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about
I wrote "On Passing" as the health of two close friends were in rapid decline, with illnesses that led to both of their untimely deaths. Processing end-of-life is at once entirely natural and human, and at the same time, entirely abstract and unimaginable. It feels impossible to fathom, thus we vacillate through emotions; despair, anger, disbelief, confusion, and often eventually settle into a permanent melancholy (the quiet sadness) that will forever be tied to the memory of those we’ve lost. I find it healing to celebrate these memories in ephemeral moments of magic; a leaf falling from a tree, the glint and reflection of sun on water, a particular scent in the air, a bird that visits our windowsill unexpectedly.
The string-and-wind arrangement for “On Passing” is built around the idea of text painting - tracing and depicting the lyric through musical motifs. The crunching of leaves underfoot becomes string chops, the quietness of the deathbed becomes swelling unison chords, and the gates of heaven become ecstatic flute runs. The ensemble is a sextet, performed live with one player per part, favoring the intimacy and interplay of chamber music over the grand sweep of an orchestra.
lyrics
Out walking on your own
you happened upon a bit of heaven
heaven on earth would mean we wouldn't be in need anymore
Need anymore
Out lapping up the sun
you laughed until tears were falling
falling into a mouth you didn't have to feed anymore,
Feed anymore
You lay still, very still
As you drift along,
you float on course to Eden
hoping the waves will take you all the way to where you come from,
Where we all come from
And from up above,
the leaves fall as they ought to
crossing in hatchback upon currents in the air.
In the air.
You lay still, very still
credits
released December 4, 2024
Written by Maia Friedman
Engineered and Mixed by Philip Weinrobe at Sugar Mountain, Brooklyn NY
Produced by Philip Weinrobe, Oliver Hill and Maia Friedman
String and Wind Arrangement by Oliver Hill
Mastered by Josh Bonati at Bonati Mastering, NYC
Maddy Baltor - Acoustic Guitar
Maia Friedman - Voice, Chimes
Oliver Hill - Violin, Electric Bass, Synthesizer
Charlotte Hill - Viola
Sam Quiggins - Cello
Anh Phung - Flute
Daniel Pencer - Clarinet
Katie Scheele - Oboe
“Tangerine” is one of the best synth pop type songs I’ve heard in a long time. I almost feel like I’m short changing it calling it synth pop because I’m not hearing a lot of synthesizer in it (mainly the bass); it just has that aesthetic. The piano and melodies are perfectly arranged. Kit
I love discovering excellent music in unexpected ways, and that happened for me with Coco. I usually just listen to metal, but a chance encounter and a discussion about an empty box labeled Melotron pedals brought me here. Sometimes I need a more chill vibe and Coco is just that. Happy to be a new fan! DeHoyos Smith