New PEL music has arrived! You can now easily get the new album of my tunes, including "1984" as inspired by the PEL episode and "The Other" as inspired by all that weird continental feminist philosophy about encountering the Other (with Lucy Lawless singing that one).
You can hear it on Bandcamp (free streaming in full!), Spotify, Apple music, or Amazon. I've also added it to my Spotify Mark Lint music playlist, bringing me up to nearly 50 spiffy songs out there:
I got 100 CDs largely to send to press outlets, but you would be more than welcome to have one: get it at our store.
Astute PEL listeners will recognize a few of these songs from previous versions featured on PEL episodes, but these are nice and pretty and cleaned up in the studio, with nary an electric guitar or drum kit to be heard... just sparkly harmonies (and I even give over the lead vocal three times to a lady or two), violin, piano, djembes and shakers and güirros and triangles and other clattery noises, some upright bass, and three kinds of acoustic guitar. There's not even any swearing on this one! (If you want swearing, try this instead.) So you can play it around your pets or parents or kids or blast it ironically from a boom box while on your wintry beaches!
Going forward, I'll keep posting music stories and fresh ideas on my Patreon page, so I encourage you to go make a tiny per-product support pledge there to encourage me to keep churning out new stuff and finish up with all my various re-issues and long-overdue completions and things.
Thanks for listening!
Thank you for persevering with what you’re passionate about, Mark. I also have a passion for making music and pursuing philosophy, but also a lot of doubts and shortcomings. You really have inspired me to push on and achieve.
Thanks! I’m listening to you on SoundCloud now! https://soundcloud.com/coltonk
You gave me a CD of Dry Folk at the 10th Anniversary event in NYC and it’s been in the rotation every since. This is such a great collection of songs. I think “1984” is one of the best songs about growing up awkward, artsy, and angsty (while it also makes clever-but-not-too-clever references to Orwell — quite a niche, that). The harmonies on “Unspoken,” the violin on “Feeling Time,” the lyrical intensity halfway through “Came Round” … I could go on. I don’t have much of a musical vocabulary, but I hope it’s sufficient to say that I appreciate the talent in this album and consider it a favorite. (It also gels as an *album* rather than a collection of cool songs.) I’ve been recommending it online and IRL. Thanks, Mark!
Thanks very much, Wayne!