867 by This Is The Glasshouse
On Spotify: https://open.spotify.com/album/58Llb22QYZsh84c79agEnc
On YouTube: https://www.youtube.com/watch?v=W5YsHH9Mihw
On Apple Music: https://music.apple.com/us/album/867/1778879912
My Twitter: @Glassedhouse
My BlueSky: @glasshouse.trickystoop.com
My awesome discord server: https://discord.gg/rNrWpdFDtB
It is no exaggeration to say that the creation of this record nearly killed my love for making music. Half-jokes to my friends about how “it’ll all be better in November after this is album is finished and I’ll never have to do music again” were shared with the same semi-truthfullness that one would talk about a imminently due school paper with. It is still shocking to me how just ten tracks very effectively ruined my mental fortitude; slowly grinding it down until I had memorized every pitch and sound of each song; each element containing some kind of small story or executive decision that had to be made at a point. If you could see the level of obsessive and detailed consideration that those involved with the creation of this record saw consume me over the past 12 months, it would be easy to understand why that on the final hour of its original release date, I had the worst panic attack of my life. I was really, actually, saying goodbye to this thing that I had been working on just about every day since mid-November 2023 (and some of these lyrics, such as those for Robinson, had been used in scrapped songs going back all the way to early 2021). For the days I chose not to work on it, it still occupied the bulk of my daily thoughts and habits. In the end, I could not cope with this and decided that it was far easier to simply walk away from my laptop and go to sleep in tears, made no easier by the fact that I had not properly slept or fed myself in weeks. I come to you now as someone who is more prepared to not only let those uninvolved with this record listen to it in full, but also as someone willing to step back and call this project finished by enshrining its contents in uneditablity. Cole and I are so thankful of those who have taken part in the promotion of this record (despite the two deadline pushbacks), and I still cannot believe the praise As Small As Ants has received from so many people who I don’t even know (and those who I got to know from it). We hope that this record can do something for you that few can. We hope that you can hear the self-destructive amount of time and effort that was put into this record, manifest in its attention to detail and emotional honesty.
Tracklist
| 1. | Streetlight By Streetlight | 5:37 |
| 2. | Before Machinery | 8:38 |
| 3. | Southpaw | 3:39 |
| 4. | January | 9:52 |
| 5. | 7Bass / Lorne | 6:26 |
| 6. | Two-Headed Calf | 3:39 |
| 7. | 867 | 9:34 |
| 8. | Old George | 10:21 |
| 9. | October | 3:35 |
| 10. | Robinson | 7:40 |
Credits
Odd-numbered tracks written by Ezekiel Dukart.
Even-numbered tracks written by Cole Buchinski and Ezekiel Dukart.
Mixed by Ezekiel Dukart and Kian Dunn.
Track 6 was adapted from the poem “Two-Headed Calf” by Laura Gilpin (1976).
Rosie Drown - Alto Saxophone (1), Clarinet (5, 9), Flute (1, 9)
Eli Lyons - Bassoon (1, 3, 5), Contrabassoon (3)
Ruby Cloud Iris - Piano (1, 5, 9), Wurlitzer (7)
Arps Bau - Trumpet (5)
Justin Graham - Drumkit (3)
Kian Dunn - Alto Saxophone (5, 7), Tenor Saxophone (7), Backing Vox (1, 3)
Tamsen McKerley - Backing Vox (1, 3)
Maxwell Sorensen - Backing Vox (1, 3)
Violet Griffiths - Backing Vox (1, 3)
Owen Mosely - Trombone (7)
JJ Payne - Baritone Horn (1, 3, 9)
Nolan Wood - Tenor Saxophone (1, 3, 5, 7, 9)
Rhye Politylo - Baritone Saxophone (1, 3, 9)
Artemis Gallegos - Double Bass (3, 9)
Jayda Thor - Cello (1, 3, 7, 9)
Noah Ord - Violin (1, 5, 7, 9), Trumpet (1, 3, 7)
Timon Martell - Electric Guitar (3)
Emberlynn Bland - Marimba (7)
Jules Dawkins - Trombone (3, 5, 9)
Zarzemora - Artwork
Cole Buchinski – Electric Guitar (2, 6, 9, 10), Classical Guitar (8) Bass Guitar (4), Drumkit ( 2, 4, 10), Noise (2, 4), Vox (8), Backing Vox (1, 2, 3)
Ezekiel Dukart – Vox (1, 2, 3, 4, 6, 7, 9, 10), Backing Vox (6, 8), Drumkit (1, 3, 5, 6, 8), Additional Percussion (1, 2, 3, 5, 6, 7, 8, 9, 10), Electric Guitar (1, 4, 5, 6, 8, 10), Classical Guitar (1, 9), Bass Guitar (1, 2, 4, 5, 6, 8, 10), Piano (3, 10), Vibraphone (1, 3, 6, 9), Glockenspiel (3, 5, 6, 8), Drum Programming (7), Synthesizer (1, 7), Field Recordings (1, 2, 3, 7, 10), Noise (2, 4, 8), Harpsichord (1, 3), Toy Piano (3, 8), Chimes (3, 9), Timpani (2, 3), Electric Piano (7), Wurlitzer (5)
All songs were created at 1124 Topaz in Victoria, British Columbia and in the Hamlet of Mount Lorne, Yukon.
Love live 867!
Thank you to all of our friends in the UVic MUCS program who helped us with the recording and mixing of this record, gave insights into how we could improve it, or simply asked repeatedly when it was going to be out. That kind of thing means the world to me and kept me going through it all.
Especially, thank you Kian so goddamn much for doing too much on this in so many different ways. Be it the banal, such as giving mixing critiques in the wee hours of the morning, or the fucking outrageous, like assembling and mixing a good chunk of the title track at your own Halloween party or buying me Subway when I hadn’t eaten in 36 hours. If there was a third person most involved with how this record turned out sound-wise, it would easily be you, and large parts of this record would have been impossible without your skills, time, and your frankly abhorrent sleep schedule. This is what it’s all for.
Thank you Alisha, Logan, Lucy, and Fintan for generally being around and giving us some hot tips while we were composing in your house. Long live 1124 Topaz, I guess.
Thank you Jacob for loaning us your Jazzmaster. It was easily the least shit sounding guitar on the record (far better than Cole’s sand guitar I’m told).
Thank you Mike Greene for letting us use your loud ass, comic sans crash cymbal for most of the drums on this record and your tiny kit when assembling the demos for the even-numbered tracks.
Thank you Andrew C for letting me into the percussion room in the basement. I didn’t really get a lot done in there but I recorded some hella sweet impromptu marimba for the opener.
Thank you Lee for inspiring the words for Robinson. I hope to talk to you about this place again some time.
Thank you Mom and Dad for being my constant taste curators.
Thank you Yodie for the noise.
License
CC BY-SA 3.0. See the Creative Commons website for details.
(This Is The) Glasshouse is a musical project by one 21-year-old living in Mt. Lorne Yukon and Victoria BC.