We Moved!!!

The new album is out!!! You can BUY IT or STREAM IT...And, more importantly, based on the customization capabilities of tumblr both evanbailey.com and www.evanbailey.com will be directing to evanbailey.tumblr.com. You can still look at this site all you want, but I won't really post any content to it. Muchas Gracias!



A Letter To Emusic

So, I've been with eMusic for about 8 years, and due to some very recent changes I am no longer a member. This was the email I sent to their customer service support, thought I'd share it. Not really sure why I feel the need to. Maybe because I feel hurt...:

First off, I would like to say, if you are reading this, then I know, you can't really do anything. I understand, and I hope you have a good day, really. I get it. I had to say something to eMusic, as we've had such a long relationship. It's selfish, and I'm sorry, but I need closure.

Dear eMusic,

We've been together for a long time now, and I still want to be in love with you, but, I can't be treated like this anymore.

I've been feeling like this for a while now. But I've taken all your pricing changes and loved you regardless. Remember the old days? It was 8 years ago now. I paid a low monthly price for unlimited downloads. And I was so proud of us. I had just broken up with a girl who I loved, and you were my rebound. Anytime I wanted something to occupy my time I turned to you for cool indie music. I didn't care that I couldn't repurchase my Garth Brooks tapes digitally, because you offered me music that I might have never listened to. We discovered so much of it together. I was so in love with you. And I told everyone I knew about it. About our new relationship, and how good you were to me.

We had a long run where nothing was wrong, and I sometimes didn't spend as much time with you as I could have. Even when you changed my plan from unlimited downloads to a hundred per month, I could've been there for you more. So, maybe this is my fault in some way. I really wish you would have told me that you were hurt. I would have done anything to avoid this.

When the dark times came and you changed my plan from 100 to 50 and then to 25 I made excuses for your actions. You were still a better deal than itunes. And you still gave me access to music I had never heard, but I started to feel like you didn't care anymore. I couldn't help but feel your passion for me was gone.

Even at your worst I still had access to all the music I had ever downloaded, which was a lot. You had me there for the longest, and sometimes when our relationship was nothing but a routine I knew I couldn't leave you, because we still had that. You would remember all the times we had and honor them, by letting me redownload albums whenever and wherever I wanted.

Yesterday now, 15 January 2011, I bought Cake's 'Showroom of Compassion' and for some reason stumbled back on the album page where I read, "re-download album: $7.60". Then I knew we were done. I am sad about it, but you won't treat me like this anymore. You gained warner, and sony, but you lost me, honestrock. And I know you don't care. You'll have a lot of new friends, and they'll think you're cool. They'll tell you, "Hey eMusic, you finally have that Guns and Roses record I wanted to buy." But they won't understand the depth of what we had. To them you'll be maybe another itunes. To me you meant the world.

I'll Miss You.



S/T Bio

Dear Evan,

Your songs are amazing. I’m not sure if I’m up to the task of writing about them. I’ve had them in their own sacred playlist on repeat for four or five days now. Like you sing it —“you’ll need some time to get over.” Yeah, well, me too. But I’ve got this little red pencil and a little red note book, and I’m going to give it my best shot.

The songs are deep, personal, like love letters: I had a girlfriend once who wrote me so many letters I had to keep them in a shoebox. After we broke up, like years after, I was cleaning out my closet, and I found the box. I couldn’t resist sorting through it, even though I knew it would make me cry. I opened the folded sheets of paper like clams; each held a little memory potently bottled up. I began to laugh and cry, laughing through tears, and in a feverish state I stayed up most the night reading and rereading the clams, with a feeling, mostly, and especially around 4am, of overwhelming joy. There were anecdotes lived and jokes referenced, and I got them all, took them all as little tributes to me; to all the considerate moments paid—to every one—it felt there was a letter addressed as reply…every one but one, and that was the last one, extended with full knowledgethat it would never be repaid—so that it didn’t make me melancholy, and there wasn’t a moment of regret all night. So you’ll get the metaphor if I say your songs are like little clams.

I hella dig the references—the homages to, and parodies of, other styles which you’ve managed to fit within an overarching vision. Everything has that Evan Bailey feel. Each song, especially [8], is like a good translation—of Vanderslice: “I didn’t move to Colorado” or Nada Surf or, yes, I’ll draw the easy parallels, Weezer or Pixies. These are just reference points, really, almost meaningless to me, at least, when I’m just listening and not trying to do the impossible work of putting a sonic medium in print. But caricature is a worthwhile form; I’ve nothing against it; it’s just like any food you like but don’t want to eat every meal of the day—as Richman says: “Eat pizza for lunch; so that’s over. Someone says, ‘ok we’re gonna have take two and eat another pizza again’? No. You already ate lunch.” So, I should say instead that what I really enjoy are the subtle reference points, difficult to express; that’s what gives these songs their character, a kind of carefulness or thoughtfulness.

Well, I had to leave off writing to catch the train. I’m at Grand Central now, and the slow build in “When you die, everyone’s gotta say nice things about you” is pulling the stones out of the walls and bringing the firmament to me: cityroom.blogs.nytimes.com/2009/02/10/an-unusual-view-of-the-stars-and-stripes/. It’s a vaulted ceiling a multiverse away—oh, and that reminds me of this job I used to have, hell of a job, tired all the time, felt like the walking dead. I’d get home late every night to an empty apt., and I’d turn the tv on to bring a sense of occupancy to my irregularly shaped living room, you know, like someone actually lived there. Every night I’d wait for the sound to fill the room, but it never did. It more than anything washed over the room leaving it as it was with now an added layer of noise; that is, somehow the sound ran at right angles to the space of the room, not filling it in but stretching out in a new, unoccupied dimension.

So, I hope you don’t think it strange if I say that your music fills my living room.

Later, John

p.s. Weezer whoos—I expect all of your songs to have them now. They really take things up a notch. “Get closer; get closer; get closer.” THIS is what the fourth and fifth walls are about: closeness. It is everything in this business to be able to strike the right critical distance. The bio is all about maximizing this distance, packing the product for sale. I can do that in a line or two: Power Rangers, No Shirts, Eye Makeup. (John Allen, 2010)


I'm happy to say that we're working with some fabulous people in France who will distribute and promote the new album digitally worldwide. You can check out the official Californian Records website out here:

Californian Records

And Facebook

The album will be released on 25 February 2011.



*******Hans White and I were talking about releasing a cassette version of the LP on his Pleasant Screams Cassettes label, sometime in 2011. Who's still got a tape player?*******

P.S. Cassettes Facebook

P.S. Cassettes Official


Evan Bailey s/t Notes

We recorded a full length album. Here is a list of things I sold in order to make the album:
  • A Fender Rhodes 88 Suitcase Piano
  • A Czech-made Stand up Bass (I still have the bow, so I can play guitar like Jonsi)
It was recorded with Jack Shirley (Comadre) with the following personnel: Travis Quinn, Justin Butler, Therron Francis and Will Crew. // John Allen also wrote lyrics for two songs.

*******Here is a song from the release (number 04):

s/t by Evan Bailey