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Paradise of Bachelors

Camelot

by Jennifer Castle

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  • Record/Vinyl + Digital Album

    Deluxe LP edition features 140g black vinyl and a 34” x 22.5” poster insert with lyrics and artwork by Jesse Harris.

    Includes unlimited streaming of Camelot via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Download available in 24-bit/96kHz.
    ships out within 5 days
    Purchasable with gift card

      $24 USD or more 

     

  • Compact Disc (CD) + Digital Album

    Deluxe CD edition features a gatefold jacket with replica LP artwork and a lyrics insert.

    Includes unlimited streaming of Camelot via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Download available in 24-bit/96kHz.
    ships out within 5 days
    Purchasable with gift card

      $14 USD or more 

     

  • Record/Vinyl + Digital Album

    + Bundle both physical formats for a discount.
    + Deluxe LP edition features a high-gloss jacket, full-color printed inner sleeve with lyrics and additional artwork, and 140g black vinyl.
    + Deluxe CD edition features a gatefold jacket with replica LP artwork and a lyrics insert.

    Includes unlimited streaming of Camelot via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Download available in 24-bit/96kHz.
    ships out within 5 days
    Purchasable with gift card

      $35 USD or more 

     

  • Streaming + Download

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

    All orders include downloads of high-res artwork, lyrics, credits, and artist photo.
    Purchasable with gift card
    Download available in 24-bit/96kHz.

      $9 USD  or more

     

1.
Camelot 03:51
i’ve been sleeping in the unfinished basement i said it as a joke but i’ve come to really mean it when i go to play don’t let my bed just blow away you know it’s never felt that permanent am i just wishing stones were standing? am i just pissing in the wind? and when i need some understanding can i count on you to let me in? back in camelot i really learned a lot circles in the crops and sky-high geometry i asked my lineage about my living wish but they just held me in the mystery it isn’t you, and it isn’t me it isn’t blue, and it isn’t green it isn’t four, and it isn’t three it’s the two of us and whether we can be i hear the sirens and the desert deities they travel on the breezes enchanting ladies they’ll tie a knot around this house and it’ll sound just like the wind blowing long and low songs from ancient places and if i’m not mistaken these hearts can handle breaking i think i tried to save us i hope i’m not forsaken
2.
Some Friends 02:42
some friends come with two different faces one on the moon recite bright and beaming verses and one on the sun as hot as a curse is i haven’t begun to really purge it, and what’s worse is it really builds up, bubbling just below the surface i gotta move on, gotta keep up, gotta get through this want to hold hands while i’m walking through tall rushes want to feel shy every time you make me blush don’t want to succumb to the patterns of time and i don’t want to rush it got to lift hands up and open heavy curtains outside is a land, and i’ll walk it when i’m certain you tried to make me feel so small, but nobody’s perfect you had to be right, so i guess that i’m wrong, but i didn’t deserve it some friends come with two different faces one on the moon recite bright and beaming versus and one on the sun as hot as a curse is as hot as a curse is some friends
3.
Trust 02:42
hypocrites leave the crust take from you what they must cynic see disbelief find in you ever thief angry vein pumps with pain finds in you bloody blame jealous is as jealous does lashes out in camouflage corporate went to bed with the bill and lost his head government separates people and subordinates gurus do preach the truth through gilded and golden tooth critic can and critic do blow their smoke into you lovers scorned show their horns nostrils flared charge towards you who should i trust? scientists insinuate that facts are facts and lines are straight doctors say they can help then stoke you with the fear of death and bottom line, every time beats kingdom and humankind people on the great divide curse you from either side and church is good church is great i’ll meet you at heaven’s gate who should i trust?
4.
Lucky #8 04:28 video
in the tidal pools of pain swimming in the seas of fate you know how this came to be and it rhymes with the lucky number 8 lay it on its side, sweet angel sleep eternally are you really my archangel summoning for me? well, you know i can reason i reason with the best of them i’m sitting at the diamond table and i’m marvelling at the charts and diagrams what percentage am i spirit? what percentage is machine? come on, baby, let me hear it what are you whispering to me? and when’s the last time that you you tried the theory of collapse and all the multi-felt dimensions came to you and coalesced at last and you marvelled as the spaces came to represent nothing more than the orbits that we circumvent? so just give the money to the dancers while their hips go figure eight and they entrance us with the answers and we hope and pray the message ain’t too late and i know that i have to get going cause every good night turns to morning and i hope i can find my way back home cause i’ve wandered out and i’m all alone and i don’t want to lose ya you’re my only audience nor will i abuse ya by not making sense just give the money to the dancers while their hips go figure eight and they entrance us with the answers i hope it’s not too late just give the money to the dancers while their hips go figure eight and they entrance us with the answers i hope it’s not too late i call my friend, and she comes over while this trip begins to fade i ask her gently for the answers she says it’s getting late she says it’s getting late she says it’s getting late she says it’s getting late i hope it’s not too late
5.
Louis 04:25
i wonder if louis can hear me now? i talk to him as if he can somehow you got to live how you want to live lately i don’t see myself in it don’t see myself under this midnight sun with my stances and my smoking gun what’s the chances that i’ll harm none? what’s that dance, and can it be done? what’s that song, and can it be sung? where’s my hat, can it be hung? free when my heart has a tongue and talks with you, my beloved but what’s the chances that i’ll harm none? what’s that dance, and can it be done? what’s that song, and can it be sung? what’s that song, and can it be sung? what’s that song, and can it be sung? i wonder if louis can hear me now? i talk to him as if he can somehow in the village, streetlights flashing in the meetinghouse, fires crackling on the pier window-shopping in the springtime by stinging nettles in my mouth tastes heavy metals i’ll transmute it! case is settled but in my northeast aura i sense a canyon of goo i’ll conjure the unicorns, they’ll fight too pleaides, this one’s for you the fountain of youth and the blue lagoon
6.
i did not come here to talk about orange and all of the things that have come up before us and florida and that warm catchy chorus the season of dreams and our clothes on the floor i solemnly swear that forever more i’ll remain bare naked underneath my chores i push my broom in my underwear and my attitude and nothing more i got big hair, don’t care cause its full moon in leo emotional ocean chinese zodiac trio monkey rat dragon good luck and good fortune wherever we go i get tired of sending my songs off and waiting for some foreign agent to say let’s make bank i’ve got friends going grey just awaiting my face to arrive on a billboard on fairfax avenue in sunny l.a. better like what you got going right here and right now i don’t cast my eyes down some future scenario i pledge my allegiance to this moment between us can you feel me? when i’m dead and i’m gone don’t you come to my grave saying things should have gone for her some other way how it folds and unfolds only time can tell may i leave you this laugh on my stone epitaph? the dream is alive and well
7.
mary miracle, you cried blood! down the cheeks of the non-believers on the marble floor came a flood on the television disbelief and i want to know how you came to value the practice of dragging by the hair those pals who on their invisible crosses of their capitalist bosses who in the trash tossed out that red beating thought that that all is not lost and that belief at all cost and mary miracle, you cried blood! down the thighs of the porcelain angels there by the riverbed thrashing in the mud swimming upstream against all odds like a scene of wild horses all those natural forces that can’t be coerced by all this language of non-myth hey, my life without it is just an opulent pageant of continuous non-death i need that red beating thought that that all is not lost and that belief at all cost and that believe at all cost mary miracle, you cried blood! yeah down the thighs of those porcelain angels there on the riverbed thrashing in the mud, yeah swimming upstream against all odds like a scene of wild horses all those natural forces that can’t be coerced by all this language of non-myth hey, my life without it is just an opulent pageant of continuous non-death i need that red beating thought that that all is not lost and that belief at all cost and i need that red beating thought that that all is not lost and that all is not lost and that belief at all cost mary miracle, you cried blood!
8.
choose to enjoy one’s time by the water and let one’s future flow out, on and in her honour no words to fumble with i’m not a beggar to language any longer a state of mind only a god could come up with and don’t get it twisted my heart’s still in it my dedication’s a star and it shines on our differences and there’s love in the meantime i’m so proud of this moment in the simulation here with you i’m so fucking honoured can you feel me? can you feel what i do? i’m at the front of the moment and i’m blowing my little kisses to you, baby i’m blowing my little kisses can you feel what i do? i’m at the front of the moment so don’t be mad if i choose to spend my time down by the water and i let my future flow out, on and in her honour there’s no words to fumble with i’m not a beggar to language any longer it’s a state of mind only a god could come up with only a god could come up with it only a god could come up with it
9.
my hopes for you and me are very worldly wheel of fortune roll on this property and touch all that i can see beyond the boundaries earthsong and in between heaven and underneath i’m still a child at heart playing my childish part laughing through the light crying through the dark i’m never just your girl i belong to the world and sometimes i feel that pull succumb to it and start to twirl and doorways will have to do hallways and mirrors too step through, i’m feeling free from this landlocked modernity mary, i know it’s thee folk mother pouring tea safe and sitting on the seed from gates and his misery now i don’t like to name names names are small, and names are games and forces gain good ground when light moves at the speed of sound when light moves at the speed of sound
10.
out on the river where i go with my friends they push cars off the banks i take pictures where they landed dirt bikes are going by i hear the echo laughing forest gnomes go dancing through the fractal canyon and what’s more, i could say anything one door leads to another metronome or a woodpecker i don’t know one from the other all of the glory with none of the spending i take part in the part of you that’s never-ending out the corner of your eye you can see how i’d be tempted to pretend i’m not alone and let the memory bend i’m with paul, who’s speaking in an irish accent him and i wear tiger eye and that’s no accident i take comfort in the stripe the stone of protection from daffodil bill and the thrill of rejection and what’s more, i could say anything one door leads to another metronome or a woodpecker i don’t know one from the other on a holy night like this when the whole wide world is making a wish you can find me in my kitchen, i’ll be breaking the dishes or i’m down on my knees, i’m giving the river my kisses i’ve been walking for miles tell me, baby, do you miss me? out the corner of your eye, can you see how i’d be tempted to pretend i’m not alone and let the memory bend and take part in the part of you that’s never-ending? and i’m not alone here

about

Album page: www.paradiseofbachelors.com/shop/pob-078
Artist page: paradiseofbachelors.com/jennifer-castle/
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ALBUM ABSTRACT

Camelot, Jennifer Castle’s extraordinary, moving chronicle of the artist in early middle age, charts a realer place than the legendary Camelot of the British Early Middle Ages, but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature: “Back in Camelot / I really learned a lot / circles in the crops and / sky-high geometry …”

ALBUM NARRATIVE

Camelot, the legendary seat of King Arthur’s court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word “Camelot” accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of “utopia.” In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson’s 1974 film Lancelot du Lac and the absurdist iteration of Monty Python’s 1975 Holy Grail, both of which feature armored knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys’s profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy’s White House. Unsurprisingly there are fewer Camelots in more recent memory.

Camelot, Canadian songwriter Jennifer Castle’s extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions.

“Back in Camelot,” she sings on the lilting, vulnerable title track, “I really learned a lot / circles in the crops and / sky-high geometry.” The album opens with a candid admission of sleeping “in the unfinished basement,” an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above “sirens and desert deities.” If she questions her own agency—whether she is “wishing stones were standing” or just “pissing in the wind”—it does not diminish the ineffable existential jolt of such signs and wonders.

This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of “multi-felt dimensions” both mystical and quotidian. The epic scale and transport of “Camelot,” with its swooning strings, gives way dramatically to “Some Friends,” an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises—“bright and beaming verses” versus hot curses—which recalls her minimalist last album, 2020’s achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory “Earthsong,” bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to … a wounded lover? a wounded saint? our wounded planet?)

Those whom “Trust” accuses of treacherous oaths spit through “gilded and golden tooth”—cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry—sow uncertainty that can infect the artist, as in “Louis”: “What’s that dance / and can it be done? What’s that song / and can it be sung?” Answering affirmatively are “Lucky #8,” an irrepressible ode to dancing as a bulwark against the “tidal pools of pain” and the “theory of collapse,” and “Full Moon in Leo,” which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and “big hair.” But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise?

Castle’s confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on “Lucky #8,” special guest Cass McCombs). Reprising his decennial role on Castle’s beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia’s FAMES Skopje Studio Orchestra.

On the ravishing country-soul ballad “Blowing Kisses”—Pallett’s crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX’s The Bear—Jennifer contemplates time and presence, love and prayer—and how songwriting and poetry both manifest and limit all four dimensions: “No words to fumble with / I’m not a beggar to language any longer.” Such rare moments of speechlessness—“I’m so fucking honoured,” she bluntly proclaims—suggest a state “only a god could come up with.” (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.)

Camelot evinces a thoroughgoing faith not only in the natural world—including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth—but also in our interpretations of and interventions in it: the “charts and diagrams” of “Lucky #8,” a daydreamt billboard on Fairfax Ave. in LA in “Full Moon in Leo,” the bloody invocations of the organ-stained “Mary Miracle,” and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.)

The album ends with “Fractal Canyon”’s repeated, exalted insistence that she’s “not alone here.” But where is here? The word “utopia” itself constitutes a pun, indicating in its ambiguous first syllable both the Greek “eutopia,” or “good-place”—the facet most remembered today—and “outopia,” or “no-place,” a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary. Or as fellow Canadian songwriter Neil Young once sang, “Everyone knows this is nowhere.”
“Can you see how I’d be tempted,” Castle asks out of nowhere, held in the mystery, “to pretend I’m not alone and let the memory bend?”

KEY POINTS

+ "Blowing Kisses" is featured in its entirety in the penultimate episode of Season 3 of FX's The Bear.
+ Deluxe LP edition features 140g black vinyl and a 34” x 22.5” poster insert with lyrics and artwork by Jesse Harris.
+ Deluxe CD edition features a gatefold jacket with replica LP artwork and a lyrics insert.

credits

released November 1, 2024

Produced by Jennifer Castle and Jeff McMurrich
Recorded by Jeff McMurrich at Palace Sound and Sonology
Mixed by Jeff McMurrich
Mastering and lacquers by Josh Bonati

All songs © 2024 Jennifer Castle, SOCAN (administered by Domino Publishing, BMI)
℗ & © 2024 Solstice Radio (Canada) // ℗ & © Paradise of Bachelors (everywhere else)

Camelot was performed by:

JC // acoustic guitar and lead vocals
Carl Didur // piano, Wurlitzer, electric piano, ace tone organ, Roland RS 101 strings, mellotron
Evan Cartwright // drums, conga, glockenspiel, tambourine
Mike Smith // bass
Paul Mortimer // acoustic guitar, electric guitar, 12 string electric guitar
Victoria Cheong // vocal arrangements and BG vox
Isla Craig // vocal arrangements and BG vox

Additional Contributions by:

Jeff McMurrich // (track 4, 7) electric guitar, ace tone organ, mellotron
Jonathan Adjemian // (track 7, 10) Hammond A-100 organ, ace tone organ
Cass McCombs // (track 4) acoustic 12 string guitar, electric guitar, electric slide guitar
Stuart Bogie // (track 6) saxophones

Strings and Sax arranged by Owen Pallett
Strings performed by FAMES Skopje Studio Orchestra, Estonia
Conducted by Sasho Tatarchevski

Art and Design by Jesse Harris
Layout by Jesse Harris and Brendan Greaves
Photos by Jimmy Limit

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters.
Ce projet est financé en partie par FACTOR, le gouvernementdu Canada et les radiodiffuseurs privés du Canada.

Thank you:

Jeff McMurrich, Victoria Kent, Brendan Greaves, Chris Smith, Wayne Petti, Dina Young, Jeff Pachman, Gil Carroll, Owen Pallett, Jesse Harris, Jimmy Limit, Idée Fixe Records, Sarah Castle, Kevin Hegge, Davida Nemeroff, Matty Matheson, Meg Remy, Dan Bejar, Isla Craig, Victoria Cheong, Paul Mortimer, Dave Clarke, Jeremy Singer, Lemon Llwellyn, Mike O’Neill, Cass McCombs, Chad VanGaalen, Sandra Poczobut, Paul Jenkins, Ellen Laing, Sparta Friends, Aurora Ratcliffe, Clint Roenisch, Vagaram and Ramu at Farm Studio India, Karl-Jonas Winqvist, Shawn Kuruneru, Chris Wahl, Curtis Doherty, Dan Vila, Jacob Horwood, Lightman Sisters, Johnny Spence, Iris Fraser, Asher Gould-Murtagh, Seth Scriver, Sonny, Marcia, Ryan, Michael, Will, Alison and Dan.

Dedicated to Isabel Park XOX

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Jennifer Castle Toronto, Ontario

photo by Jimmy Limit

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