Long Future
by Phil Motion
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Digital Album
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1. |
Caminou
03:12
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2. |
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STUCK IN HERE
I don’t know just where we go
Blinded, by the light
of our tiny boxes, we are one minded
but we are far from being one
We interconnect, while we disconnect,
Blinded by the light
We call others out from behind our walls
Our boxes keep us safe and sound
Every day
And every night
I can see that same blue light
Calling each and every one of us into a fall sense of delight
Oh… We are stuck in here
Tell me time, tell me where to go
Blinded by desire
Tell what I like, tell me who to be
I follow you, you follow me
Give me this, and give me that,
Blinded, wandering mind
I want it all, and I want it right now
I need it ‘cause I don’t know how
Every day
And every night
I can see that same blue light
Calling each and every one of us into a fall sense of delight
Oh… We are stuck in here
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3. |
El Muro
04:26
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EL MURO
No es nada nuevo
hombre malo, juego de poder
con su dedo en botón
hechando veneno a’qui e pa’lla
contando con el pueblo quietito
sabiendo cuanto va tolerar
probando a la gente pa’ ver
hasta donde lo pueda llevar
en el ojo del huracán
siempre pensamos que lo peor
en el ojo del huracán
lo peor todavia nos espera
en el ojo del huracán
una calma falsa que nos engaña
en el ojo del huracán
ni muro, ni pared, ni techo nos salva
El muro
hoy dia nadie entra, mañana nadie sale
El muro
ponle luego muro en el norte y quien quiera ir que aprenda a nadar
El muro
hoy dia nadie entra, mañana nadie sale
El muro
ponle luego muro en el norte y quien quiera ir que se ahogue en mar
El péndulo comenzó ya a oscilar
> Trump: “I will build a great, great wall”
El péndulo comenzó ya a oscilar
> Trump: “on our southern border ”
El péndulo comenzó ya a oscilar
> Trump: “and I will have Mexico pay for that wall ”
El péndulo comenzó ya a oscilar
> > Trump: “mark my words”
en el ojo del huracán
siempre pensamos que lo peor
en el ojo del huracán
lo peor todavia nos espera
en el ojo del huracán
una calma falsa que nos engaña
en el ojo del huracán
ni muro, ni pared, ni techo nos salva
El muro
hoy dia nadie entra, mañana nadie sale
El muro
espada de doble filo, hoy feliz y mañana a llorar
El muro
hoy dia nadie entra, mañana nadie sale
El muro
o se ahoga o se contenta, entre muros y aguas no hay como se escapar
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4. |
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HIGHER LEVEL
In the night I will see you
Your hum killing my mind
Crazy lights seems like delight
I’m back here again
I know you can tie me
Don’t tie me down with all your bullshit
Breaking away from the irons
Rise above to see human
Take me to the higher level
‘cause I never never never goin’ down
Unleash the shackles of program
Progress is washing your mind
Stop and think, you will feel it
Don’t let yourself be mislead
Rise above the timelines
Bring it back to the start
Bring out your true powers
Free the human above
Take me to the higher level
‘cause I never never never goin’ down
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5. |
Pied Gauche
04:16
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6. |
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NO ONE KNOWS
We are here, we are traveling
It gets darker the further we go
I remember a time
It was simple, we moved slow
All that we have, we want it right now
So immediate we live in anticipation
of the next moment we are not free to enjoy
the present moment truly is a thing of the past
We are moving lightning fast
it is getting hard to see clear now
I know that we can’t turn back now
Where this takes, no one knows
No one knows…
We are here now, light years from home
Bits and pieces remain of stories told
Such a long time since the lights have gone dim
No connection and we can’t remember
We are moving lightning fast
it is getting hard to see clear now
I know that we can’t turn back now
Where this takes, no one knows
No one knows…
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7. |
Eu ou você (You or Me)
04:44
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Eu ou você (You or Me)
Eu, eu ou você
nunca eu e você
Acredito que o homem é bom
nasce livre e com boa vontade
bastaria agir com coração
qual seria o problema então
degeneração pela sociedade
infinito desejo de poder
progresso sim temos compreensão
mudar o homem não é facil não
Aqui vai eu ou você
nunca eu e você
Eu, eu ou você
nunca eu e você
Acredito que o homem e bom
nasce livre e com boa vontade
bastaria agir com coração
qual seria o problema então
o que enche a boca de um povo inteiro
farinha pouca meu pirão primeiro
o que enche a boca de um povo inteiro
farinha pouca meu pirão primeiro
Aqui vai eu ou você
nunca eu e você
Eu, eu ou você
nunca eu e você
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8. |
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THE RHYTHM I’VE COME TO KNOW
Every day’s a fight for daylight
As much of it as I can take in
Put in the time and overcome
I climb mountains every day
But the little things are the hardest things
and they find their way into my life
As the night fall and I find myself
out in the old one step forward, two steps behind
One step forward through the day
Two steps behind through the night
One step forward, two steps behind
is the rhythm I’ve come to know
I get my best done with the early rise of the sun
Don’t make no difference
What time my head hit the pillow
I’d rather slip a few and go slow
Then rush throughout the day as a spectator in my own life
I know myself too well and I know this game
One step forward through the day
Two steps behind through the night
One step forward, two steps behind
is the rhythm I’ve come to know
Oh the rhythm I’ve come to know
it chose me I can’t change it
Oh the rhythm I’ve come to know
it controls me but I will tame it
Indecision, the killer of momentum
If you don’t keep moving, you won’t keep moving
You wait with your back up against the wall
with no way in, out, up or down
What you will mourn tomorrow, you should be mourning today
There comes a time when you decide if it’s jump or fall, come or go
One step forward through the day
Two steps behind through the night
One step forward, two steps behind
is the rhythm I’ve come to know
Oh the rhythm I’ve come to know
it chose me I can’t change it
Oh the rhythm I’ve come to know
it controls me but I will tame it
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about
My first full length album, recorded with support from the Ontario Arts Council: www.arts.on.ca
LONG FUTURE
‘Long Future’ is a deep DIY exploration of dark tones and timbres drawing inspiration from books like Orwell’s 1984, films like Blade Runner, and the rise of Trump. The music is set in a post-Trump, post-apocalyptic modern day ‘Escape from New York’ vibe as I pictured myself waking up in a world I couldn’t recognize, lost, scared and piecing together fragmented memories through song and studio explorations.
THE ALBUM
I wanted to juxtapose real acoustic instruments like congas, bells, blocks, a Colombian tiple, and real horns, against analog drum machines and synthesizers, setting the music in something that was not identifiably new or old, neither futuristic nor retro. This go-between, marked by certain dark melodies and harmonies is meant to point to this delicate crossroads I feel we are are at today, so inwardly focused and self-absorbed, buried in our own digital lives while deeply longing for human connection that deep down we still intuitively know to be essential and at the fabric of our being. The music is meant as a soundtrack to the search for ourselves in this new digital world as we struggle to stay rooted through the eroding of our patience and capacity to reflect on who we are, what we need and where we are going.
THE STUDIO
Arriving at this collection of songs was preceded by a year or two of all kinds of work to get to this point, in both artistic and technical terms. While exploring my own voice, trying to write better horn lines, arrive at better arrangements, I was sometimes derailed by having to stop and make time to reimagine my setup. The recording and production of these songs was at the core of writing them; these songs emerged from the studio setup, in particular at the helm of a beautiful analog console that I found and so desperately wanted to include. I wanted to move my eyes away from a computer screen, feel the faders under my fingers, twist knobs, and have real compressors, EQs, and delays interacting, even fighting with each other at times and capture magic in the moment rather than overly doctor or edit the end result. Countless hours researching, soldering, wiring, and imagining allowed for a special kind of quiet reflection and at times a feeling that I was building the vessel that would take me where I was hoping to go.
THE ARTWORK
The artwork was commissioned artwork by Dixon a.k.a. Juan Carlos Noria. Communicating the journey as described above and having an artist capture this in their own mind and give something back brought a whole new feeling to the work. I find myself often looking at the artwork finding new things in these songs.
Big thanks to the amazing musicians that played on this record and brought their own unique energy to the sum of the parts of what I hope is a unique record that resonates with some of you.
LONG FUTURE
‘Long Future’ is a deep DIY exploration of dark tones and timbres drawing inspiration from books like Orwell’s 1984, films like Blade Runner, and the rise of Trump. The music is set in a post-Trump, post-apocalyptic modern day ‘Escape from New York’ vibe as I pictured myself waking up in a world I couldn’t recognize, lost, scared and piecing together fragmented memories through song and studio explorations.
THE ALBUM
I wanted to juxtapose real acoustic instruments like congas, bells, blocks, a Colombian tiple, and real horns, against analog drum machines and synthesizers, setting the music in something that was not identifiably new or old, neither futuristic nor retro. This go-between, marked by certain dark melodies and harmonies is meant to point to this delicate crossroads I feel we are are at today, so inwardly focused and self-absorbed, buried in our own digital lives while deeply longing for human connection that deep down we still intuitively know to be essential and at the fabric of our being. The music is meant as a soundtrack to the search for ourselves in this new digital world as we struggle to stay rooted through the eroding of our patience and capacity to reflect on who we are, what we need and where we are going.
THE STUDIO
Arriving at this collection of songs was preceded by a year or two of all kinds of work to get to this point, in both artistic and technical terms. While exploring my own voice, trying to write better horn lines, arrive at better arrangements, I was sometimes derailed by having to stop and make time to reimagine my setup. The recording and production of these songs was at the core of writing them; these songs emerged from the studio setup, in particular at the helm of a beautiful analog console that I found and so desperately wanted to include. I wanted to move my eyes away from a computer screen, feel the faders under my fingers, twist knobs, and have real compressors, EQs, and delays interacting, even fighting with each other at times and capture magic in the moment rather than overly doctor or edit the end result. Countless hours researching, soldering, wiring, and imagining allowed for a special kind of quiet reflection and at times a feeling that I was building the vessel that would take me where I was hoping to go.
THE ARTWORK
The artwork was commissioned artwork by Dixon a.k.a. Juan Carlos Noria. Communicating the journey as described above and having an artist capture this in their own mind and give something back brought a whole new feeling to the work. I find myself often looking at the artwork finding new things in these songs.
Big thanks to the amazing musicians that played on this record and brought their own unique energy to the sum of the parts of what I hope is a unique record that resonates with some of you.
credits
released January 19, 2021
Produced and recorded by Phil Motion. Additional mixing by Jay Jaknunas.
Phil Motion: vocals, drums, percussion, 808, synths
Ray Murray: vocals, tenor sax
Ed Lister: trumpet
Chris Vincent: trombone
Greg Stone: guitar
Marc Decho: bass
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We would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.
Nous tenons à remercier le Conseil des arts de l’Ontario, un organisme du gouvernement de l’Ontario, de son aide financière.
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Produced and recorded by Phil Motion. Additional mixing by Jay Jaknunas.
Phil Motion: vocals, drums, percussion, 808, synths
Ray Murray: vocals, tenor sax
Ed Lister: trumpet
Chris Vincent: trombone
Greg Stone: guitar
Marc Decho: bass
-----
We would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.
Nous tenons à remercier le Conseil des arts de l’Ontario, un organisme du gouvernement de l’Ontario, de son aide financière.
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about
Phil Motion Ottawa, Ontario
I am a producer wrkn with latin, afro, and electro influences, mainly via vocals, drum machines, guitars, synths, and and
percussion.
I have a studio in downtown Ottawa, Canada where I work with a hybrid of studio equipment old and new: analog consoles, vintage keyboards, reel-to-reels but also modern day rec equip, synths, etc.
Open to all kinds of collabs.
... more
discography
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Jan 2021 -
Nov 2020 -
Mar 2014 -
Sep 2012 -
Oct 2011 -
Jul 2009 -
Jan 2006