‘The Bloodwren Part II’ by Ceiling Spirits | New Album, ‘The Bloodwren’
Exclusive track premiere of ‘The Bloodwren Part II’ by Ceiling Spirits, taken from the upcoming album, ‘The Bloodwren,’ March 22, 2023.
‘The Bloodwren’ is Ceiling Spirits’ follow-up LP to their 2018 self-titled debut. The intricately crafted compositions on ‘The Bloodwren,’ however, are far more complex, experimental and heavier than the material on the first Ceiling Spirits LP. Recorded primarily in Bridgeport, CT at producer/engineer Peter Katis’ (The National, Interpol, Pup, Jonsi, etc) Tarquin Studios, the LP came to life with the help of a cadre of stellar musicians, including The National drummer Bryan Devendorf.
‘The Bloodwren’ is the musical telling of a narrative penned by Quadracci himself. The story explores the cyclical nature of chaos and how the exploited and weak can be turned monstrous by cruelty and derision. The music was composed during the COVID lock downs and bears the stamp of the frustration, sadness, and distant flickering hope experienced by nearly everyone at the time. With seemingly endless time without outside obligations, Quadracci spent countless hours honing the score that would become ‘The Bloodwren’ into a statement as emotionally charged as it is musically intricate. With myriad layers working beneath each of the album’s tracks the record is ideally suited to ultra-high-fidelity formats.
The album will be available on all major streaming platforms, vinyl and in Dolby Atmos / Immersive Audio. The Atmos mixes were done by multi-Grammy- award-winning engineer and producer Dave Way at his Way Station Studios in Los Angeles.
The upcoming record is additionally introduced today with a first cut entitled ‘The Bloodwren Part II,’ which comes alongside an accompanying visualizer.
As Quadracci wrote on the track: “‘The Bloodwren Pt. II’ was meant to have a sort of dichotomy to it. On one hand, the music over the first few minutes, is meant to convey something a bit menacing and with a lot of power being confounded by its circumstance. It grows increasingly frustrated and exertional even as it makes no progress towards its goals. On the other hand, the last bit of the piece is more resigned. I imagine someone fundamentally innocent who is falling endlessly— like off a cliff, or something—and just increasingly surrenders to a sort of gracious, euphoric despair. It seems to me like these conflicting moods have melded into something incoherent and inescapable that has informed a lot of recent history.”
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