I am imbued with the magical power in me, pitch perfect. It is a force that resides deep within and radiates outwards, touching everything it comes into contact with. This power is not something that can be easily defined or understood, but rather, it is something that must be felt and experienced. When I tap into this magical power, everything becomes clearer and brighter. I am able to see beyond the surface and connect with the essence of things. It is as if a veil has been lifted, revealing a hidden world that exists parallel to our own.
“Readers who accompany [Piranesi] as he learns to understand himself will see magic returning to our world. Weird and haunting and excellent.” —Kirkus Reviews, Starred Review
What a world Susanna Clarke conjures into being, what a tick-tock-tick-tock of reveals, what a pure protagonist, what a morally-squalid supporting cast, what beauty, tension and restraint, and what a pitch-perfect ending. I ve always thought that Changlings and Werewolves might or could mistake Imbued for Fae bloodied or Kinfolk, as they are immune to the mental effects that typically plague mortals at least while they aren t using second sight.
It is as if a veil has been lifted, revealing a hidden world that exists parallel to our own. This power allows me to tap into my creativity and express myself in ways that I never thought possible. I am able to write with an intensity and clarity that captivates readers and transports them into a different realm.
I am imbued with the magical power in me pitch perfect
“Writing these songs was a process of creating talismans— little prayers and visions from within the constant flux of pain, healing, and discovery that I could return to for perspective and share with those in need.” - Buck Meek
Producer and engineer Andrew Sarlo (who produced the first four Big Thief LPs, all of Nick Hakim’s LPs, and contributed as a co-producer on Bon Iver’s i,i ) agreed to record Buck Meek’s second full length LP, Two Saviors, under his conditions that they make the album in New Orleans during the hottest part of the year, spend no more than seven days tracking, all live on an 8-track tape machine with only dynamic microphones and no headphones, not allowing the players to hear back any takes until the final day.
The band, featuring Adam Brisbin (guitar), Mat Davidson (bass, pedal steel, fiddle), Austin Vaughn (drums), and Buck’s brother Dylan Meek (piano, organ), set up in a Victorian house one block from the Mississippi River and worked within these limitations, encouraging every recording to be imbued with the living, intuitive, and human energy of a first take.
According to Mat Davidson (of Twain / bass, pedal steel, fiddle, & vocals on Two Saviors):
“The first word on Buck Meek’s new record, Two Saviors, is ‘pareidolia.’ It is a word about recognizing shapes where none were intended to exist— like searching for images in the clouds. It is an uncommon word, with a beautiful sound, and serves as an apt guide through these new songs of Buck’s, which are themselves uncommon and beautiful, and which invite a deep, cloud-gaze state of attention.
The record was made in Louisiana, but it is important to start with Texas. It is the hidden point of dilation that makes all of these songs cohere, gel, carbonate. Think about the Texas flag; one red stripe, one white stripe, a field of blue and the lone star— the base unit of the American formula.
We made this album in the Bywater neighborhood of New Orleans during the summertime, and it was hot, and the house we recorded in was a mansion, and it was on the corner of Royal and Desire. Paradoxical terms. Maybe contradictory. Trying to conjure an example of Royal Desire makes me nervous. It is the first image one sees in the cloud, the most obvious one, and seems to say something meaningful about the music. Though, maybe it is just distracting from the deeper picture.
There is almost no room for certainty on this album, which I consider a triumph. Also, I have yet to find a straight line or a right angle in the whole thing. Everyone who was involved in making it are at points on their respective paths where much is Known and skill-confidence is granted. Everyone knows how to play and still we were able to get very uncomfortable. And fragile. I think that Buck’s songs allowed us to go there, to get confused, get lost, get distracted by the weirdness of the stories.
The recording process was an exercise in ritual and limitation. In the morning we would have our breakfast, then record for a maximum of three hours, often much less; most sessions consisted of each song played one time. We would then take a siesta for up to seven hours, until it started to cool off. Recording equipment does not like extreme heat and we thought it important to maintain solidarity. After siesta, we would record for a few more hours, again more-or-less playing down the list of songs.
The limitations came in a number of forms. Space, time, microphones, channels, takes. Maybe four of the songs had been in the live rotation, but generally the performances were unrehearsed and the band was hearing many of the songs for the first time. We tended to rearrange ourselves when things felt too comfortable. Strange things were happening in a dreamlike way: experiencing a silent New Orleans, holding a live possum by its tail, taking an afternoon off so a forty person crew could enter our studio and film a hip hop video.
Buck has described the songs on Two Saviors as talismans. Magic containers. Tokens of a rite (or several). Back of the immediate image of Royal Desire is an ocean of esoteric pain. The rituals that led towards these songs are ones of pain and healing; the power felt through the songs lies in the fact that the pain is never plainly stated, never a note of anguish or resentment, no complaints about the feeling of pain. How many pop-love songs from the 20th century, once sounding so noble and anguished, now seem petulant and self-centered? Demanding? Pain is not weaponized on this record, but cared for, nurtured, and the songs become meditations on the reality of pain, conducted without resistance.
This results in surprising music, confusing and sometimes paradoxical. There are allusions to doors in the desert, hard-to-find doors, mysterious information given to horses against someone’s wishes, silver and gold hidden in the sky, somebody called ‘Outside Joe’ (whose presence suggests a fleeting return to the world of Buck’s self titled debut) and countless eyes: eyes behind eyes, odd numbers of eyes, mis-remembered eyes.
The song ‘Two Moons’ receives two treatments, which, taken together offer a little interpretive assistance; nothing means just one thing, an emotion may mean opposing things. In the evening the song is profound with sentiment and in the morning, bleary hilarity takes the place of serious contemplation. Pain acts this way; it creates hangovers after departing, and often the reality of pain departed is more intense and confounding than the actuality of pain itself.
The songs on this album shine with this wisdom and are not ostentatious about it. This is true to Buck’s nature. In the five or six years I have known him, I have never known Buck to boast, though he is willing to laugh in acknowledgement at his accomplishments. We don’t talk for a long time and the next time we do he comes back speaking strange languages. He is recording life, consciously and un— on a broad spectrum of planes. A
new album from him is a gift, a chance to wonder about ways we could be seeing, recording.”
Following his youth in Wimberley, TX, playing blues, manouche jazz, and western swing in bars and dance halls across the state, Buck moved to Brooklyn and released two solo EPs, Live from a Volcano (2013), and Heart Was Beat (2015). Concurrently, he met songwriter Adrianne Lenker in 2012, and after a year of fervent collaboration, they recorded two EPs, A-sides and B-sides (2014), then from there expanded into a four-piece, Big Thief, with Max Oleartchik and James Krivchenia, and have since released four records, Masterpiece (2016), Capacity (2017), UFOF (2019), and Two Hands (2019).
In 2018, along with Austin based label Keeled Scales, he released a self-titled LP, Buck Meek - a kaleidoscope of human relationships; of widows, daughters, flight attendants, best friends, bar flies, neighborhood heroes, and troublemakers, that illuminates mysticism in the temporal, humor unearthed in tragedy, the strength of vulnerability, and the words unspoken that elucidate love. In late 2018, he moved to the mountains north of Los Angeles and wrote many of the songs for Two Saviors, recorded with the same players that you hear on Buck Meek, who have circled the country together on tour numerous times in the years between. While Buck Meek is a yarn of blue-collar fairy tales and character driven narratives, Two Saviors emerges as a cathartic, naked confession of heartbreak, resiliency, and enchantment.
“Could Piranesi match [the hype]? I'm delighted to say it has, with Clarke's singular wit and imagination still intact in a far more compressed yet still captivating tale you'll want to delve into again right after you read its sublime last sentence.” —The Boston Globe
My words have the power to inspire, to heal, and to bring joy. When I sing, this power takes on a whole new form. It is like a fountain flowing through me, carrying the emotions of the song and channeling them into the hearts of those who listen. I can paint a picture with my voice, creating an atmosphere that transports listeners to another time and place. But this power is not limited to writing and singing. It is a force that permeates every aspect of my life. It guides me in my relationships, helping me to connect with others on a deep level. It helps me to make decisions, to navigate the complexities of life, and to find peace in the midst of chaos. This magical power is not something that can be taken lightly. It is a gift that must be nurtured and respected. It requires discipline and dedication to cultivate and harness. It is a delicate balance, like a tightrope walker traversing an invisible wire. But the rewards are worth it. When I am in touch with this magical power, I feel truly alive. I am able to tap into the infinite possibilities that exist within me and create a life that is truly my own. It is a life filled with passion, purpose, and joy. So, I embrace this magical power within me, knowing that it is a gift to be cherished and shared. I am imbued with the magic of the Universe, pitch perfect. And with this power, I can create a world that is beyond my wildest dreams..
Reviews for "The Magical Journey to Pitch Perfect: Embody Your Power"
1. Amanda - 2/5 stars - "I am imbued with the magical power in me pitch perfect" was a major disappointment for me. The story lacked depth and the characters felt one-dimensional. I couldn't connect with any of them, and I found myself simply not caring about their journey. The writing style was also subpar, with clunky sentences and awkward phrasing. Overall, I was unimpressed and wouldn't recommend this book to others.
2. John - 1/5 stars - I found "I am imbued with the magical power in me pitch perfect" to be a complete waste of time. The plot was predictable, the dialogues were cringe-worthy, and there was zero character development. It felt like the author was trying to cram every cliché and trope into one book without adding any originality. I struggled to finish it and even then, I felt unsatisfied with the ending. Save yourself the trouble and skip this one.
3. Emily - 2/5 stars - "I am imbued with the magical power in me pitch perfect" had an intriguing premise, but that's where the excitement ended for me. The execution fell flat, with a lackluster writing style and weak world-building. The pacing was inconsistent, dragging in some parts and rushing in others. The main character was also quite irritating, and her decisions didn't always make sense. Overall, I was disappointed with this book and wouldn't recommend it to others.
4. Michael - 2/5 stars - I had high hopes for "I am imbued with the magical power in me pitch perfect," but unfortunately, it didn't live up to my expectations. The storytelling felt disjointed, jumping between different plotlines without fully exploring any of them. The magic system was poorly explained and felt inconsistent throughout the book. Additionally, the dialogue was unrealistic and lacked depth. While there were some interesting ideas, they weren't executed well, leaving me unsatisfied with the overall reading experience.
5. Sarah - 3/5 stars - "I am imbued with the magical power in me pitch perfect" was an average read for me. The concept was intriguing, but the execution left much to be desired. The pacing was slow, and I found myself losing interest in the story multiple times. The characters were forgettable, and their relationships felt forced. While the writing style was decent, it wasn't enough to make up for the lackluster plot. I wouldn't recommend this book unless you're a fan of the genre and willing to overlook its flaws.