Wednesday 23 Apr

IndianGiver - Understudies

There’s a difference between being derivative and being inspired by something, a line a lot of artists can’t seem to find — or at least don’t care to.
04/22/2014 | Comments 0

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0
Home · Articles · Music · Music · Brine solution

Brine solution

Norman's Brine Webb finally figured out how to finish the indie-folk album he's worked on for years: Just do it.

Joshua Boydston June 22nd, 2011

Brine Webb with Samantha Crain and Sherree Chamberlain
9 p.m. Friday
Pepe Delgado's, 786 Asp, Norman

Brine Webb
Credits: Joshua Boydston

Norman native Brine Webb’s debut album, “O You, Stone Changeling,” wasn’t a lifelong process, but it was pretty damn close.

“It’s taken forever to do. It’s obscene,” Webb said. “For basically my entire adult life, I’ve been working on this project that should have taken six months … I was squandering all my time. That’s why it took so long: I was just being stupid. I quit drinking and, without being too heavy, started figuring out how to piece some sort of life together and realized I had been putting everything off. I finally said, ‘I’m just going to do this.’”

He’s too hard on himself, all things considered. True, the album had been in the works for nearly seven years, but Webb didn’t start writing songs until college. He began to perform them alongside fellow songwriter and roommate Ryan Lindsey around 2005. The interim has been filled with school and being a bassist for hire with the likes of Aranda, Beau Jennings, Graham Colton and Matt Stansberry.

Vulnerable to burnout with constant performances, Webb finally plugged the five-year collection of tunes together for the disc’s long-awaited release last month. Although critical of the content, Webb is happy with one thing.

“I’m proud of how accurate a picture it is of what I was doing. It’s a picture of me trying to figure out what I was supposed to give a shit about. I can see myself having struggles, some dumb girl that wasn’t into me. Who cares? Those songs are old, but I still have the same problems,” he said. “Still don’t know what to give a shit about ... I do know most of the things on that list aren’t it.”

The work smacks with authenticity, but none of the pretension, both musically and lyrically speaking, all while translating his depression, introspection and confusion. Webb wasn’t afraid of self-deprecation, either, making the record’s mood all the more genuine.

“The only thing that I can think of that makes me worth having around artistically would be honesty,” he said. “Not that nobody is being honest, but I decided at one point that I had to be really straight and brutally honest with myself, even embarrassing myself at times. It can be humiliating stuff. When I think about it, I’m singing the songs in front of the person it’s about ... and her boyfriend.”

Webb plans on the span between now and the next record being dramatically decreased, perhaps two years or so.

He’s aiming toward being more prolific, and as he approaches his 30s, getting older and leaving a legacy has become a daily struggle.

“I’m not grotesquely naive. I’m probably not going to make it,” he said with a laugh. “I’m not worried about writing the next big hit or anything like that. When I’m old, I just want there to be a collection of stuff that I made, and doing this certainly seems more significant than journaling.”

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