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Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0

Kierston White - Don't Write Love Songs

The Tequila Songbirds have become just as beloved as about any group around these parts. And how could they not?

Featuring a revolving cast of the Sooner State’s most badass female performers, it’s a power hour of some of the best songwriting coming out of central Oklahoma. Sure, they might not technically be family, but they are clearly a band of sisters all the same, bonded by the same brand of whiskey running through their veins.

07/01/2014 | Comments 0

Depth & Current - Dysrhythmia

"Overproduced" is a term thrown around all too indiscreetly nowadays, usually applied when the thing that sticks out about a song or album is how it sounds rather than how it is constructed. Yet some of the most compelling albums ever crafted embodied a certain aesthetic that was just as skillfully and meticulously put together as any Bob Dylan or Miles Davis record — which is to say production is as crucial to our enjoyment of music as much as anything else; it's also the most overlooked.
06/24/2014 | Comments 0

Weak Knees - “IceBevo”

Indie rock has been in a good place as of late. Not caring about being cool is the new cool, and a couple of dudes on guitar, bass and drums can make catchy, earworm songs without being armed to the gills with computer software and vintage synthesizers.
06/17/2014 | Comments 0

Kyle Reid & the Low Swinging Chariots - “When I Was Young”

Every artist should be the star of their own creative life, which makes Kyle Reid’s steps out of the shadows of the many ensembles and supporting roles he has played in Oklahoma bands over the years to front and center on stage feel like a just journey.
06/17/2014 | Comments 0
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Music
 

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
321-6232
$5

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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