Awaken at the Bottom of the Ocean Andrew Joslyn Review

Fame and celebrity are incredibly peculiar aspects of our society: The magnification of the human existence into anything more than an everyday person seems then irrational. A successful musician, with normal human traits and a proportionate ratio of strengths and flaws, is transformed into a god nether the guise of "celebrity." Fans don't simply want to hear your music; they want to know your tea/coffee preference, your clothing manner, even your favorite cheese.

"Y'all've really made the class," sang David Bowie to the fictitious Major Tomon his 1969 song "Space Oddity," "And the papers want to know whose shirts you lot wear." Trivial could he have known the song in which he critiqued 'distinction' would be the one to give him his first taste of the spotlight. Such has been the twisted relationship between creators and "fame" for decades. Information technology'south a never-ending cycle of rejection and praise, a with-or-without-you battle of forces: Everybody loves to hate it, and hates to beloved it – and that'south information technology, isn't information technology?

Suppose information technology isn't; that all of united states of america can exist more than that. Andrew Joslyn'due south "Plastic Sky" addresses the many sides to fame, fortune, and everything that goes with it.

Nosotros're all living for that royal grace
That special place, that plastic heaven
We're all dreaming of that social condition,
Human madness obsessed with other love

Listen: "Plastic Sky" (feat. Will Jordan) – Andrew Joslyn

Andrew Joslyn is a lot of things: Composer, orchestrator, violinist, producer, arranger, and performer. A longtime collaborator with beau Washingtonians Macklemore and Ryan Lewis, Joslyn has worked on everything from the duo'sThe VS. EPto the chart-toppingThe Heist and2016's This Unruly Mess I've Made , as co-writer and world-touring orchestra leader. Joslyn besides leads the acclaimed advanced, experimental neo-classical group Rider String Quartet, touring with the likes of Judy Collins and David Bazan and performing with Kygo, Odezsa, Allen Stone, and more than.

All of this is to emphasize the importance of Andrew Joslyn'southward many (and varied) contributions, and to highlight the recognition and respect he's earned from other movers and shakers in the music world. Andrew Joslyn is a lot of things, and 2016 volition exist the year he permanently addsartist to that long listing.

Atwood Magazine is proud to be premiering "Plastic Heaven," the lead single off Joslyn's upcoming debut solo album,Awake at the Bottom of the Body of water. In the works for quite some time,Awake at the Bottom of the Oceanfinds Joslyn writing, producing and arranging eleven tracks that seamlessly mold together pop, classical, hip-hop, rock and folk elements into a dizzying, dazzling display of musical ingenuity. Call it "orchestral pop" or whatever you want, but Andrew Joslyn is neither the concluding of a dying brood nor the first of a new creative generation: Rather, he is a pioneer unto himself, a i-of-a-kind creator whose music truly speaks for itself.

"Plastic Sky" opens with a repeated orchestral motif: A bassoon weaves a quaint 4-note phrase, holding its last note as strings flutter gently in the distance and a lively flute descends a calibration towards resolution. The bassoon then assumes a new office as it and boyfriend orchestral instruments observe homes within the song's greater frame. This is not Fatboy Slim: This is full-scale orchestration! "Plastic Heaven" establishes Joslyn's world early on equally the introduction melts into the first poesy. Will Jordan sings:

Why are nosotros tying a grand knots
While sleeping, connecting all these dots?
Still wishing for that perfect moment
We are never happy

Those people on my television
Airbrushed and flawless renditions
So happy in a model moment
I don't, I won't e'er know them

Joslyn opted out of singing on every song and then listeners would critique it "on the merit of the songwriting and orchestration," rather than on the merit of his singing, a gesture that reflect his areas of greatest concern. His voice shines through via the words, their deeper significant, and every other aspect of the song; meanwhile, Jordan delivers those words with conviction and middle, offer an emotional performance that deepens the gravity of Joslyn'south words.

"Plastic Sky" hits its marking in the chorus, where 'celebritydom' is essentially compared to false idol worship. "We're all living for that royal grace / that special identify, that plastic heaven," notes the vocalizer. Life on the other side is not what it appears to be; it is non glitz and glamour, abounding spoils and parties. That is a dream, and it is non reality. That "model moment" is a figment of our imagination, a pretend world that exists just in our imaginations.

Information technology simply makes sense that Joslyn would start his solo career with "Plastic Heaven." He's seen the effects of fame on those around him, whether it be his brother, actor and comedian Chris Kattan, or his friends/collaborators Ben Haggerty (Macklemore) and Ryan Lewis. He knows it'due south nonall that, and he doesn't want it. Joslyn is content with who he is, and earlier anything should happen to him, he wants united states of america to know that thisiswho he is, and zilch more.The grass isn't greener.

Humans are humans; nosotros alive and we die, each of us taking a carve up journey but all of u.s.a. facing the same fate. Why, so, practise we subject ourselves to feeling bottom than others, or feeling similar nosotros take to live our lives a certain way and be someone we are not? Why can we not just be true to ourselves – to our bodies, to our tastes, to our individuality?

Fame is chosen the ficklest of the foods
Only we'd all feast if we could
Fall to our base emotions
Nosotros aren't ever perfect

In his about biting poesy, Joslyn accepts the duplicitous nature of the fame aggressor, acknowledging our instinctual desires; who amidst us can truthfully say they would not take the money and fame, if information technology were in forepart of them?

"Plastic Heaven" is a wonderful denial of consumer civilization, a calling-out to the media who propagate fantasy worlds for their own gain. We know your secret, Joslyn shouts into the wind. Celebrity culture is unlikely to change its means because of "Plastic Heaven," just the song does provide a breeding ground for listeners to connect with Joslyn on a personal level. In doing so, information technology truly is an ideal introduction.

"I'm still struggling with relinquishing control of my art to other people'south opinions and interpretations," wrote Joslyn in a placidity moment of overwhelming emotion during Macklemore & Ryan Lewis' European tour this June. "I'one thousand scared to release my album, and I can't pretend that hearing negativity well-nigh it will hurt me securely. All artists are uniformly sensitive, and most of u.s.a. are probably just really good at faking and hiding that humanity. I merely don't know if I'm fix to have my heart broken yet."

Andrew Joslyn's honest writing offers deeper reflection on the human relationship between art and creative person: Many meanings may lie behind the words and notes, and it is non necessarily our job todecode the music, so much equally it is to enjoy it, cover information technology, and reflect upon it. "Plastic Heaven" is poetic and profound, an emotional debut that resonates with musical ingenuity, passion, and humility. It is a call for normalcy – for the world to open its optics, such that we may all lead our lives non in others' footsteps, but in the shadows of our future selves.

Awake at the Bottom of the Seais out Feb 10, 2017. Until then, you lot tin can enjoy more of Andrew Joslyn's work by exploring his SoundCloud or personal webpages.

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by Andrew Joslyn

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Awaken at the Bottom of the Ocean Andrew Joslyn Review

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Discover more new music on Atwood's Picks

cover photo: Andrew Joslyn © 2016

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