosaics within Mosaics . They are led by Will Cullen Hart, artist and one of the main songwriters of the psychedelic pop band The Olivia Tremor Control.
Coinciding with a tour with old friends Neutral Milk Hotel, including an appearance at Pitchfork Music Festival, the album will be released June 24th, 2014. The album was culled together in the style in which Will has always worked, using recordings spanning from twelve years ago to now. It was masterfully assembled by Derek Almstead (Faster Circuits) with overdubs by John Fernandes (Dream Boat, Jacob Morris, The New Sound of Numbers, Old Smokey), Heather McIntosh (The Instruments), AJ Griffin (Laminated Cat), Peter Erchick (Pipes You See, Pipes You Don’t), and Jeff Mangum & Jeremy Barnes (Neutral Milk Hotel).
The lyrics feature Will’s unique observations and impressions of life – poetic and meaningful. The music is entrancing, sometimes flowing into long instrumental passages that set a very pleasant atmosphere. Since the mixes originated in Will’s bedroom, they all have his signature deep-focus production style. He is very enamored with using the mixes of songs from the day they were recorded instead of trying to capture the same magic when re-recording them. It makes sense because the sound of the recordings have as much impact as the songs themselves in creating an enveloping world of words, melody, and texture.
Available on limited edition vinyl (1000 copies), digital, and CD.
One of the major things Will and Derek have been talking about for years is the idea of a record that feels like it’s multi-dimensional. The “Inside Views” or “Side 3” (remix/alternate take versions of the last two records) concept but applied to a single version of a song. Remember in old encyclopedia’s how they had transparencies of animals or the human body that you could flip to the layers to see the different organ systems, bones, and musculature? The idea in Derek’s mind was similar – to reveal the inner workings of the mood and feeling of the song by showing all these thoughts at once. It’s kind of a byproduct of the fact that Will gave Derek multiple versions of the same songs each with their own strengths. So in the context of a song it might actually be an edit of a few versions of the tune to give it different perspectives. It’s kind of a visual art thing in a way. Like you can look at a bowl of fruit from 3 feet away and paint it, but you can also look at it from 1 cm away and it’s a completely different view, or 100 feet away, or from underneath, or from the infrared perspective and so on.
Not all of the tracks are so blatant in that concept, sometimes it’s more of a mood shift or contrast that’s happening because of the long format that a double record allows you, like the last few tracks of side 3 on this record are all pieces and songs that Will wrote during the 9/11 crisis but Derek DIDN’T KNOW THAT, they just had a certain feeling of tension and catharsis that pulled them together for him, randomly.
So here is this stretched out version of a mood or feeling of incredible mind breaking sadness but it has the time and the space to express that unhurriedly, without forcing it to be a clear “pop” expression. Derek also wanted to do something with this record that the Olivia Tremor Control records had going for them somewhat accidentally which was the foil of a contrasting perspective in the mood of the record. Bill was cast in the role of being the “sunshine” counter to some of Will’s more esoteric or dark song. Derek tried to pick songs that showed that Will has that part of him as well and let him be his own counterpart mood wise. There are some sunny songs on this album!