{"title":"Black Marble","description":null,"products":[{"product_id":"fast-idol-lp","title":"Fast Idol [LP]","description":"\u003cp\u003e\u003cspan\u003eOn Fast Idol, LA-based Black Marble reaches back through time to connect with the forgotten bedroom kids of the analogue era, the halcyon days of icy hooks and warbly synths. Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. 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The environment brought much excitement and possibility, but the distance had proved too much for the car he brought along. With it out of commission indefinitely, he purchased a bus pass and planned his daily commute from his Echo Park apartment to his downtown studio, where he began to shape \u003c\/span\u003e\u003cem\u003eBigger Than Life\u003c\/em\u003e\u003cspan\u003e. The route wound all through the city, from the small local shops of Echo Park to the rising glass of the business district, to the desperation of Skid Row. The hurried energy of the environment provided a backdrop for the daily trip. When Stewart finally arrived at his studio, he’d look through his window at the mountains and the sky, seeing the beauty that makes L.A. unique — the same beauty his fellow commuters, some pushed to the edge of human endurance, had seen. 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Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMelodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson’s San Francisco. ‘Somewhere’ opens in sombre herald, before dropping into a fast freeway tempo; the glassy synths and crisp beats cut through the anxious moods on ‘Bodies’ and ‘Try’ sits in a lineage with cult bands like Asylum Party. ‘The Garden’ is a journey through a post-apocalyptic cityscape, earthed by the pulse of a drum machine whereas ‘Ship To Shore’ could be a lost Oppenheimer Analysis B-side, and the album’s closer ‘Brighter and Bigger’ catches a sentiment like The Dadacomputer has learned to feel emotions. He captures the loneliness of Ray Bradbury’s atomic-era sci-fi and the apocalyptic but revolutionary spirit of Godard’s Sympathy for the Devil, as in ‘Preoccupation’, the beating heart of the album, which conjures ambivalent scenes of an empty world and the comfort to be found in a shared humanity.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEmerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. 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Life in Small Spaces trades walls of synths for more guitar, drawing on early American left of the dial college radio staccato guitar lines recalling Pylon, The Necessaries, and R Stevie Moore, and live drum samples, a nod to Wire’s simple metronomic style. Stewart explains the reason for the change as a way to “create this chime-y hypnotic quality. Like a radio dial that is between two stations.”\u003c\/p\u003e\r\n\u003cp\u003eVisually, Life in Small Spaces features Stewart alone on the cover in a sparse room, surrounded with an eruption of confetti—an image that reflects a self-contained world that may appear small, bleak and cluttered but is fully his own. A fitting frame for a record that embraces limitation as a form of clarity, and one that tells the story of choosing a simple life, giving up stability and comfort for an existence of bold and engaging connections. This further reflects Black Marble’s confidence in not only his artistry, but the community that has grown and evolved around the project over the years. “[Life in Small Spaces] is what I want to talk about as an artist. It's where I am at this exact moment and I know\u003cbr\u003eI'm not alone in how I feel.”\u003c\/p\u003e\r\n\u003cp\u003eThis sentiment isn’t a disclaimer. It’s the point. Life in Small Spaces, with its introspective lyricism disguised neatly within Black Marble’s radiant musicality, is an earnest analysis of the pressures that shape artists. 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Life in Small Spaces trades walls of synths for more guitar, drawing on early American left of the dial college radio staccato guitar lines recalling Pylon, The Necessaries, and R Stevie Moore, and live drum samples, a nod to Wire’s simple metronomic style. Stewart explains the reason for the change as a way to “create this chime-y hypnotic quality. Like a radio dial that is between two stations.”\u003c\/p\u003e\r\n\u003cp\u003eVisually, Life in Small Spaces features Stewart alone on the cover in a sparse room, surrounded with an eruption of confetti—an image that reflects a self-contained world that may appear small, bleak and cluttered but is fully his own. A fitting frame for a record that embraces limitation as a form of clarity, and one that tells the story of choosing a simple life, giving up stability and comfort for an existence of bold and engaging connections. This further reflects Black Marble’s confidence in not only his artistry, but the community that has grown and evolved around the project over the years. “[Life in Small Spaces] is what I want to talk about as an artist. It's where I am at this exact moment and I know\u003cbr\u003eI'm not alone in how I feel.”\u003c\/p\u003e\r\n\u003cp\u003eThis sentiment isn’t a disclaimer. It’s the point. Life in Small Spaces, with its introspective lyricism disguised neatly within Black Marble’s radiant musicality, is an earnest analysis of the pressures that shape artists. It is an invitation to accept and consciously agree to a more minimal lifestyle for the sake of creative expression and freedom, and to never need to compromise your values for the tempting illusion of success.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIt Always Comes to Me (3:49)\u003c\/li\u003e\n\u003cli\u003eJim Carol New Year (3:33)\u003c\/li\u003e\n\u003cli\u003eAnything (3:43)\u003c\/li\u003e\n\u003cli\u003eGet Back Up (3:44)\u003c\/li\u003e\n\u003cli\u003eOther Man's Dream (4:35)\u003c\/li\u003e\n\u003cli\u003eGuess (3:02)\u003c\/li\u003e\n\u003cli\u003eLife Without (3:30)\u003c\/li\u003e\n\u003cli\u003eMissing History (4:23)\u003c\/li\u003e\n\u003cli\u003ePanopticon Calls (3:59)\u003c\/li\u003e\n\u003cli\u003ePicture When (3:25)\u003c\/li\u003e\n\u003cli\u003eSonny Boy (3:33\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 840526510061\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.21.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Black Marble","offers":[{"title":"Default Title","offer_id":45933371654342,"sku":"220628378","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4520121-3611921.jpg?v=1781306160"},{"product_id":"pre-order-life-in-small-spaces-black","title":"Life in Small Spaces [Black]","description":"\u003cp\u003eBlack Marble hummed to life in the fall of 2012, switched on by the early aughts New York City synthwave revival. Today, fourteen years on and seven releases later, Chris Stewart continues to make records hunched over machines that warm to the touch when turned on and need to be coaxed to stay in tune. His albums, written, recorded, and delivered solely Stewart, remain singular visions, with songs that seek to convey a diffuse pastiche, now shaped by a desire to wrap the whole thing in a message that speaks to where he’s been and where he wants to go.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003eHis latest vision, Life in Small Spaces, sees Stewart comment on the music industry and his role within it, reflecting on how underground music has changed over time, and how a blueprint for keeping things simple and being true to oneself is the only ideal for living in this complicated landscape.\u003c\/p\u003e\r\n\u003cp\u003eStewart's desire to span time with his ideals intact shows up in the songwriting, which retains the project’s pop-sensibilities while adding new tricks to the bag. Life in Small Spaces trades walls of synths for more guitar, drawing on early American left of the dial college radio staccato guitar lines recalling Pylon, The Necessaries, and R Stevie Moore, and live drum samples, a nod to Wire’s simple metronomic style. Stewart explains the reason for the change as a way to “create this chime-y hypnotic quality. Like a radio dial that is between two stations.”\u003c\/p\u003e\r\n\u003cp\u003eVisually, Life in Small Spaces features Stewart alone on the cover in a sparse room, surrounded with an eruption of confetti—an image that reflects a self-contained world that may appear small, bleak and cluttered but is fully his own. A fitting frame for a record that embraces limitation as a form of clarity, and one that tells the story of choosing a simple life, giving up stability and comfort for an existence of bold and engaging connections. This further reflects Black Marble’s confidence in not only his artistry, but the community that has grown and evolved around the project over the years. “[Life in Small Spaces] is what I want to talk about as an artist. It's where I am at this exact moment and I know\u003cbr\u003eI'm not alone in how I feel.”\u003c\/p\u003e\r\n\u003cp\u003eThis sentiment isn’t a disclaimer. It’s the point. Life in Small Spaces, with its introspective lyricism disguised neatly within Black Marble’s radiant musicality, is an earnest analysis of the pressures that shape artists. It is an invitation to accept and consciously agree to a more minimal lifestyle for the sake of creative expression and freedom, and to never need to compromise your values for the tempting illusion of success.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIt Always Comes to Me (3:49)\u003c\/li\u003e\n\u003cli\u003eJim Carol New Year (3:33)\u003c\/li\u003e\n\u003cli\u003eAnything (3:43)\u003c\/li\u003e\n\u003cli\u003eGet Back Up (3:44)\u003c\/li\u003e\n\u003cli\u003eOther Man's Dream (4:35)\u003c\/li\u003e\n\u003cli\u003eGuess (3:02)\u003c\/li\u003e\n\u003cli\u003eLife Without (3:30)\u003c\/li\u003e\n\u003cli\u003eMissing History (4:23)\u003c\/li\u003e\n\u003cli\u003ePanopticon Calls (3:59)\u003c\/li\u003e\n\u003cli\u003ePicture When (3:25)\u003c\/li\u003e\n\u003cli\u003eSonny Boy (3:33\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 840526510078\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.21.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Black Marble","offers":[{"title":"Default Title","offer_id":45933371982022,"sku":"220643750","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4520119-3611923.jpg?v=1781304658"}],"url":"https:\/\/paladinvinyl.com\/es\/collections\/artist-black-marble.oembed","provider":"Paladin Vinyl","version":"1.0","type":"link"}