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Joan of Arc Band
Twenty years now there’s been this thing, our band, Joan of Arc. Sometimes we forget about it and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and wake up surprised and exhausted every day for months on end, given walking tours of old Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the Pacific coast. We know how lucky we are.
The less we feel like a band—the more we can continue to be a band, but escape that feeling of doing all those shitty, corny things expected of bands—the truer to ourselves we feel. And you all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day: the truer to ourselves we feel, the better everything gets. We have shifted shapes and modified our approaches quite a number of times in the course of twenty years. And we’ve done so always aiming to stay true to ourselves at that moment, by instinct and with conscious intent. This time, it took us a long time to figure out how to start back up. We threw away a lot of songs and started over, over and over.
But here’s the thing: We are getting better at being ourselves. So many of the postures of youth just fall away with time. Most bands break up by that point, or become caricatures of their younger selves. Because money is tricky, or I should say, it comes to be that energy is tricky to muster after all of it goes into the basics of sustaining yourself.
Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I am now. But I got this community of weirdo collaborators to lean on that he never had.
We’ve never had an audience that gets any validation of its coolness through liking us. We’ve mangled, juxtaposed, and collaged too many elements for that social contract. But we trust each other.
This time, finally, we trusted each other enough to throw all the songs away, to even throw away every preconceived idea about which one of us should take position at which instrument. We hit Record and played, and our collective tastes emerged. And they, our tastes in the moment, were the only standards in all the expanse of the stupefying and beautiful unknown universe, that we regarded as relevant in the least.
— Tim Kinsella
Sometimes in a “right place, right time” sort of way, what could be a misstep ends up a saving grace. Such is the case for Philadelphia’s new dark-pop quartet Corey Flood. While Ivy Gray-Klein (bass/vocals) never really meant to be a lead singer (though she’s already known for playing bass in Littler), a last-minute lineup change before the band’s first gig pushed her in front of the mic. And after that, things fell into place. With Noah Jacobson-Carroll and Em Boltz on guitar and Juliette Rando on drums, Corey Flood was set.
The self-proclaimed “despondent rockers” keep it short and sweet on Wish You Hadn’t, their debut EP from Brooklyn’s Fire Talk Records. The four songs simmer with a quiet fury, Gray-Klein’s hushed vocals floating above the metronomic drums and minimal, atmospheric guitar. Corey Flood takes influences like Helium and early Liz Phair and pushes them in a gloomier, more post-punk direction. “There’s a horse head / in my bed,” Gray-Klein almost whispers on the last track, “Causeway.” “It’s so hard / to be your friend.” It’s this kind of disappointment that permeates the EP—but it seems almost cathartic, as though the brutal honesty will lead to a light at the end of the tunnel.
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