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We’ve updated our Terms of Use. You can review the changes here.

BRASKA

by ED / MCL

supported by
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  • Limited Edition 12" Clear BRASKA Vinyl
    Record/Vinyl + Digital Album

    Edition of 20 signed records with special surprise.

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1.
BRASKA 04:42
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2.
CITY 03:37
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3.
MANSION 04:06
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4.
99 03:36
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5.
PATROLMAN 06:18
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6.
TROOPER 03:46
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7.
USED 03:18
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8.
NIGHT 04:30
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9.
FATHER 05:18
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10.
REASON 05:59
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about

On January 3rd, 1982, Bruce Springsteen recorded 15 songs for what would become the album Nebraska. These songs were recorded as demos originally intended for re-recording with the E-street Band. However, Bruce decided that a full band could not improve the ethereal quality of the home-tape recordings. The final cut has 10 songs, officially released on September 30th, 1982. The songs tell stories about a spectrum of struggling men: murderers, criminals, cops, and blue-collar workers that all share the same stretch of unforgiving highway. Every man described on this album is trapped in a hopeless situation. Death row, insurmountable debt, and dead fathers torment each protagonist into emotional exile.

In the late 90s - 2000’s, popular music formed a different spectrum of masculinity. A number of competing, yet co-dependent styles emerged in the American mainstream and local scenes: nu-metal, pop punk, emo, hardcore, horror-core, etc. These genres were dominated by white men performing intense anger and violent fantasies steeped in attempts to enshrine their own bravado. In hip-hop derived nu-metal bands like Limp Bizkit and horror-core acts like Insane Clown Posse, the performance of masculinity centered the typical man-ness – physical threats towards abstract protagonists and expressions of their individual power and an IDGAF mantra. Later on, the emo kids borrowed some make-up and hairspray from previous genres – a little bit of hair metal, and some goth-derived eyeliner. The emo scene, however, poorly attempted to subvert masculinity by being feminine. They had higher voices, tighter pants, and confessional lyrics. Their aesthetic felt more progressive than their predecessors, but their lyrics still dripped with misogyny, violence, and an all-too-familiar rage. Some of them were child predators, and a lot of them loved Jesus.

Enter ED/MCL, pronounced “Ed Michael.” ED/MCL was raised in this era of masculine music (for better or worse). They have dug into the garbage heap of American-boy, rebellious suburban, millennial youth-culture. They heap staged masculine forms and lug it around like steaming compost. They wear the skins of dead genres with every Slipknot-esque trash mask and re-animate the corpse of the repulsive male pop-star. For their first full album, titled BRASKA, they have covered the entirety of Bruce Springsteen’s Nebraska. Using Ableton Live, Serum, a saxophone, and their voices, they have fused the disparate themes of bygone pathetic masculinity into a rotten pile. But like any pile of garbage, there are moments of ✨beauty. ✨

with love,
@xx_ed_mcl_xx

credits

released April 8, 2023

ALL SAXOPHONE PLAYED BY poisontivey

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