Today, indie sensations Samuel Proffitt and Adrian Galvin, aka Yoke Lore, team up for the slow-burning, cinematic new song “Stringsnoise.” The track comes just in time for winter and will be the first single from Proffitt’s forthcoming EP Good Death, set for release in early 2019.
LISTEN TO “STRINGSNOISE”:
Proffitt, an artist who explores memory, life, and death, woven in with various collegiate studies at Brown University and Boston College; his music deemed “steamy” on The FADER and “marvelously moody” by Vice’s Noisey. Galvin, a creator on a parallel path of self-exploration, has received love from Consequence of Sound, NYLON, and the one and only Taylor Swift. Together they craft the raw and contemplative “Stringsnoise.”
“This song is about physicalizing your fears in order to face them,” shares Galvin. “Sometimes, when we have issues or struggles, it’s hard to even address them because they stem from such abstract aspects of our personalities that can be ineffable from time to time. Make it real. Make it tactile, so you can fight your demons. Don’t just try to be less self involved, or more attentive, or whatever it is for you. Do it in the moment through the body when you can see it, and feel it, and taste it. It is more direct and more difficult to address and alter yourself in these moments, but it is in the acting that the change occurs. Location, location, location. First, deal with the physical, and then the psychological will follow naturally.”
“‘Stringsnoise’ was written at a snow-clad cabin in Maine,” Proffitt explains, “it was a sub-two-minute banjo demo Adrian had written with vocals recorded through his MacBook’s built-in microphone; it was raw and beautiful with striking vocal layering and an equally powerful chorus: ‘before you get a heart, you gotta get taken apart.’ I wanted to capture the setting of where I was, while harkening back to my earlier compositions, to write something cinematic, meandering, straying from a normative song structure, and within a few hours, I sent Adrian the first iteration of “Stringsnoise.” As the song coalesced over the subsequent months, I made the decision to preserve the original vocals from Adrian’s demo session, and with the aid of Midoca on percussion and Ariel Loh with mixing, “Stringsnoise” was shaped into a poignant, phantasmagorical piece”
Samuel Proffitt’s music finds its home in the veiled margins of the human experience, acting for him as a palpable embodiment of, and a ceaseless reflection on, what has come to define him. Through his artistic output, and in particular Good Death, Samuel confronts the audience with an acute, weighty deluge of tones and sonic layers allowing a momentary entry into his world, in which the listener is encouraged to question, like the artist himself, what it means to be human.