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SNIP

by Ben Varian

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1.
It’s our breakup call by the river I’m calling you from the rocks The river’s a natural place for relationship talks It’s our breakup call by the river Whenever you’re ready to go I hope that the fish and the frogs are prepared for the show It’s our breakup call by the river We’ll try not to be unkind The birds take a dip and the water is looking fine The trees are swaying in the breeze We live in two different realities It’s our breakup call by the river I wouldn’t call from the car There’s just something right about breaking up by the sandbar It’s our breakup call by the river Is that a personal attack? Hold on a sec there’s a guy passing by in a kayak It’s our breakup call by the river I’m lounging against a log I hope that I still get to sometimes see our dog An egret cruises up above We never learned a healthy way to love
2.
Fizzy 03:04
Pictures up in the sky make you feel dizzy Bubblegum and Canada Dry keep your mouth busy so it doesn’t have time to sing a sad song for love At the end of the day you eat a blue flower You give your longing away to some power And there isn’t a mouth to sing a sad song for love See me Paint me Your hand’s in the way Closer Smaller Fold flat like a moth Come back often Watch it soften Every note that you play is a blue arrow You have to give the music away out the open window And there isn’t a tape There isn’t a trace at all Indecipherable art makes you feel better Tear the letter apart and write a new letter Where there isn’t a rhyme There isn’t a song at all Come back often Watch it soften
3.
4.
I see the Marx Brothers movie through your eyes I see the wooden jacuzzi through your eyes I see the yellow and green candy bar color scheme through your eyes I see the Soviet poster through your eyes I see the Budweiser coaster through your eyes I see the moccasin shoes and the Stetson hat too through your eyes I can’t find my eyes to see through I’ve been hypnotized And now I’m looking at me too through your eyes I see the Malibu landscape through your eyes I see the buttermilk pancakes through your eyes I see the Columbo plot and the fisherman’s knot through your eyes The world is full of images that are useless Like an all you can eat buffet when you’re toothless And the endless parade is so cruel and ruthless The projector keeps on running The pictures keep on coming and I can’t find my eyes to see through I’ve been hypnotized And now I’m looking at me too through your eyes
5.
Cabbage 02:19
Bubbles in the paint Cycles in the cabbage Not so very straight Not so real the average I wish that I could leave I wish that I could stay I’m gonna be a-wishing either way Babies on TV The ocean on the paper Not so very sweet Not so real the danger I want to be so free I want to be so safe I’m gonna be a-wanting either way Gator on the hook Spaghetti on the sidewalk Nothing like the book Nothing like the TED talk I want to eat the key I want to mark the page I’m gonna be a-wanting either way
6.
Laredo 03:28
Laredo Sit in the sun for a minute Have a drink from the faucet Quit leaning on the wall Don’t you see the leaves turn Laredo? And soon they’re gonna fall Laredo The union card in your wallet The unsold tapes in your closet The plastic all will melt Take a look in the mirror Laredo You missed a notch on your belt Laredo Life is a pot of water Pain is a ravioli Your mind is a slotted spoon Try to be a bread bowl Laredo And god is a holy soup
7.
8.
They put a Chipotle where there was a live oak tree They put a Sunglass Hut where the old Chipotle used to be The parking garage has another layer The billboard lawyers are a little grayer In my hometown But nothing really changes in my hometown The future’s yet to be invented There’s still heroes, villains and clowns In roughly the same percentage They sold off the swampland just to make a speedy buck I used to leave my body staring in that cosmic muck The county road is a little wider They say that new brewpub has got a killer cider In my hometown But nothing really changes in my hometown They still got Journey on the radio There’s still heroes, villains and clowns In roughly the same ratio
9.
In the woods outside the city on a trampoline The revolutionary committee reconvenes They’re making beautiful music and cooking DMT They say the way it always was is not the way it’s gonna be In Florida things grow where you least expect You know it might have multiplied since you last checked They’re practicing with rifles and singing that new song That says it won’t be long now, it won’t be long
10.
There’s a charming A-frame house just off of Fulton street That is where the middle aged avant-garde jazzers meet Anyone is welcome, just don’t forget to take off your shoes I’m at home I’m in heaven with the Berkeley Jews You can discuss Ornette and Stravinsky and John Keats You can have a matzoh ball topped with nutritional yeast Their sarcasm is drier than imported green chartreuse I’m at home I’m in heaven with the Berkeley Jews In heaven I’m in heaven In heaven I’m in heaven with the Berkeley Jews The bathroom smells like tea tree oil and trace of turpentine It’s stocked up with the last three months of Sunday New York Times And a picture album full of shots from their Mediterranean cruise I’m at home I’m in heaven with the Berkeley Jews Outside they will fire one up under the misty sky Pass it to the cool algebra teacher from Berkeley High The cd changer’s loaded with the finest rhythm and blues You’re at home You’re at home You’re in heaven with the Berkeley Jews
11.
Sit and watch a candle flame Sit and watch a baseball game In stillness it finds you Wash an apple in the dive bar sink Play the cymbals til your eardrums ring The chaos reminds you Better to be a knot than not to be but you’ll have to pull that thread eventually No more mister this guy I’ve got the will to change I’m gonna rearrange The clouds In the blue sky No more mister this guy I’m gonna come around I’m gonna kiss the ground On the shore Of a new try I’ve said it again And I’ll say it before There once never was And there won’t anymore Be a this guy No more mister this guy I’ve got the will to change I’m gonna rearrange The clouds In the blue sky No more mister this guy I’m gonna come around I’m gonna kiss the ground On the shore Of a new try
12.
The Egg 03:10
Tonight all my friends look like Beatles The fog machine wards off all evil I can feel you standing right next to me You hand me the egg that no one can see And the band warms up Tonight all the pigeons are famous They want only to entertain us I can see the eggshell starting to crack When the light comes out it won’t go back And the band plays that song we haven’t heard in so long I was facing the room with one earplug My faith was asleep like a dog on the rug You were true but I thought you were a symbol I was high when I found out it was simple Tonight the moonlight throws off our saddles I wear your glasses and we share an apple The people on the porch all do agree There must be an egg that no one can see And the mic feeds back Tonight all the wind chimes are playing The pedestrian bridges are swaying Water jumps the banks of the stream I can see that the hills will soon be green And the band loads out leaving no doubt I was facing the room with one earplug My faith was asleep like a dog on the rug You were true but I thought you were a symbol I was high when I found out it was simple And slowly the green grass starts to grow

about

From the first line of Ben Varian’s newest album, SNIP, the edge of the cliff is crumbling, the final thread is coming undone, and everything is falling apart. While a doubled vocal line playfully announces the titular situation of “It’s Our Breakup Call By the River,” angular electronic drum-fills begin to sprout from the cracks in the sonic sidewalk. The dialogue is heavy, but Varian pops the tension like bubble gum. With his carefree inflection and vocal flips on hold on a sec, there’s a guy going by in a kayak, there’s a sense of lighthearted melodrama. The landscape is Yellow Submarine meets Looney Tunes, and the scene is set with a stick of Acme dynamite—the fuse has been lit, and psychedelic chaos is bound to ensue.

But beneath this cartoonish exterior, the pain is heart-wrenchingly real. A saxophone solo wails into visceral melancholy, and some of Varian’s buoyantly humorous lyrics reveal themselves to be shockingly to-the-point: I hope that I still get to sometimes see our dog. Drawing from Dave Frishberg’s straightforward storytelling style, Varian has developed his own effortlessly-arresting voice across his last five releases, particularly 2021’s One Hundred Breakfasts With The Book. While his penchant for finding “the sweet spot between the satisfying and the strange” permeates the project, the heightened sense of carnivalesque surrealism distinguishes SNIP from previous works. A slew of shiny, round textures bounce through the album, while others take a more jagged path, cutting through with ragged distortion. Mundane moments are blown out of proportion, shrunken, and enlarged to such a disorienting level, it’s hard to tell what’s real.

While SNIP was recorded and assembled digitally, it doesn't feel artificial—all of the horns, strings, and woodwinds were recorded live, and each performance is delivered with character. With his impressive cast of collaborators, DIY approach, and light production touch, Varian’s songs maintain an organic quality as they sketch out a deeply human experience marked by striking specificity. “The chorus is often the end goal, so I ask myself, how can I use the verse to get there?” he elaborates. It seems logical, then, that many of the tracks on SNIP developed based on a particular vignette or moment in time. Many of the lines are so laden with non sequiturs, it’s as if they're flashing past on a projector: The world is full of images that are useless / Like an all-you-can-eat buffet when you’re toothless. Even abstract instrumental tracks like “Patient Noiseless Spider” and “Jet Blue Anthem” evoke vivid pictures as Varian ventures through a sonic funhouse, examining himself in every mirror.

Primarily recorded from home over the course of three years, the temporal scope of the album is reflected in its narrative arc. When taken as a whole, SNIP outlines a chronological experience of grief. Simultaneously, time and space become irrelevant as the world of SNIP operates with its own laws. Some tracks, like the manically groovy “Cabbage,” are almost indecipherable, as if coming from the mouth of an alien or all-knowing cosmic entity. Meanwhile, in others, pain is a ravioli and the mind is a slotted spoon: emotions are tangible enough to eat. Yet within a single track, it’s hard to know which version of reality to trust; just as “Laredo” takes on a wisened, divine perspective, the song shifts into a youthful jingle laced with playful vibraphone, punctuating the song like the moral at the end of a children’s television show.

The first half of SNIP looks inward into the confusing, shifting landscape of the post-breakup mind. By the second half of the album, Varian’s perspective begins to pivot outward to the wider world. As this new era of life begins, the narrator returns to an old hometown: They put a Chipotle where there was a live oak tree / They put a Sunglass Hut where the old Chipotle used to be. The story is grounded in the real world, but the same heroes, villains and clowns appear in each animated episode. Varian takes us through even wilder territory; he concludes “In the Woods” with a whistle drenched in reverb, beckoning us to follow.

In recent years, Varian has focused on producing records for fellow songwriters. SNIP, though, is all his own, and his powerful introspection ripples below the whimsical surface. The penultimate “No More Mister This Guy” struts through tango-infused verses into a triumphant chorus that beams with Steely Dan-style sunniness. While the influence is apparent, SNIP is far from historical revisionism, instead opting for a wholly fresh approach to songwriting. Subtly clever turns of phrase like I’ve said it again, and I’ll say it before tie time and perspective into disorienting knots as Varian vows to change himself. The experience he depicts is deeply personal, but his vivid storytelling resonates broadly.

While countless artists sink their songwriting into the depths of melancholy, Varian finds playfulness—even delight—in the aftermath of heartbreak. By the time he reaches the off-kilter pulse of “The Egg,” he finds himself in a very different place from where he started. Things begin to look joyful and intoxicating. Slowly, the green grass starts to grow becomes the catchphrase of the final track; it spins over itself, then crashes and burns into an ending so abrupt, there’s no chance to watch the flames. We’re left stunned, grappling with what just happened. Yet it’s as if we’re cycling back to the first track, where everything falls apart all over again. It’s utterly confounding, and in the world of SNIP, absurdity is the only thing that’s real. ~ Bryn Battani

credits

released October 25, 2024

☼ All songs written by BV, July - December 2022
☼ Produced/arranged/engineered by BV, January - July 2023
☼ Mixed/mastered by BV, December 2023
☼ Played/sung by BV except where noted
☼ Album art and layout by Jake Tobin
☼ Co-released by Bumpy & Truly Bald

✰✰TRACK CREDITS✰✰

1. It’s Our Breakup Call By The River
➛ Vocals: Gracie Jackson & Jolee Gordon
➛ Saxophone: Marta Tiesenga

2. Fizzy
➛ Vocals: Al Heaney
➛ Violin: Laena Myers
➛ Flute: Nelson Devereaux
➛ Banjo: Gracie Jackson

3. Patient Noiseless Spider
[Played by BV]

4. Through Your Eyes
➛ Vocals: Gracie Jackson & Jolee Gordon
➛ Guitar: Adam Paulson
➛ Bass: Noel Friesen
➛ Saxophone: Marta Tiesenga
➛ Trumpet: Denney Fuller
➛ Violin: Laena Myers

5. Cabbage
➛ Saxophone: Marta Tiesenga

6. Laredo
➛ Vocals: LOLA & Al Heaney

7. Jet Blue Corporate Anthem
➛ Saxophone: Marta Tiesenga
➛ Flute: Nelson Devereaux
➛ Violin: Laena Myers

8. Florida I (In My Hometown)
➛ Vocals: Rebecca Schiffman & Al Heaney
➛ Guitar: Adam Paulson

9. Florida II (In The Woods)
➛ Vocals: Rebecca Schiffman
➛ Whistling: Marta Tiesenga
**Intro excerpted from cassette loop performance piece “In The Woods? What? In The Woods? Yeah”, featuring the voice of Kevin Mahoney. Originally performed by BV at Display Gallery, Gainesville FL on 9/21/2014 and recorded by Andrew Chadwick**

10. In Heaven With The Berkeley Jews
➛ Vocals: Rebecca Schiffman & Al Heaney
➛ Guitar: Adam Paulson
➛ Bass: Erica Shafer
➛ Flute: Nelson Devereaux
➛ Euphonium & Bassoon: Luke Csehak
➛ Violin: Laena Myers
➛ Trumpet: Denney Fuller

11. No More Mister This Guy
➛ Vocals: Al Heaney
➛ Saxophone: Marta Tiesenga
➛ Trumpet: Denney Fuller

12. The Egg
➛ Vocals: Al Heaney
➛ Guitar: Adam Paulson

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Ben Varian Los Angeles, California

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