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Ginkgo

by Field Guides

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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      $10 USD  or more

     

  • Record/Vinyl + Digital Album

    Black vinyl LP, limited to 200 copies, gorgeous reverse-board printed sleeve, pressed with love & care at New Orleans Record Press

    Includes unlimited streaming of Ginkgo via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days
    edition of 200 

      $19 USD or more 

     

  • Record/Vinyl + Digital Album

    Vinyl LP in ginkgo leaf green splatter. Limited to 100 copies. Packaged in premium, reverse-board printed jackets, with a lyric sheet insert. Lovingly assembled by New Orleans Record Press.

    Includes unlimited streaming of Ginkgo via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days
    edition of 100 

      $23 USD or more 

     

  • Compact Disc (CD) + Digital Album

    Revisit the 90s with this old school format! A Compact Disc (CD) housed in a classic jewel case. Like a vinyl record but smaller, and you can play it in certain models of automobile!

    Includes unlimited streaming of Ginkgo via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days
    edition of 50 

      $8 USD or more 

     

  • Record/Vinyl + Digital Album

    All three of our albums for an extremely reasonable price!
    Ginkgo (black vinyl version) (2022) + This Is Just A Place (2019) + Boo, Forever (2014)
    (Limit 1 per customer)

    Includes unlimited streaming of Ginkgo via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 5 days
    4 remaining

      $40 USD or more 

     

1.
This is just a place And you are just a song Was it a disgrace that I could never play along? Driving through the Gap, listening for a sound, You put on Judee Sill and we sang along, “Soldier of the heart, how’d ya get so strong” And did you already know I’d fall apart? The sound the honey locust makes When its leaves shake in the wind You said that you regretted that I had to be a man You put the magnet on the photo on the fridge Your brother in a tree his eyes aimed at the lens Your father’s point-and-shoot, the moment still suspended The bending branch reflecting the buried root
2.
You wore my coat made of salmon skin I wore the veil spun from spider silk I wasn’t sure if you would let me in But you drank the last drop of the stuff that I spilled And slyly, I take my leave And finely, finally, you trace the edge From California you sent me a photo of The water reflecting in the cove where you got lost From the dusty valley on the grounds of the monastery I called you across continents, not considering the cost And slyly, I take my leave And finely, finally, you trace the edge
3.
Agios Sillas 03:32
Should I put some more wood on the fire? Should I put some more wood on the fire? Or should we snuff it out? Are you too tired? Did you see the bird land on the wire? Was that another lizard on the tile? Should we shut him out Or let him stick around a while? All in all an ‘I’ without remainder Like a violet to the nose it was a favor Sometimes to shut it down So that we might savor Again and again You sat there peeling clementines While I knew I was clinging to a version of you And our love that we had run through Unfamiliar beds and bathrooms Layovers and foreign half moons Holding on to a ghost already gone Should I put some more wood on the fire? Should I put some more wood on the fire? Or should we snuff it out? Are you too tired?
4.
The bedside book and the breeze in the branches Of the son of the tree that owns itself Clove to the root like the Babylon ruins Liquor in the glass and the piercing bluebell Emily’s ear breaks a human heart With nowhere to go but the places inside The bark of the birch and the mark of the bite Beneath the leaves of the tree that owns itself And the nightshade bloodshot eyes Red as the dye from the cactus bug And the minutes fold like the time between twins Like the seed spun toward the fallow floor And the men hang their heads with the bend of the bough Of the son of the tree that owns itself And the light rushes in Soft as your skin under mosquito net
5.
Cicadas in the lemon trees Do you still want me on my knees? Cicadas in the olive grove And I’ll be on my way I lost my voice while overseas Like Hades took Persephone I saw the shadows on the wall I swallowed all the seeds I dipped my toes in the water You left one foot out the door I went like a lamb to the slaughter A hungry wolf never hangs about We took the fruit from the vine Flattened as the fact abides We went to the beach from Joni’s song Come on, get out your cane Well I was drenched down to the bone You said you’d prefer to be left alone But if you were just a thirsty sponge then I’m left high and dry I dipped my toes in the water You left one foot out the door I went like a lamb to the slaughter A hungry wolf never hangs about It seems I just cannot help But to genuflect at the altar of your allergy to love Cicadas in the lemon trees Do you still want me on my knees? Cicadas in the olive grove And I'll be on my way
6.
The bower broke the art of fiction She asks me to make her come and I say, “First tell me all about your rare affliction” The city is a painting and I Make out only half the words she traced On foggy mirrors, the parsing of lips And tapping S.O.S. It’s anybody’s guess And I know all she’s got left to spend Is her time on me so let’s pretend That I’ve got all the time in the world And she’s got all the time in the world So let’s spend all the time in the world The quixotic pause and the wake that followed The floating buoys in the lake that swallowed Our unlaid plans and the unmade plea, The modest mention or the fierce decree That we are all the same We’ve only changed the names And all the rest remains And I know all she’s got left to spend Is her time on me so let’s pretend That I’ve got all the time in the world And she’s got all the time in the world So let’s spend all the time in the world
7.
Were you the rain on my parade? Was I the wrench in the gear? Were you the one who had to say It only took a year To realize we had been Too close in the end? And I was only gonna say it if you made me Even then only maybe Maybe, if you made me Maybe, yeah maybe, if you made me Were you ever gonna write A song about the good times? If songs could make it right Then two songs make a longing For you to finally write about The ways that we could be I was only gonna write it if you made me Even then only maybe Maybe, if you made me And then only maybe, yeah maybe if you made me
8.
Condensate 02:42
If we only sat behind the glass Long enough to see All the colors fading silently And if we only knew the words They had longed to hear All your suitors sent off wandering A finger on the condensate I wonder why you’re hesitating Dust in the tear duct I ask only to hear you pause And if the wish should go unheard All I wanted was only a word A finger on the condensate I wonder why you’re hesitating Dust in the tear duct I ask only to hear you pause And if the wish should go unheard All I wanted was only a word Only a word
9.
10.
Margaret 03:49 video
The much that calls for more Margaret, will you meet me at the station? The dress that you wore I’m forgetting how it billows All that I have is yours for the taking Losing your page, leave it there on the table And all that we have is yours for the breaking Out in the yard, you are Cain, I am Abel Now that I know how to walk I can no longer learn how to walk Up in Vermont, you told me you were always walking Away All that I had was yours for the taking Losing your page, leave it there on the table And all that we had was yours for the breaking Out in the yard, come around if you're able And all that I have is yours for the taking And all that we have is ours for the taking
11.
Draw circles around the spots Mosquitoes bit and blood was lost And I know you don’t love me When I act in certain ways You have a hard time filling up your days Fold me into a swan Show me where you cut your tongue And I hope you remember When I pulled slivers from your feet Days we stayed in bed, Hunky Dory on repeat Take me wherever you go I won’t say I told you so And I know you won’t tell me When you’re afraid of moving on Carve into floorboards the lyrics From all your favorite songs How is it that you got the worst of me again? Draw circles around the spots Mosquitoes bit and blood was lost And I know you don’t love me When I act in certain ways You have a hard time filling up your days With distractions and all your silly play

about

The order of trees to which the ginkgo belongs once covered the earth, back in the Early Cretaceous, before largely disappearing. The ginkgo is its last living species, and it has hardly changed in 300 million years. But having been cultivated by humans since shortly after our story entwined with its own, the tree has returned to a wide array of environments: a living fossil you can find in your backyard. All it needs is water and time.

So it’s fitting that the ginkgo lends its name to the third album by Field Guides, the ever-adaptable project of Brooklyn-based songwriter Benedict Kupstas. Kupstas is a poet of place and memory, someone who locates profundity in the everyday, and the songs on Ginkgo are taproots of a personal mythology that flower with references to specific landscapes and events. Taking cues from the cryptic allusive wordplay of Joni Mitchell, the hushed explosiveness of Yo La Tengo, and the “new weird” songcraft of Big Thief, they map the emotional geography of what Kupstas calls “the feeling of being unmoored from the familiar.”

Take “Cicadas in the Lemon Trees,” written on a hilltop terrace in Crete amid the din of the titular bugs. Like every song on Ginkgo, this one is lushly ornamented (here, with harp, cello, clarinet, synths, field recordings, and a nylon-string guitar lent to Kupstas by the family he was staying with), and it absorbs a particular landscape (here, one haunted by centuries of Greek mythology). It also alludes to an episode of temporary aphasia Kupstas had in Helsinki. “I lost my voice while overseas,” he sings in an achy baritone pitched somewhere in Bill Callahan’s zip code, “like Hades took Persephone.” Or see lead single “Salmon Skin,” which developed out of correspondence between Kupstas, working in refugee settlements in Lebanon at the time, and a friend/romantic interest in California. It finds nostalgia and longing in physical distance, a feeling exuberantly transmitted by a coruscating saxophone solo from Adam Robinson.

In that way, Ginkgo feels accumulated, the creation of a writing process Kupstas describes as “fairly haphazard and accretive.” He collects stray lines and inspiration from the wider world (Judee Sill lyrics, Walter Benjamin quotes, factoids about trees), carrying and interpolating those scraps until they latch onto a melody. His exquisitely drawn lyrics—of love, loss, dislocation, and ultimately the effort to persevere and make meaning—can make permanent the bond between heartbreak and a peeled clementine.

But Ginkgo’s existence is also collective. Most of the record was written for a live unit of drummer Rachel Housle, bassist Taylor Bergren-Chrisman, vocalist/pianist Alena Spanger, guitarist Julian Cubillos, and reeds player Aaron Rourk, but the pandemic and the dissolution of a relationship/musical partnership necessitated a change in recording plans. Several songs (e.g. “Agios Sillas,” “Condensate”) confront that unraveling directly, a version of the band à la Rumours or Shoot Out the Lights. In the end, more than 20 musicians performed on Ginkgo (including Drew Citron of Beverly/Public Practice, Matt Evans, Carmen Q. Rothwell, and members of The War On Drugs and Stars Like Fleas). With the help of co-producers Shannon Fields and Nico Hedley, and with mixing by Eli Crews (Tune-Yards, Why?, The Fiery Furnaces), together they have created a record that sounds at once intimate and expansively collaborative—an overstory of human dramas playing out within an interwoven community that extends far beyond our own species.

—Phillip Pantuso
Kingston, NY / 2022

credits

released June 24, 2022

𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈𓆈

Music & words by Benedict Kupstas
(Nico Hedley helped a lot with the bridge in “Margaret”)

Produced by Shannon Fields, Nico Hedley, & Benedict Kupstas
Arrangements by Benedict Kupstas, Nico Hedley, & Shannon Fields, with all the musicians
(Ryan El-Solh, Dan Knishkowy, & Carmen Rothwell played significant roles in sculpting “Judee...”; flute arrangement on "Son of the Tree..." by Aaron Rourk)
Engineered by Ryan Dieringer at Welterweight (3, 7, 10), Nico Hedley (4, 6, 11), Julian Cubillos (2), & Benedict Kupstas (rest)
Additional remote recording by all the musicians
Mixed by Eli Crews at Spillway Sound in West Hurley, NY
Mastered & cut for vinyl by Carl Saff at Saff Mastering in Chicago, IL

Cover art & inner sleeve art by Tom Henry
Layout, design, & ginkgo leaf linocut print by Benedict Kupstas

All the musicians (in alphabetical order): Taylor Bergren-Chrisman, Drew Citron, Julian Cubillos, Rebecca El-Saleh, Matt Evans, Shannon Fields, Nico Hedley, Andrew Hoepfner, Rachel Housle, Nic Jenkins, Anthony LaMarca, Tianna Kennedy, Dan Knishkowy, Benedict Kupstas, Jesse Perlstein, Tyler Rai, Adam “Bones” Robinson, Carmen Q. Rothwell, Aaron Rourk, Dave Scanlon, Alena Spanger, Cf Watkins

𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦𓆦

Immense gratitude to Nico Hedley, Shannon Fields, Tyler Rai, & Ana Fiore. Without their unfaltering support & encouragement, this album would never have made it from seed to sapling. And boundless love to all the musicians who very generously bestowed their brilliance upon the branches of this family tree.

𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉𓆉

This is Whatever's Clever #33

© & ℗ 2022 Benedict Kupstas - Field Guides Music (ASCAP)

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Field Guides Brooklyn, New York

singin' with the frogs
in the pond
at night

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