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Attend - 2016 - Triple Album

by Feeding Fingers

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Dawn Marie | Strawberry Tongue Radio & Music
Dawn Marie | Strawberry Tongue Radio & Music thumbnail
Dawn Marie | Strawberry Tongue Radio & Music Beautifully somber and texturally dense, Justin Curfman's fifth release for Feeding Fingers is an opus to musical exploration and artistic freedom. He creates glimmering and darkly-tinged tales that weave together in a lovely web of songs of grief, loss, despair, loneliness and anger. This album has quickly become one of my go-to listens. Favorite track: Where All of These Towns and Choices End.
Dagger Dance
Dagger Dance thumbnail
Dagger Dance Everything Justin does is perfection, and this album is absolutely phenomenal!I think everyone who says they're a fan of post-punk, darkwave, goth music should check out Feeding Fingers. Favorite track: The Last Bruise I Harvest Here.
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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      €15 EUR  or more

     

  • Record/Vinyl + Digital Album

    Only 250 copies of this special, limited collector's edition of 'Attend' were pressed. Each copy is individually hand-numbered. This edition consists of 3 LPs pressed on stunning transparent vinyl housed within a beautiful gate-fold sleeve with art by long-time Feeding Fingers artistic and music video collaborator, Steven Lapcevic. Featuring 25 original songs, totaling nearly 2 hours of original music.

    Includes unlimited streaming of Attend - 2016 - Triple Album via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 2 days
    edition of 225 

      €50 EUR or more 

     

  • Compact Disc (CD) + Digital Album

    'Attend' in a double-CD set, autographed by Justin Curfman.

    Includes unlimited streaming of Attend - 2016 - Triple Album via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 2 days

      €20 EUR or more 

     

  • Full Digital Discography

    Purchasable with gift card

      €72.50 EUR or more (50% OFF)

     

1.
"Your Candied Laughter Crawls" I bathe my mind in the forgotten lives Of haunted names Because your secrets sleep deep In your open mouth Where Parasites dream Ashamed and bulimic Candied laughter crawls Through the stains that you leave And feed the ghosts in my sheets Another family called And sent here to hush me I could never sing well in pairs And I know it shouldn't touch me To be tethered to musical chairs And you were sent here to hush me I could never sleep well in pairs And I know it shouldn't touch me To be tethered to musical chairs
2.
"Ashes Displayed in Zoos" A stomach blind and explored Beyond trees, pet-shops And in morgues I wait War aches less than parting ways But some kiss divine And ignored In folds powdered white Electric skin lines my Cabinets of shame Where I keep my fists And names One thousand birds muzzled breathe In flames Ashes displayed in zoos Your life, it drip dries Into my eyes And then You're Mine
3.
"Perfumed Truth" Perfumed truth, lithium gauze Translating paralyzed to imitate us Distilled hard candy The callow plenty used for Vaccinations A crown of spliced tape unwound Ignites my eyes Distending Vows bright like Radium stars Costumed nude carrion thought Dilating concubines write, “Thallium dissolves you.” Throats filled Wry, alient gods Amatory knives like Conjugal darkrooms And I Don't Glow There Anymore
4.
Virus Tape 02:33
5.
"Barbed Wire Threads the Sun" You begged yourself to Swallow Your own tongue Before a mirror Choir housed where Barbed wire threads the sun I nailed myself to A loss Night childhood games A soft-spoken, “start...” Smiles sharp Bright Anonymous Neon Pain Have I Been mis-placed A life My shadow waves Goodbye
6.
"A Sleeping Centipede Presence" A sleeping centipede presence Chemically now Appears atoned, bereft and alone allied To deprive the lust of A cannibal midwife Penned ivory crossed ignites Found in knots Like tails on kites An inheritance of loss from leeches to guide my heart Time Pairing glans pry and ache Life seething there A birth like births allowed In you Things that carry on Amended clean with heat and bridal bands Your tongue still sweet vacates, arrives Monotone But happier untied
7.
Attend 07:14
"Attend" Alluvium Peaks my Eden “Come down... Attend...” Touch alluring In this field Of Sores My thinning Quarry of Dreams Septic between resigned doorways and knots Figurines In odeums Quarantined Lead butterflies to bleach and jaws Revivified limbs pinned To inflatable walls Ghostwrite amends and play musical saws
8.
Flusso 01:29
9.
"All in Full Bloom Smeared" Complacent now You erode like lust when wed Prim intentions like cysts grown from pity All in full bloom smeared A gift to share with no one alive By order disordered A garden of need By order disordered My organs to feed By order disordered The hardest to keep in order with borders Are closest to me Sewn tight Amputees filled with charms Evasive in curated streets of sound Trees lean upholstered Dismembered mimes sing out loud We drink the water "May I kill you?", asks my house
10.
"Through Marrow Always" Superimposed snow-globes You shook Not advisable Infected with lice Ripe Their screams Chew through marrow always And captured on a phonograph We should play every Christmas Day And backward that same phonograph Could play “Happy Birthday” Excused, lost seen as less than The host Of a fetal star Cooling and Still useless Censored, cocooned light Warning scars Bruising my tongue And not without cause And not without flaws A fevered, consumed life Mute Pull back the curtains We've examined her Humbly The inaccessible touched Her fruitless pleads Repeating Urine, her consent to us A simple breach But deeply
11.
"Abrasive Remains Lubricate Me" Withhold and revise Abrasive remains lubricate me Appear across knees and cry Conceived and resigned Adhesion creates Surrogates grieve a loss Unknowing inside An allied noose gropes sore-eyed Toward lives Expired plowed Worm-speared In the idiot sun Diffused over ice And breeding with Intention to die The sedate and permissible mined Excretion sustained Both belong here and In the way
12.
"Polaroid Papercuts" A room With needs Tight breathing walls And near My life within And without An animal breathes In dust, In fear A calculated loss of leaves and Years Halls of meat and light And feral, teething saints And coiling lovers Chaste Raped One Removed White seeds Phantom winter sounds From here Polaroid papercuts Skin peeling Clear An animal breeds In dust In fear A calculated loss of leaves and Tears
13.
Quintet 01:35
14.
"At Play With Wasps" At play With wasps And absent figurines In bed with my hear beating backward A tone Echoes Disease Mechanical seeds Rewind and restart Serrated, stone-eating smiles With darts Sweetened Depart Awake Drone Eleven nights shy and apart Became notes For ears Clipped , eaten and mourned A closet of doves And Ill Weeping glue on the inside She drinks chrome I blink and doubt pairs me with sound and with days gone Alone, divided, aloud A game with soft and absent memories In lead with my lungs breathing backward A stone Bellows and steam
15.
"The Smiling Dumb and Serious" Like violence in the shape Of real things Stare at someone unfamiliar "Side by side" write little girls My silence fills the space For real things Chairs for anyone immaterial And upright like crippled worlds The smiling, dumb and serious Shake like broken plans In the cold, bright and interior Place of open dams In corners We hide, hollowed From our cores From sockets From fossae Peeled and torn In corners Imagined Without mouths, Created Eyeless instead, Ethereal, blinded In corners With sisters Doubled back Unloved Inspired Hollowed From our cores Peeled and torn Welted and worn A figure Waits in corners In sockets In circular mouths Toothed, ragged Bitten and holy Spiraled, Fretful Fearing Sweltered and sweet A tune Of mayhem And mired Ministries Without mercy, Without grace Swirls through Madness we catch In jars To savor To cherish In corners In sockets
16.
"Survive Bliss" An agreement Survive bliss Eat my Secrets Pray too Why Ask a question tender Changing minds I remember Dreaming loudest Always of two Penknives drip like thoughts of You Why Ask a question tender Velveteen white flammable screws Awe-less my whole life through Penknives drip like thought of You
17.
"And Crayon Toxic Twins" Obsidian Daylight rush within Like wire Like aging seas Adopted ends Wives abort shy devotion Adhesive plaster skies In fire write, “Hate me?” Diseased, appointed friends And I say, “Yes!” And, “No!” One Thrilled grey tonight Hesitant machines Clear ache inside Celibate, bright needles say, “Invite Skeletons Here.” Tailored silences And crayon toxic twins Admired White cagelings Deceased, translucent, skinned Wives abort shy devotion Adhesive, plaster skies In fire write, “Blame me?” And I say, “No.”
18.
"In Liquid Summer Schools" She coughs a spelling bee up Life phones in Pupils vent Ladders where they are not allowed And sleeping is excused Disowned bodies angered forget to shout, “Leave!” Dust here makes a promise Sneeze Hives Curious duties Fettered punch-cards Trap-door sweetness Contagious Snowmen bruised Transceivers of warmth Until names Take shape and Exchange I've bitten sugar spoons In liquid summer schools Where I Fade through chairs Rooftops swallowed Wagging our tongues A stone bladder crushed and weighed Peeled knees uniformed Disowned bodies angered forget to shout, “Leave!” Dust here makes a promise Sneeze
19.
"Did My Absence Follow Me" I am in photographs with my Imaginary friends in Hospital Should someone borrow Leave crease-less view of the private parts Did my absence follow me into this Waiting room There hangs a photograph of my imaginary friends in Hospital Cocooned Valets soft Dissect this Silent god I am in photographs with my Imaginary friends in Hospital Should someone borrow Leave crease-less view of the private parts Did my absence follow me into this Operating room Where hangs a photograph of my imaginary friends in Hospital
20.
"The Last Bruise I Harvest Here" In casts Nudes I Scald Weave bandages from canvases In hospices Like mantises In Love The last bruise I harvest here Caressed By Searchlight Blue Promenades clear Where blind, tangled, noosed pairs Will nod Miles of food-chain Break apart
21.
"Orphans Veiled in Feathers" A maimed home "Who lives there?" I think no one Or maybe me My Dear And weeds Some Say, "thank you" A womb and and eye open, shut My cancer craves debut Whores gloved nurse orphans Veiled in feathers And when we laugh We laugh together Tightrope binds hope Life steeped in waste With every climb, I fall My heart beats Erased And if I'm drawn this way Then I'm drawn this way Applause like sparks Choking in the dark Her face Shown And disappeared A pink no one Or maybe me My Dear And dreams Some Stay past due A womb and an eye open, shut My cancer craves debut
22.
"The Firstborn Stands Sedated" You lost and found me in these Ulterior spaces The firstborn stands sedated mine A kiss too late Benign good mornings that I cannot re-do October sneers Incised fore-warnings that your mutable knots loose A sobering fear Knives white like frozen honey Seep inside me Arc and flay "Confess", you scream A shred of something Now an art piece on display Hands divide you Lambs deny you fits of clarity, restrained Vanished people searching nerve-ends Missed, sought, pleasantly maintained Hands inside you Lambs decide who fits Life centrally contained Smiling damaged Lurching forward Bleached twins and bathing in bright Interior spaces The firstborn sand, cremated fine Spring's hiss opaque Benign good mornings that I cannot see through October sneers Disguised in burning, white disposable classrooms I loved you even there
23.
"I Am Erasing Doors" A growing chorus of spores Like shedding skin pried from the numb and In them pain and clinical routines and scars Hour hands slice open people then Leave them bright, shy hopes for sequels and Rows of leaders need our meat for their Broken little drum Force feed more than life could My collection of dry eyes should See through petaled nights of loss that share A home inside of my heart There unsetlled like every place I haunt And you're building more Force feed more than life could my collection of dry eyes should See through petaled nights of loss that share A home inside of my heart Written in pencil like everything I want And I'm erasing doors
24.
"Where All of These Towns and Choices End" I will find a book I penned between lives blank Where all of these towns and choices end Freight for annulled ships Discreet lives claimed A shared vacancy required No recall of what harm brought bleaching time When I buried these flies These flies Know that all of what arms sought reaching mine Is forgotten by Design
25.
On Glass 01:23

about

While embarking on a seven-and-a-half-week tour of Europe in support of their 2013 album, The Occupant, Feeding Fingers found itself at an impasse. Justin Curfman’s private life in Germany had become stressful, a vortex of negativity that he realized he would need to change in order to move forward in a healthy way. He decided to reach out to his producers in an effort to, essentially, save his life and the life of his musical project. Becoming a full-time artist was a daunting and risky venture, but Curfman was determined to see it through – this, after all, was what he was meant to do – and his producers, Jim "Coyote J." Battan and Dana Culling, were willing to help him get to where he needed to be, both financially and emotionally.

In March and April of 2014, as the band traveled throughout Europe playing shows in support of The Occupant, Curfman’s mind was on a future project – one which he had been longing to bring to fruition since he was just a boy living in Atlanta, long before Feeding Fingers even existed. Returning to Germany from the UK at the end of the tour, he set to the arduous task of researching musicology, music history, and theory which he would use, in broad strokes at first, to craft the foundation for what would eventually become Attend. Studying, reading, and working with music students from various disciplines in Salzburg, Austria, Curfman spent the rest of the spring of 2014 immersed in the realm of ideas. His mental workout continued on into June, as Attend was born, and Curfman began to write, fueled by his generativity and desire to inspire others.

Taking inspiration from his studies, his past, and his personal struggles dealing with private turmoil and full immersion into European culture, Curfman began to compose music for the first series of songs for the album throughout the summer and early autumn months of 2014. A simple piano melody, recorded played on a kalimba and embellished with lush guitar, bass, piano, and soaring percussion would, by the second week of October, 2014, become the finished music for what would become Attend’s first single – “Your Candied Laughter Crawls”.

November took Curfman to Italy, where he would record the vocals for this and several other songs he had completed in the interim at The Jack Studio in Naples. While there, he would work closely with violinist Marica Filomena Coppola, who would provide a stirring solo for “The Firstborn Stands Sedated”. Curfman spent three weeks in Italy, working in the studio and recording pieces of video and taking photographs for the video for “Your Candied Laughter Crawls”, on which he would collaborate with artist and animator Steven Lapcevic (USA) throughout the following few months.

"Your Candied Laughter Crawls” was released as a digital single, with an accompanying vox-kalimba B-side version and Lapcevic’s music video, in January of 2015. It was well received, finding play on several podcasts and internet radio sites throughout Europe and the USA and with generally positive critical reviews. Encouraged, Curfman continued to write and record music, building his collection of new songs. By March, 2015, he had amassed fourteen tracks for this monolithic record – but he was just over halfway to his goal.

“Polaroid Papercuts”, a track Curfman had been working on since early autumn of 2014, was released as Attend’s second single in March of 2015. Featuring guitar work by Martin Bradley of The Death Notes (UK), it proved a more straightforward track in the Feeding Fingers sound. Taking footage from the 2014 Occupant tour, mixing in little personal moments here and there and applying a “home movie” overlay, Film Bizarro director Ronny Carlsson (Sweden) created a video for the single which would showcase a more intimate side of Feeding Fingers – a tack that the band had previously not explored in their videos.

Throughout spring and summer of 2015, Curfman would find himself reaching out to all corners of the globe for musical inspiration and would begin collaborating with several guest musicians from many different styles of music. Never satisfied to remain squarely in the camp of any one genre, Curfman wanted to expand the Feeding Fingers universe to include sounds from as many different kinds of instruments as he could manage – from Indian and Chinese instruments to Wendy Carlos’s Alpha Scale, Ivan Alexandrovich Wyschnegradsky's quarter-tone piano and beyond, Attend is the result of a fully new tradition marrying the common themes of Feeding Fingers’ core sounds with international appeal. An experimental track played completely on glass, a song composed entirely for analog synthesis instrumentation, a track featuring a toy piano, even spoken word and completely atonal melodies – Attend is truly a mixture of modes and methods, knotted together in the sensibilities of its brilliant composer.

Twenty-five tracks were completed for Attend in total, featuring such diverse guest musicians as pianist Shoko Nagai (Japan), erhu virtuoso Chuan Qin (China), saxophonist Ned Rothenberg (USA), pipa soloist Zhuxi Wang (China) and cellist Maja Backovic (Serbia), who also appeared on The Occupant.

In autumn of 2015, it was picked up for release by Sounds For Sure Records (The Netherlands). A limited run of 250 hand-numbered, transparent-vinyl triple-LP sets were prepared for initial release alongside the digital and double-CD release on Tephramedia (Germany / USA).

February 5, 2016 saw the release of the lead promotional single in support of 'Attend' titled, "Where All of These Towns and Choices End" with accompanying music video from director and long-time friend and collaborator, Tom Brown (UK).

'Attend' was then released, officially, worldwide on February 9, 2016.

PR CONTACT (Interviews, etc.): interference_icon@yahoo.com

BOOKING / BUSINESS: tephramedia@gmail.com

credits

released February 9, 2016

All songs composed, written, performed and engineered by Justin Curfman.

Guests (in order of appearance):

*Chuan Qin - Erhu - "Ashes Displayed in Zoos"
*Gio - Italian Text & Voice - "Attend"
*Martin Bradley - Textural Guitar - "Polaroid Papercuts"
*Dana Culling - Spoken Text & Voice - "The Smiling Dumb & Serious"
*Shoko Nagai - Piano, Accordion, Moogerfooger - "Survive Bliss"
*Ned Rothenberg - Saxophones - "And Crayon Toxic Twins"
*GenCar & Noi - Inspiration & Consult - "Did My Absence Follow Me"
*Zhuxi Wang - Pipa - "The Last Bruise I Harvest Here"
*Marica Filomena Coppola - Violin - "The Firstborn Stands Sedated"
*Maja Backovic - Cello - "The Firstborn Stands Sedated"

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Feeding Fingers

Formed in 2006 by artist Justin Curfman, re-located to the EU in 2010 and has since evolved into an internationally connected project with intermittent members from the USA, Germany, Austria, & Italy. Feeding Fingers has toured N. America & Europe since 2006 with IAMX, David J. (Bauhaus, Love & Rockets), Nitzer Ebb & others, including two appearances on National Public Radio. ... more

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