Brian Ortiz
Thank you and your bandmates once again for a magical show at the Skylark Lounge in Denver this past Sunday (10/30/2022); it was amazing! I can't wait for your new music to be released and wish you nothing but good health, happiness, and success. Keep it up! \m/
Favorite track: More.
Life runs in rhythmic loops, from the endless rotations of the earth to the running of tides and yearly rebirth of spring. Rachel Bobbitt knows that the bottom of those cycles can feel pretty chaotic. “Every woman I’ve ever talked to is in some amount of pain almost all the time,” the emerging singer-songwriter says. “That could be physical pain, emotional pain, familial pain, but it’s there in cycles.” On her penetrating and profound new EP, The Ceiling Could Collapse, Bobbitt picks through the dizzying rubble of folk and indie rock for moments of resonant emotion and frames them in heartbreaking lyrics and openhearted expanses.
After refining the six songs of The Ceiling Could Collapse on her own, Bobbitt brought together collaborator and co-producer Justice Der and drummer Stephen Bennett to record the EP at Bennett’s studio in Brampton, Ontario. The trio spent 10 days cracking open Bobbitt’s compositions, leaving space to experiment on different vocal takes and sonic palettes. Throughout the EP, Bobbitt and Der’s arrangements strike into the deep waters of Phoebe Bridgers, Bon Iver, and Big Thief, and Grammy-nominated mixer Jorge Elbrecht rounds everything to a glacial shine.
The Ceiling Could Collapse centers on the cycles of life and how we find meaning in extremes: pain, joy, wonder, love. In addition to music, Bobbitt draws those same feelings from horror films—and pulled the title to this EP while reading the script to 2018’s Hereditary. A horror fan as inspired by the genre’s cavernous emotions as its artful mechanisms, Bobbitt was so enamored by Ari Aster’s film that she needed to dig into its architecture. She focused on a deleted scene, in which one-character attempts to comfort another in a time of trauma by reminding them that the world is chaotic, that questioning why bad things happen is pointless in a world where the roof could just fall on you at any moment. “We need to accept that we can’t have our minds fixated on all these things that could happen, and we need to move on—but also the ceiling could just collapse,” she laughs. More than unpredictability, it’s the endless repetition of life that suggests both things are true, that there’s no reason to worry and something terrible is about to happen. The ceiling collapse may be inescapable, but once it’s gone, there’s just more room for the sunrise to peek through.
supported by 9 fans who also own “The Ceiling Could Collapse (EP)”
Is this THE perfect indie pop album?Like Liz Phair fronting The Cardigans, Kate Davis has both a whip-smart lyrical touch and songwriting chops that only a jazz head could actually pull off. The songs twist and wind, the chords constantly surprise, and while the production is big budget, the vibe is low-key honesty - seriously, it’s the perfect combination. If there was any justice in the music biz world, Kate Davis would go stratospheric. Incredible album. Super Super Sounds
Moody and moving, Good Good Blood’s “Son of a Gun” has a richness and breadth that belies its home-recording roots. Bandcamp New & Notable Oct 30, 2017
supported by 9 fans who also own “The Ceiling Could Collapse (EP)”
So delighted that Angel is finding that "hard won acceptance" that she sought and hope that her future path is one of authenticity. This work is one marked by melodious but not overwrought emotion, striking an intuitive balance of warmth and skill. hailhumanists