*Hieronymus Bosch, The Garden of Earthly Delights, 1503-1515

The third song, “All Day Breakfast,” is very much in the same vein as the rest of the EP. There’s nothing I can say that the following excerpt doesn’t say itself: 

“And I am just like you / I have bad days too / There’s more to come / More to come / And I am in if you are / Always a godmother never a god / Always a lover not always loved / Never held just touched / Wanted but never asked what I want.” 

I mean, COME ON, that’s beautiful! While listening to this EP and writing this review, the voice of Herbert Morrison echoed from my subconscious screaming “The humanity, the humanity!” 

This EP walks many fine lines of conflict. The conflict between our perceived rational mind and our emotional yearnings, the conflict we have with others, and the conflict between our grim knowledge of the past and our hopes for what the future may bring. Every song deals with similar issues, but in such different ways that the listening experience is never tepid.

The final song of this project, “Oh God There’s So Much Love in Me,” is the closest thing we get to closure. This song begins with the speaker laying out an intimate character trait — or perhaps flaw — of their subject with crushingly casual limpidity.  While watching their subject dodge traffic on their bike, the speaker says, “I’m scared cause you’re fragile even though you act like you’re not / You’re a lot of things you act like you’re not.” This is a criticism full of implication. It implies that the speaker knows them better than they know themselves, that the relationship between them is one that transcends the artifice and performance of more pedestrian romances. It also implies a deep level of consideration held by the speaker for their subject, that despite their act of being seen through, the speaker still cares deeply for them. 

The second verse focuses on pipe dreams. Things like the speaker not having losers scream at them on the sidewalk. Things like their subject wanting to talk to them on the phone, or see them with clothing on. The second verse harpoons the hope set up in the first verse. It leaves the listener with a feeling of stale desolation, the aftermath of a long war of attrition, one which has dragged on so long that we are desensitised to its horrors, though not unaffected. Underpinning the song, and by extension the whole work, is the only formal chorus on the whole EP: 

“I wrote you this song drunk on the floor of a toilet stall / And my head is spinning there’s someone knocking on the door / I’m not the type to believe in signs no not at all / But oh god there’s so much love in me was written in black marker on the wall / And it made me feel different.”

I’m not sure if I’m supposed to cry or punch a hole in a wall or stare blankly at a wall or call my ex and ask for a second chance or just go and get coffee with a friend.

At first the instrumentation of this EP seems to play a supporting role to the lyrics. Kelso’s soft, sometimes shaky, vocals also seem to serve a supporting role. However, upon a second listen, or perhaps the reading of a long-winded review, it is clear that this is not the case. Kelso’s writing, instrumentation, and vocals reinforce each other beautifully and allow the listener to focus on the content of what is being said rather than being distracted by how it’s being said. There are miscellaneous and intermittent instruments that aren’t a guitar, drum, or bass, but for the most part, those three instruments drive every song. When other instruments come through strongly, like in “It’s Okay, Life Goes On, I Don’t Mind,” what I believe is an oboe or bassoon lends a hazy, dream-like atmosphere to the song. Every song has an interesting musical quirk that keeps “Always a Godmother, Never a God fresh and prevents the emotional content from feeling stale. Kelso’s gentle intonations, soft diphthongs, and easy elisions soothe the listener into the complex emotional world created by her lyrics and provide the only consistently pleasant emotional experience in the entire work. 

Overall, I would say that this EP rates as solid to pretty solid.  

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