I remember doing an exercise in high school English where as a class we ‘defined’ what the word ‘hero’ means. I think we were studying Greek mythology and that study formed the predicate for the discussion. At the time I found the exercise tedious as I had a fairly clear idea (or so I thought) of what this word meant in different contexts, however, upon reflection most of my view was likely indoctrinated based on familiar archetypes expressed in various forms of mass media and societal norms/expectations. What has stuck with me most about the exercise is this: even in a class that was on the surface not especially diverse, as we individually made the case for words to describe what makes a ‘hero’ there was debate on the words chosen and what truly belonged as descriptors (enter tedium). What I am describing is merely an anecdote, but indicative of what one might experience on a given day if you interact with other people, id est the words we use have different meanings for different people, or at the very least are conceptualized differently. There probably is not a universal resonance. Never mind that words are made somewhat superfluous minus context and probably often fail at truly capturing our thoughts. The variance in vocabulary and language across individuals and cultures could very well be indicative of the challenge to express our intent at any given moment.

Lyrically, with this collection of songs, a common thread throughout (minus Ohio! This is a Sequel which is autobiographical and tying a love together with geography as a backdrop) is general social friction. What I have described previously is an attempt at explaining a potential source of this generalized friction: ‘what are you saying?’ or ‘what did you just say?’ or ‘that’s not what I mean.’ or ‘I can’t explain it.’ As human beings we use stories literally, figuratively, metaphorically, symbolically, instructively, etc, to communicate a range of things. A familiar story form has a beginning, a protagonist, an antagonist, motivation(s), setting, an arc, conflict, and finally resolution (this is an abridged listing). Describing events involving people in the world rarely fit this form for the simple reason the resolution part doesn’t often neatly happen. The story continues, and/or never really existed as told, and/or is ignored, and/or is manipulated and distorted to deliver some other message, etc. Source of friction. How else does the form fall short in describing ‘real’ events? Compare and contrast what protagonist and antagonist ‘mean’. Critical to sussing out working definitions is context, perspective, time and place. Reaching a consensus? Come back tomorrow. You may reach a different conclusion. A challenge to say the least. Friction.

This is my 5th release as The Beard Police and was once again recorded in my trusty basement and living room. When I started this project it was going to be a single (Poke the Bear) with a b-side (Ohio! This is a Sequel) then I had more ideas and the whole thing grew to its present incarnation. Gear I used: Telecaster (x 2), Strat, Reverend Double Agent OG, Blueridge BR-180, Squire J-Bass, Fender Deluxe Reverb, Mesa Boogie 1 X 12”, Truetone Jekyll and Hyde, Truetone Clean Boost, Boss DD-3, Xotic AC Booster, Shure SM57, Sennheiser MD421, AKG C214, Studio Projects T3, Universal Audio Apollo Twin, Universal Audio Ox, Midi keyboard, Garageband.