I’ve been a fan of Warren Hildebrand’s Foxes in Fiction for some time now, what impresses me most is how his music grows into something unique and profound. His albums are something that require your *full attention* not just because its difficult to understand…NO its because he has the type of songs that can transport you back to certain memories or lost places in your mind you never thought you had…its some of the most rewarding music being made today. Its quite captivating how Warren has this rare talent as a musician, he can certainly create pop songs but his angle is to focus in on a feeling of a sound or something like a moment inside the sound and execute a wonderful bloom of music to perfection.

I contacted Warren to see if he would be willing to do an interview where I would ask him questions about his music, his sound and his life…I wasn’t really expecting a yes or even an answer back, I just figured he would be too busy with touring or recording, but to my surprise he was all up for it…he even wanted to be apart of the Artist Interview Series (it touched my heart.) Conversing with him…I get the sense that Warren is a very very kind and generous person, who also really appreciates and enjoys everything he has created…he also strikes me as a person that takes nothing for granted…it is this most likely quality that keeps him creating some of the most amazing music of our digital age.

Car: My favorite quality of your music is how experimental you are with your songs and how you always are willing to play with musical structure and textures…it’s really inspiring…how do you constantly keep yourself moving forward in your music?

Warren: Thank you so much, that’s really kind of you to say! One of the main ideas I’ve always tried to stick with Foxes in Fiction is that of trying to combine familiar, traditional and poppy songwriting ideas with more experimental and weird elements. I always wanted for there to be something challenging and potentially off-putting upon first listen in my music. Something you could grow into.

When I started off making music as Foxes in Fiction when I was 15 I didn’t really know how to do either of those things properly, much less write a lyric-based song. Initially it was just me stoned after school, making audio collages on cassette tapes in my basement from a bunch of different source material. But as time has gone on and I’ve moved away from the drugs and noise music, I’ve tried to cultivate more tasteful ways of combing the two different ideas, without feeling too much pressure to lean more one way than the other. This can kinda be seen in the divide between the ambient and the pop stuff, I guess. But yeah, I just want to keep experimenting and creating nice sounds without editing myself.

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Car: The album “Swung from The Branches” comes across as a very personal album…it feels like we’re peering into a diary of some sorts or a capsule in time…how do you feel about that album looking back on it?

Warren: I recorded that album as a form of personal therapy after I went through the most difficult part of my life. About a year and a half before I started on it, my 16 year-old brother had died after being put into a coma for ten days after he was attacked at a party we were both at. About 12 months after the fact, whatever mental guards I had put up to reduce the pain or grief during that period completely disintegrated and I spiraled out into a four or five month mental breakdown that pretty much unhinged me from everything I had going on at that time. I dropped out of my last year of high school and lost my job and rarely left my house because of panic attacks. Around that time I started to take writing and recording more seriously that I had in the past, and I started working on making songs and little mixtapes every day. There’s one mixtape / album I made that’s floating around out there that I recorded and released the summer before I started working on Swung from The Branches but it’s all extremely weird and dissonant and obviously comes from the mind of someone who was really fucked up at the time.

But anyways, in the following months after I had gotten my shit back together, I moved to into a small apartment in Toronto for the first time (where I’ve been living ever since) to start school. Pretty soon after I got the idea of making a mixtape-style album that was comprised of two sides of distinctly different music; slow-moving instrumental and ambient music on one side that focused on really specific memories or feelings, and soft-focus pop songs on the other side that had a bit less weight to them and carried some kind of feeling of bliss like being on MDMA.

The whole idea that inspired me to make that album was that in my mental off-time I had had in the months following my brothers death, the only thing that had really made me feel okay or like I was making any process in my grief was ambient music or music made by people who I felt like had gone through similar traumas in life, and I wanted to see if I could make some kind of collection of songs that would have the same kind of healing effect on whoever listened to it. Amazingly, I’ve gotten a lot of feedback from people who’ve listened to it and shared some incredibly personal stories of how it helped them to get through hell. It’s stuff like that that inspires me to keep on working.

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Car: How difficult (if any), was it for you when you started creating/releasing music under the name Foxes in Fiction and what were some of the hurdles you faced when you first started?

Warren: I was really young when I first started Foxes in Fiction, so I didn’t have much hardware at the time, which presents it’s own set of hurdles and limitations, but still forces you to be creative with what you have. Initially all I recorded with was a shitty electric guitar, a tape machine that I found at the side of the road during a junk week garbage pick up and a $25 performance microphone plugged into the mic port on the back of my Dell PC and I really didn’t know much in regards to production / making things not sound terrible.

Also, when it comes to being productive and generally staying focused on my work, there have been periods where my own mental well-being has make that process a lot more difficult, especially early on in Foxes in Fiction, but it’s still an ongoing things that I’m having to deal with, and it really sucks. I always find it really hard to make anything memorable when I’m low, it’s usually during the periods of idiot elation that follow where I can really make music that I’m happy with.

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Car: The album “Alberto” feels very serene and viceral…I especially love how all the sounds melt together beautifully, how would you say you were able to capture these special moments on this perfect album?

Warren: Thank you very much! That album was recorded at a much more serene part of my life when things were definitely on the upswing. I was writing and recording a lot, and I can tell I was a lot happier because of how high I was mixing the vocals and confidence in my own singing. A couple of the songs on there are collaborating in writing / recording, which is something I’d never done for Foxes in Fiction stuff but was very excited to be doing. I’d still like to do more stuff like that. Everything was recorded very quickly too, probably in the span of about 2 or 3 weeks before Christmas and before I was going back to my parents house for the holidays. Because of this self-imposed deadline, there were a lot of late nights that would turn into early mornings where I would be recording for almost 24 hours straight or more. Sadiya was the last song I recorded for it which I did in about 10 minutes one morning after staying up all night, and probably my favorite song on the EP.

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Car: What are some of your favorite musical memories growing up?

Warren: Some of the earliest life memories I have are of driving around in my parents car in the summer while listening to Tears for Fears albums. There’s something really vivid and powerful and visceral about those first memories that involve music that you can actually recall. Also, I lived on a farm in rural Ontario from the ages of about 10 to 13 and it was there where I developed the foundation for a lot of what I like to listen to. I had access to an old collection of records that belonged to my Mom and I had my own computer with internet access, so that pretty much set me on the track to listening to as much music as I could at that time. Since it was a really small farming community town, there really wasn’t much to do or many people to make friends with so I spent the overwhelming majority of those three years teaching myself to play guitar, making my first recordings and scouring the internet for music constantly.

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Car: Warren you have some amazing talents so much so that you have created some pretty amazing remixes…can you give us a little insight on what it’s like working on a remix for a band like Coma Cinema?

Warren: Thank you! I haven’t done many remixes but I’m working on a few more right now that I’m really excited about. Doing remixes isn’t really a natural skill I have so I’m really selective about what songs I mess around with. I usually have to hear a song and know right away what I would do to remix it, otherwise they just end up like really shitty electronica experiments. With the Raw Moans one I did for ‘Aqua Net’, it was instantaneous, I heard all the chords and structure in my head right from the first time I heard that song and finished the remix in under 2 hours. The one for Coma Cinema took a bit longer because ‘Her Sinking Sun’ is one of my favourite songs and I really didn’t want to fuck it up, or alter it too much from it’s original form.

I’m pretty liberal when it comes to sampling when I do remixes too, for some reason that always ends up happening. It feels like I’m making little musical collages and pulling from all these different corners of music. Like for the Raw Moans one, the drums are pulled from a Deerhunter song, and the bridge is directly sampled from a song in the Twin Peaks series that happened to be in the exact same key.

Car: Warren thank you again for taking the time out of your day to answer these questions. Do you have any last words for your fans?

Warren: Be kind to yourselves and to each other.

facebook.com/FoxesInFiction//for more info.

Natureboy is the musical project of Sara Kermanshahi, a very talented musician…her voice is so unique and powerful that you honestly can feel everything she sings about…its very moving. Her songwriting is so beautiful that shes able to craft these very heartfelt songs that anyone with a pulse could connect with. I’ve been so moved/touched by her music and her voice that its an understatement to say I really feel/like the world she creates on her first album.

I discovered her music from her Brooklyn based label Bleek Records and immediately was drawn to her ultra unique sound. I get the sense she pours everything into her music, on every single note, and on every strum. Sara is able to capture soulful vocal moments throughout the entire record…that are simply beautiful. I asked Sara some questions about what it was like to create something so uniquely amazing and asked who & how Natureboy came to be.

Car: When I listened to your album for the first time, I immediately was hit with how powerful your vocals are…they have a soulful honesty to them that goes hand and hand with the music…I’m wondering how did you approach the songwriting process for this album?

Sara: Thank you Car. My songwriting process is a little hard to define. I don’t really use one approach. I honestly don’t know how the songs fully come into fruition. I get inspired and will come up with the skeleton of the song usually on guitar first, the singing then comes naturally and its usually just gibberish until I write the lyrics which always come last. But I truly have to be inspired and it has to come naturally. Any time I pick up a guitar with the thought of writing a song, it never comes, I can’t force it.

KIKIILIMIKILII is an Artist’s Artist…I mean it in such a way that I find him to be highly creative when it comes to selecting different paths of multi-manipulating sounds with sounds. He keeps a seamless flow throughout the orchestration of any musical track he creates…a process that could be considered difficult to pull off but KIKIILIMIKILII makes it work brilliantly.

KIKIILIMIKILII has just released an album entitled, Time Pressure be sure to check it out and show your support! 

for more info:

soundcloud

collectif-tralala.com

facebook

 

Lance Smith of Pandit is a one of those very rare talented musicians who not only creates amazingly beautiful music but also truly loves to help a fellow musician whenever possible. Over the past year he’s been involved in some pretty stellar projects, from his own album, Eternity Spin to Coma Cinema’s, Blue Suicide  and just recently Youth Lagoon’s, The Year of Hibernation. After hearing his new album and being really drawn to the sounds & landscapes that he builds inside of his new EP, I immediately contacted him to let him know that he had made something uniquely special for the world to listen to.

Lance’s newest album, Steady Nerves and a Strong Heart EP is an exceptional album that carries a very anamorphic quality, it literally hooks you into another place and time, a very subtle album that gets intuitively better with multiple listens. Corresponding with Lance through email I get the sense that he is the type of person that strives for excellence in the sounds that he creates and achieves them with a never-ending commitment to his music…I find that to be very inspirational. I asked Lance some questions about the amazing music he creates and the type of sound he hears his music becoming in the future…

Car: All of your albums including the Pandit Demos you released late last year all have their very own distinct and unique sound to them. How would you say your able to keep pushing yourself to try something completely different every time you record?

facebook.com/musicpandit //for more info.

Tyler T Williams is an independent filmmaker, over the past year he’s received praise after praise (well deserved) for his utterly beautiful Coma Cinema music videos (actually they aren’t at all like music videos they’re more like short films.) His newest short film, “Contact Grey” is set like a 1950′s movie with warm color tones and wonderfully shot landscapes. The film story follows Jeffrey Echols a paranoid man who has seemed to uncover something “uniquely profound.” I’ve been so impressed with Tyler’s progression as a filmmaker, where he was when he made his first music video, “Split Split Milk” by The Very Most to where he is now are leaps and bounds to say the least, which has become quite of an inspiration to me. I really was truly nervous to ask him to take part in this Summer Interview Series, just because I’ve been so impressed with his work and I wasn’t sure if he would have the time or want to participate…well I was surprised because not only was he one of the most down to earth people I’ve ever talked to, he also had this unique kindness and generosity to him. Ultimately he graciously agreed to do this interview…I was thrilled.

Car: You make some beautiful and absolutely stunning music videos but I think its more than fair to say they are more like Mini-Short Films…is this something that comes naturally for you and your approach to filmmaking?

Tyler: Thanks a lot! I guess I just make what comes to mind while I listen to the song for a music video. I’m always thrown into a surreal dream state of another life and I try my best to make my films as close to that rendition as possible.

Car: When you made the video for “After the Moment” by Craft Spells what went into the planning for the story…which is absolutely excellent from start to finish? Do you usually come up with the story lines for your films on your own?

Tyler: Yeah, I generally just try and create a feeling that the song makes me feel, whether that be isolation, happiness, sadness, etc,  the feelings and emotions that the character holds are the root to drawing in a viewer to feel those same emotions while watching. Creating the environment is essential too, I love when a film feels like its in another period of time; which I feel is, dream like and nostalgic for the viewer. I also have two of my great friends, Ron Torres and Alex Couey, who help me out with planning everything and making sure the shooting schedule goes smooth. They also make me look more professional than I am. haha

Car: The video for the title track off of, “Blue Suicide” by Coma Cinema has a very interesting dark theme…there is a part at the end of the video if u pause it right I believe it is 2:34 you can see what the gentleman is reading to resurrect the women in the video. It says “This song, is like being possessed. I can’t sleep until I get it out.” is this something that was on your mind at the time of filming this video or is it just a coincidence? I asked Mat Cothran this same question but he said he had know idea it was in the video, but that he could relate to that.

Tyler: That line actually came from my great friend, Brandon Waite, who actually was the guy reading those lines. We both threw ideas around for what that book should have in it so Brandon ended up just drawing some Native American symbols and stuff. Haha, I guess we should have spent more time on that since people are reading into it. I love how some people went through the trouble of downloading the video and reversing the video to see what he says in the beginning. Rad!

I also owe so much to the great Mat Cothran for allowing me to work with him and trusting me as a filmmaker. He is a genius.

Car: There’s an incredible amount of detail in your filmmaking almost to the point where it takes repeat views to understand everything you just saw…I love that aspect of your films. How much of an effort do you place on yourself to make sure everything is in its place?

Tyler: Thanks so much! I put tons of time into my work to the point where I can’t stand to watch my work once more after it’s finished, actually. Not sure if thats a good or a bad thing but I always strive to do better with each video I make so I feel like I’m progressing. I’d really love to explore the idea of making more short films. Music videos can be so tough because you are restrained to the length of the track which usually leads to quick cutting technique to tell the story.

Car: What films inspired you to become a filmmaker? More so when did you have your “I want to make films too” moment?

Tyler: Well, I first got into filmmaking back in junior high when I was skating everyday filming my friends and cutting it together at the end of the day to rad music, haha. Skate videos are really what influenced me the most growing up but I’d say any film by David Lynch, Jean Luc-Godard, Gus Van Sant, Coen Brothers, PT Anderson, Jim Jarmusch, Terrence Malice, Spike Jonze, Alfred Hitchcock, Vincent Gallo,  etc. So many great filmmakers out there! Another influence that affected me greatly was growing up and watching horror/suspense films with my mom. Miss those times!

Car: You recently released a short film entitled, “Contact Grey” the beginning sequence opens with a 1950′s era sports car zipping in front of a beautiful back drop of open country. When the driver comes out of the vehicle you can see that he has been shot. Can you tell us a little of how that day went when you were shooting these amazing scenes?

Tyler: Well, the whole concept originated from when I was driving out in the country listening to the album “Badlands” by Dirty Beaches. The album evoked vivid scenes of isolation, horror, and detachment. I’ve always had a great fascination with the paranormal and everything that happened back in the 50′s with all of the spottings, abductions, and cover ups by the government of extraterrestrial happenings. I thought Dirty Beaches music would fit perfectly with that eerie feeling so I contacted Alex to see if I could use some of his tracks and he was more than kind to allow me to use them.

As for the shooting, I had my buddy, Dave Wood (TEENS), and I drive out to the Idaho countryside with his rad VW Karmann Ghia to shoot those wide expansive shots where I just had him stumble and fall a bunch on to lava rock, haha. When I first shot the desert scene I wanted the overall piece to be mainly a visual stimulating experience along with music but that idea then evolved into having a voice over and shooting more scenes in an inexpensive motel that happens prior to Jeffrey Echols, the main character, death. I wanted the ending to be sort of left open so it is unknown whether how he died and what exactly he was involved with. He simply was just digging too deep.

Car: What is your favorite cinematic memory?

Tyler: I’d have to say the films that I remember vividly as a child was, “Close Encounters Of The Third Kind” and “The Goonies,” such great films. I love when a certain film throws you back to being a kid or a memory of the past. Nostalgia is really the key to all of my love for filmmaking and why I do it. Cinematography has really been a love of mine for the past few years too. Roger Deakins, Lance Acord, Harris Savides with his work with Gus Van Sant on, “Gerry” etc, they are all incredibly inspiring.

Car: How difficult was it when you first started making your films and what sort of advice would you give to upcoming filmmakers?

Tyler: I think the hardest obstacle I had to overcome was being afraid that people would dislike my work. I was so attached on the idea that my work wouldn’t be respected and thankfully, my first video for Coma Cinema was received pretty well and helped boost my confidence level a bit. The best advice I could give to an up and coming filmmaker is that you shouldn’t hold back and just throw yourself out there. And better yet, just have fun doing it, thats all that matters. I’d be more than willing to help any filmmakers out there with questions, hit me up!

Car: Tyler thank you again for taking the time out of your day to answer these questions…do you have any last words for your fans?

Tyler: Totally! Thank you endlessly for your support and asking me these questions. And thank all of you out there who take the time to watch my work and encourage me to keep making films. Once again, feel free to contact me with any questions, cheers!

tylertwilliams.com//for more info.

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by Adam P. Newton

This is a short story written by Adam P. Newton

About:

This story cycle comes from the six-month period when I was working yet another thankless retail job. I picked up this additional part-time position in hopes of earning extra money to pay for the engagement ring I gave to the woman who is now my wife.

It wasn’t difficult work, but it was rather tedious and boring, as there would be entire four and five-hour shifts where I wouldn’t see a single customer. So, to pass the time, I read several books and started writing these stories.

“If This Parking Lot Could Speak gives voice to the various trials, tribulations, and situations in which average retail employees find themselves day in and day out, as well as the tried-and-true themes of growing up and making ones’s way in the world. I’ve anthropomorphized six different components of the parking lot into which I blankly stared for six months. The customers are given the seventh ‘voice’ in the cycle via a rotating cast of characters. The story arc takes place during a season at a mythical resort, following the players as they contend with each other and their own inner demons.”

Written in 2010
Language: English
Genres: Micro-Fiction

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Our paperback book is 5×8 inches (13×20 centimeters) and 63 pages long. With a beautiful flawless glossy full color cover (front & back), it contains black and white interior text pages printed on 60-pound (90g/m2) cream-colored text paper. It is the standard size commonly used for poetry books, graphic novels, and other collections. Each paperback is uniquely handmade with love by us at Substance Vs Style.

We will be releasing more books in the future. If you would like to show your support please donate or purchase below. An accompanied digital version is available for download here.

Darlene Muto is an exceptional Artist, she does many art shows every year around Jacksonville, Florida where she currently resides, that is until the big trip she has been planning. (read her blog) I discovered her art in 2009 when a image of a melting…falling skyscraper came up on my google results. I thought it was so unique…and different that I just had to find out who this artist was and what other sorts of paintings they might have done. As it turned out she had done many many more, all different types of paintings, styles, free form…ranging from anything as simple as say a fire hydrant to something as intense and fluid as a human portrait. To say the least she had an expansive set of ideas for her paintings and was creating them at a rapid pace. So when I decided to do the Summer Artist Interview Series she was at the top of my list of people I wanted to talk to…and since I’ve been corresponding with her by email/twitter I’ve come to realize shes just as nice and sweet of a person you could ever meet.

Darlene: I am a very emotional painter, the pieces I get the most response from are usually my darker paintings, rendered during moments of deep despair. I met a woman once when I was serving at Mossfire Grill (where I currently work) I told her that the peanut butter pie was like happiness, she immediately asked me if I was an artist, I said “Yes, how did you know?” She told me that artists tend to respond to stimuli or objects in an emotional manor.

Car: “Melt Away” from your “City Scapes” series was one of the first paintings I saw of yours, which actually got me looking into your art, I thought it was a very dark disposition on city life but in a good way…can you tell us a little of how this charcoal painting was constructed and what it was you were trying to convey in the series?

Darlene: This series actually rooted from a visit to New Orleans after hurricane Katrina. I went there 3 months after the storm and did a film photo series for a class I was taking in at Massachusetts College of Art (continuing education program). When I was there the buildings may have been terribly damaged but many of the people would not leave. I thought that was interesting. They had nothing! No job, no house, no clothes, no money, but they wanted to stay. The city buildings represent the city (the people), they may be sagging, but they did not fall. New Orleans made an amazing come back.

Another perception of mine:

Buildings are (usually) strong, built with reason, well structured. I feel that life can be that way too. If you want to be strong you need to build from the foundation up, no matter how strong you are or how much you prepare yourself you can still fall apart if the right storm hits you. After the storm hits you, you can rebuild or reconstruct for a better more sturdy building… aka life, emotional foundation. Learn from the storm, prepare for the next.

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Car: The “Dark Tree” series and “Veins of Life” series are like 2 opposite sides of the spectrum when looking at both in different ways…is it fair to say you like to challenge yourself when you paint?

Darlene: The “Dark Trees” series are based on emotions. I relate to trees. They stand alone, strong, the limbs go all over the place, like choices. They are alive and massive, look so powerful but for some reason I feel they have a darkness to them. The fact that they can be cut down at any time…and when you do cut them…they bleed, like us.

“Veins of Life” rooted from tree limbs being choices, which are technically the veins of life. There are millions of veins in our body which looks a lot like tree limbs, and even the roots. The choices we make day to day leads us through like the branches, like our veins…should i go right? Left? Up? Down? etc. Depending on our learned responses and how we grew up…this is how we will take each situation and make a decision to go in whatever direction we choose.

Car: “Unhappily Naked” has some strong components…to me it displays a snapshot of a stare or maybe a gaze…who is this person your portraying or is it something totally different entirely?

Darlene: This person was a model we used a lot at Massachusetts College of Art. It was an older gentleman, overweight, and very grumpy looking. I thought it was interesting that this man would get naked for us students to stare at him and try to paint his body. He just didn’t seem to be the type of person that would strip down. His facial expression looked like he was grumpy to be nude. I wonder what was going through his mind.  Did he just need the extra money? Or did he like to see himself being painted. Either way, we could paint what ever part of his body or a full portrait but I was drawn to his face, the facial expression. I also like to notice the small details that make some one look grumpy as opposed to happy or content like the Mona Lisa.

 

Car: You’ve recently had some exhibits this year at the Riverside Arts Markets and the Jacksonville Fine Art Show…what are some of your favorite things to do there, when your displaying your art?

Darlene: I love meeting people. Especially emotionally driven people. I like to hear their interpretations of my paintings, then I tell them what I was thinking. I also absolutely love talking to young aspiring curious artists and little kids! Little kids are uncensored and quite interesting to talk to about the paintings. I like looking at other peoples art and meeting new artists and making possible lifetime friends.

Car: What were some of the hurdles you had when you began selling your paintings for the first time?…and what advice would you give to upcoming artists starting out?

Darlene: Figuring out how to display, what to display on, which tent to buy, how to price, what to write on the price tags, what licenses I need, how to pay my quarterly taxes, how to get everything I need to be legal to sell art, how to talk to people about my art without sounding silly. One of the biggest challenges when I first started at the Riverside Arts Market was how to get the art and setup there. I was driving a 98′ Nissan Maxima. I pulled out the complete back seat, cut through the metal and basically made it into a station wagon Nissan Maxima. I also fashioned a rigged rack on the top of my car to put my display walls up. Check it out at www.MutoArt.blogspot.com Its definitely a sight to see. Oh, another big challenge was should I sell prints, and giclees and if I decide to, who do I go through?? I am selling prints and giclees now. Yay!

Car: Speaking of your blog www.MutoArt.blogspot.com there you discuss your future travel plans to sell your art around the United States…which I find really inspiring by the way, can you tell us how that is going?

Darlene: I am fixing up a tow-a-long travel trailer (1966 Shasta Compact) which will be my future home on the road. The main thing that is dragging is the water heater, should I use a gas heater and cut a hole in the wall? Or an electric water heater with a tank that will take up space and add weight? Or a tankless water heater that may give me only warm water, or one that I will have to install a new breaker box for just that heater. Other than that the travel trailer is practically done. I do need to buy a bigger van though – either a Chevy Astro or a Ford Econoline cargo van. I think I am leaning toward the big Ford because if I am going to be living on the road for an extended amount of time then I need more space for my tools to make canvases as I go down the road and also a place to put my paintings as they dry!! This will be an interesting road trip to say the least!!

Car: Darlene thank you again for taking the time out of your day to answer these questions…do you have any last words for your fans?

Darlene: “If you want something bad enough, you will get it. Nothing worth having comes easy.” I don’t know who wrote those words but someone wrote them down on a napkin years ago and I love that quote.

Also don’t let other peoples doubt or stain your dreams, your dreams are real to you only, only you can make them happen, only you can let people stand in your way. If you tell yourself something long enough you will start believing it, but also you will start living it. Good luck to everyone pursuing something.

This quote is mine though…”Current sacrifices for future freedom.” This quote is written on my bathroom mirror. I look at it everyday.

mutoart.com//for more info.

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If This Parking Lot Could Speak

by Adam P. Newton

This is a short story written by Adam P. Newton

About:

This story cycle comes from the six-month period when I was working yet another thankless retail job. I picked up this additional part-time position in hopes of earning extra money to pay for the engagement ring I gave to the woman who is now my wife.

It wasn’t difficult work, but it was rather tedious and boring, as there would be entire four and five-hour shifts where I wouldn’t see a single customer. So, to pass the time, I read several books and started writing these stories.

“If This Parking Lot Could Speak gives voice to the various trials, tribulations, and situations in which average retail employees find themselves day in and day out, as well as the tried-and-true themes of growing up and making ones’s way in the world. I’ve anthropomorphized six different components of the parking lot into which I blankly stared for six months. The customers are given the seventh ‘voice’ in the cycle via a rotating cast of characters. The story arc takes place during a season at a mythical resort, following the players as they contend with each other and their own inner demons.”

Written in 2010
Language: English
Genres: Micro-Fiction

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(back)

We would like to offer you this digital short story for free. We will be releasing more short stories in the future. If you would like to show your support please donate. An accompanied paperback version will follow this release very soon.

Download: pdf doc epub

(both pdf & epub are Kindle and iPad ready)

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Mat Cothran is the best kind of person to interview, not only is he funny in a great way but he has a sort of honest streak to him that most people do not have. I discovered Coma Cinema through Birp and his new release Blue Suicide is music of the best kind….its definitely got more substance than style….and I can see it showing up on many “top 10 albums of the year” lists. I truly wanted to know more about how he develops his songs for Coma Cinema and the process in which he creates his music…that and I really wanted to congratulate him on a spectacular album…so I decided to email him and ask if I could pick his brain for a bit….to my surprise he was all for it.

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comacinema.org//for more info.

This is the first album of the electro/shoegaze/new wave parisian trio

To The Happy Few. Only 250 hand numbered clear 12″ vinyl copies were made & released on SVN SNS RCRDS  and we only have a very limited quantity.

Tracks:

1. New Recorder              6. Trees Against the Sky

2. 2nd of May                  7. Kite

3. Guide my eyes             8. Teen Plague

4. Rehabitches                 9. Crepusculariu

5. Despotic Despair       10. Lilly 3 105

Visit their label SVN SNS RCRDS for more great bands.