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When Chris Stewart set out to write and record his third album asBlack Marble, he wasnewly living in Los Angeles, fresh o a move from New York. The environment broughtmuch excitement and possibility, but the distance had proved too much for the car hebrought along. With it out of commission indefinitely, he purchased a bus pass and plannedhis daily commute from his Echo Park apartment to his downtown studio, where he beganto shape Bigger Than Life. The route wound all through the city, from the small local shopsof Echo Park to the rising glass of the business district, to the desperation of Skid Row. Thehurried energy of the environment provided a backdrop for the daily trip. When Stewartfinally arrived at his studio, hed look through his window at the mountains and the sky,seeing the beauty that makes L.A. unique the same beauty his fellow commuters, somepushed to the edge of human endurance, had seen. That was the headspace he was in whenhe began to map out the syncopated drums and staccato arpeggiation of Bigger Than Life, anode to his new condition and a shimmering synth-pop response to its cacophony.

As with every Black Marble album, Stewart recorded, produced, and played everything youhear on Bigger Than Life using entirely analog gear, though the process was new. This timearound, he wrote everything on his MPC and sequenced it lie to his synths only using thecomputer to record, not to create. I try new approaches every time, which helps me stayengaged but also its kind of a trick I play on the creative side of my brain, Stewart says.Keeping one side of my mind busy on organizational creativity I think frees up the otherside where the inspirational creativity comes from.

When Chris Stewart set out to write and record his third album asBlack Marble, he wasnewly living in Los Angeles, fresh o a move from New York. The environment broughtmuch excitement and possibility, but the distance had proved too much for the car hebrought along. With it out of commission indefinitely, he purchased a bus pass and plannedhis daily commute from his Echo Park apartment to his downtown studio, where he beganto shape Bigger Than Life. The route wound all through the city, from the small local shopsof Echo Park to the rising glass of the business district, to the desperation of Skid Row. Thehurried energy of the environment provided a backdrop for the daily trip. When Stewartfinally arrived at his studio, hed look through his window at the mountains and the sky,seeing the beauty that makes L.A. unique the same beauty his fellow commuters, somepushed to the edge of human endurance, had seen. That was the headspace he was in whenhe began to map out the syncopated drums and staccato arpeggiation of Bigger Than Life, anode to his new condition and a shimmering synth-pop response to its cacophony.

As with every Black Marble album, Stewart recorded, produced, and played everything youhear on Bigger Than Life using entirely analog gear, though the process was new. This timearound, he wrote everything on his MPC and sequenced it lie to his synths only using thecomputer to record, not to create. I try new approaches every time, which helps me stayengaged but also its kind of a trick I play on the creative side of my brain, Stewart says.Keeping one side of my mind busy on organizational creativity I think frees up the otherside where the inspirational creativity comes from.

843563149379
Bigger Than Life: SB 15 Year Edition [Royal Blue LP]
Artist: Black Marble
Format: Vinyl
New: Available to Order Online, Call Store for local availability $22.98
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Formats and Editions

DISC: 1

1. Never Tell
2. One Eye Open
3. Daily Driver
4. Feels
5. The Usual
6. Grey Eyeliner
7. Bigger Than Life
8. Private Show
9. Shoulder
10. Hit Show
11. Call

More Info:

When Chris Stewart set out to write and record his third album asBlack Marble, he wasnewly living in Los Angeles, fresh o a move from New York. The environment broughtmuch excitement and possibility, but the distance had proved too much for the car hebrought along. With it out of commission indefinitely, he purchased a bus pass and plannedhis daily commute from his Echo Park apartment to his downtown studio, where he beganto shape Bigger Than Life. The route wound all through the city, from the small local shopsof Echo Park to the rising glass of the business district, to the desperation of Skid Row. Thehurried energy of the environment provided a backdrop for the daily trip. When Stewartfinally arrived at his studio, hed look through his window at the mountains and the sky,seeing the beauty that makes L.A. unique the same beauty his fellow commuters, somepushed to the edge of human endurance, had seen. That was the headspace he was in whenhe began to map out the syncopated drums and staccato arpeggiation of Bigger Than Life, anode to his new condition and a shimmering synth-pop response to its cacophony.

As with every Black Marble album, Stewart recorded, produced, and played everything youhear on Bigger Than Life using entirely analog gear, though the process was new. This timearound, he wrote everything on his MPC and sequenced it lie to his synths only using thecomputer to record, not to create. I try new approaches every time, which helps me stayengaged but also its kind of a trick I play on the creative side of my brain, Stewart says.Keeping one side of my mind busy on organizational creativity I think frees up the otherside where the inspirational creativity comes from.

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