ISSUE #60: Kelsey Ford, Jocelyn Spaar, Single Ben

Posted: Monday, January 21, 2013 | | Labels:

ISSUE #60 GUEST CURATOR Michael Barron previously appeared in Storychord as a fiction contributor (Issue #50) as well as a musician (Issue #23). In addition to working as an Associate Editor at New Directions, Michael plays in the band Megafortress and helps curate the performance series Diamond Mouth Surprise. Follow him on Twitter.

Illustration by Jocelyn Spaar

VERTEBRAE
by Kelsey Ford


By the time I turned nineteen, I’d already defaulted on life. I left my dorm room and stained microwave behind for a man ten years my senior who quickly left me in a hotel room he hadn’t paid for. I rode a Greyhound bus ten hours across the state, back to the town where I'd grown up, back to my parents' basement. They made me promise to stay quiet during their dinner parties. That month I smelled like potpourri and cigarette smoke, woke up with cotton mouth from the cheap whiskey I kept in my nightstand drawer. It wasn’t what I wanted. I felt like versions of my life were getting stuck at the back of couch cushions. I emailed friends, all away at college, and begged for any leads. Only one wrote back, gave me her boyfriend’s brother's number. He was putting together a crew for a film shooting three hours south.When I called, he asked how tall I was, how I liked my coffee, and when I could start. I told him, 5'7”, black, and tomorrow. He said fine and hung up without saying goodbye. The next morning, I wrote a note on a post-it, stuck it to the refrigerator between a grocery list and a baby photo of me in a bonnet, and hopped into his Volvo.



Issue #60 soundtrack: Single Ben "Hope"


The brother, Skylar, had forgotten his sleeve of CDs, so we listened to a Proclaimers cassette all along the highway––the only tape in the car, still in the deck. We were too afraid to remove it, scared we’d unravel the tape’s ribbons. As soon as we turned onto the exit, Skylar clicked the dial over to the radio. The local station played country songs I'd never heard. I didn't understand most of the lyrics, or the DJ's weakly rolled ‘r’s through the static, but there was this warmth in me, like I was hearing something I would become. Maybe this was it, I thought, or at least something close. I stayed silent as Skylar navigated the craggy side roads and, finally, parked alongside a driveway. Vans and trailers leaned forty-five degrees into roadside ditches. A mailbox with a sunflower decal stood crooked at the top of the driveway and a knee-high picket fence lined both sides of the gravel path. The two-story house was set near the back of the property, surrounded by a lawn thick with weeds. Trees reached over its roof like arms.

Skylar led me out back, where a handful were already sitting around a picnic table talking. A short man with a goatee and unbuttoned flannel top stood up. Skylar introduced him as Aidan, the director and writer. Aidan turned and motioned at the rest. In the car, Skylar had told me there'd only be eight of us on the crew, but that first day it felt like I met dozens of new faces and heard names I hadn't known existed. Sissie. Sloane. Olaf. Everyone had long hair and clasped their fingers around my wrist when we shook hands. That night over a Get-To-Know-All-of-Us Bonfire, Skylar sat next to me and pointed his finger at each. Olaf, the film's D.P. and, during the year, a nighttime D.J. for a small town off of I-5; Sean, the gaffer, who would double as the rowdy best friend in the film because he had a childishly chubby face that could pass as fifteen or forty-five; Aidan's high-school-aged sister, Sissie, who'd be working as the stand-in for Henrietta, the lead actress. Henrietta wouldn't be there until the next morning.

Aidan had written the script, Skylar explained, scrapped together money from rich friends and a semi-lucrative injury settlement, and here we were, living in his family's home for the summer while they were away on vacation.

Skylar reached for the whiskey, tipped the bottle into my red cup.

And I'll be the set designer slash act the part of the brother on-screen, he said. They talked me into it. I only took an acting class in high school, so I don't know anything except how to breathe with my gut. But we've all got to do two or three things, or else we'll be here 'til the next millenia.

All grumpy and old, I said. Skylar nodded.

Sloane leaned over Skylar’s knees and said: Aidan wrote the script on his breaks, when he was working at that bank in town. He said he hated it, but he got a lot of free lollipops.

I'd forgotten about that place, Skylar said. Aidan was convinced he was getting skin cancer from the fluorescent lights.

Sloane nodded. He got fired when he made a pass at his boss, she said.

I looked across the fire at Aidan, motioning his hands through a conversation with Sean and Olaf. The three looked woozy with whiskey and smoke.

How'd you get here? Sloane asked me, her elbows propped against Skylar.

I looked over at her and shrugged. By accident, I said. Sloane made a face, like this made more sense than she'd admit.

* * * * *

I'd been brought on as the Production Assistant, which meant I did what they told me to. I made them all coffee in the house kitchen, printed out the dailies while Aidan kicked everyone awake, held the boom while Sean ran into the house to go to the bathroom. Skylar quietly guided me. If I looked his way and he shook his head, I shifted whatever I was doing until he nodded that it was right.

I only lasted two days at that job. The third day on set, I walked through the snake-like wires to bring Aidan a cup of coffee. He was sitting behind a monitor, watching as Sissie stood in front of the cameras. She was all knees and elbows, her hips hinged unnaturally to the side. Olaf kneeled next to her, fiddling with the light meter. I tiptoed through the lights to Aidan’s seat. Right when I reached him, Aidan yelled out at Olaf and pointed at something next to Sissie. He hit his elbow against the mug. Coffee splashed across my clavicle. He didn't apologize. He grabbed the mug, mumbled something, then glanced up and stopped. The way he looked at me, straight in the eyes like he could see something behind them, made my face flush. I took two steps back. He stood, put his hand on my shoulder, and reached the other up to tug at my ponytail.

“Yes,” he said. He touched my elbow, bent his head to the side, and smiled. “ You've got those eyes.”

They made me the stand-in, a bump up that came with no extra dollars, but more breaks between takes, later hours, and a near twin. Sissie took my original job. I didn't understand the shift until they explained it to me: she had brown eyes and I had blue, the color of a chlorinated pool. Same as the lead actress. Getting the lighting right on the irises was impossible without that match. It's all about the eyes and skin and hair, Skylar explained that night. My skin was paler and my hair a duskier blond, but they didn't seem to care. It was close enough.

When Aidan introduced me to Henrietta, she told me to call her Henry, looked me up and down, and said, It’s like my mirror-image after a shower. Then she walked away. She’s great, he said into my ear, before looking back down at the script open on his lap.

Those first few days, I cataloged our differences: I saw my eyes in hers, but my hair was nearly a foot shorter and my face was like a pencil sketch next to her sharp cheekbones and carefully lined lips. She always wore a simple black cotton dress that cinched at the waist and hit below her knees. I rotated between two crusty t-shirts. She kept her hair pulled over one shoulder. I kept mine back in an uneven, linty ponytail.

I was sure Aidan would change his mind the first time I stood there and the crew members flitted around, adjusting the settings, lighting, positioning. I had calluses built around my knuckles and knots in my hair from too many days of throwing it back without brushing. But he didn't say anything. He looked at the monitors with his eyes scrunched, his long pointer finger scratching at his temple. The crew handled my hinges like a mannequin's. After an hour, they pushed me off and pulled her on.

* * * * *

The days developed their own rhythm. Wake early. Eat the semi-stale semi-thawed croissants pushed toward us on paper plates. Stand or sit or lay in front of the camera, my head tilted just so, then hours before my next call-time. Dinner. Whispers of conversation over the makeshift campfire Sloane put together. Yawns. Sleep.

During lunch, when everyone ate at the table in the backyard, I wandered around inside, looking at the trinkets and photos and wall decorations. It was like thumbing through someone's journal left open on a bed. I padded through the rooms in my worn socks. Whenever I stood in front of the camera, lights turning on and off and dimming and brightening around me, I'd think about those framed photos. I thought: This moment, right now, I’ll mount on the wall of my future home, or This, or This. I thought about how I'd give tours to friends I didn't know yet, how I'd point at the photos as proof that I used to be someone else, someone I wasn't anymore.

When I exhausted the house's hallways, after memorizing each mundane photograph and painting, I began to explore the paths that crisscrossed through the woods out back. They were crooked and mostly grown over. The landscape never seemed the same two days in a row, like somehow overnight the trees would skitter around and replant themselves in new formations. I'd come back after hours away with scratched shins and a sheen of sweat across my chest. I'd come back feeling callow, open, bruised.

At night, we slept in trundle beds set up in the house's hallways. Disembodied voices floated down the stairs as we fell into uneven sleep. It was never completely dark. Moonlight coated the shelves and walls and Aidan insisted we keep the bathroom lights on, so thin triangles of orange light would grow and shrink across the floors whenever someone got up to relieve themselves.

Waking up became a daily process of piecing myself back together. Me in a cot with new bones on a set an hour from anywhere, sure I must be happier than I'd been. My muscles turned into taut ropes inside my legs. My skin stretched raw and burnt. I could feel my body becoming something it hadn't been, and I relished the new sensations.

* * * * *

Those weeks of filming, we began to piece together the story of a brother and sister, left alone in their parents' house after a terrible car accident. Henry's character was equal parts buoyant and sullen. Skylar's character seemed to weave in and out, sometimes disappearing into the woods, other times reappearing to say he intended to sell the house, the car, to go into a convent. Aidan never seemed satisfied. He yelled at them to go again, and then again. The scenes quilted together, impatiently and jumbled. I couldn't imagine them as a whole, even though I had the whole of the script tucked into the bag I kept in my small cubby upstairs.

One night I sat near the back, watching a scene between Henry and Skylar. Aidan had timed it as best he could for the magic hour––those sixty minutes before sunset––but the backyard being what it was, only small slivers of gold escaped the branches. The scene was small. There were only eight lines total between them, but Aidan did nearly a dozen takes. Each time through, while Skylar played his part the same, Henry gave something different. A glimmer of anger or true curiosity behind the question she shot at Skylar. A look of relief at his answer in one take, a small roll of the eyes in another. She wasn't a great actress, but I could see where she was trying, and how hard it was for her to run it all together.

Around the fifth take, Sloane came and elbowed my side so I'd slide over to give her room on the picnic bench. We watched Aidan pace between Skylar and Henry, who were standing a few feet apart, not looking at each other.

So glad I'm on this side of things, Sloane whispered over at me. It takes an odd ego to want to be over there.

Is she? I asked.

Is she what? Sloane looked over at me. From that close, I could see where she'd penciled in her eyebrows, nearly worn down that late in the afternoon.

Does she have an odd ego, I mean.

Sloane nodded and shrugged. She seems a little like a hyena to me, she said. You know, how they might look like a coyote from far away?

I didn't know what she meant. I stayed silent, but slipped it into the building catalog. As much as I could, I'd been listening to what others had to say about her. There wasn't much. She was like a quiet ghost, slipping between us, only lighting up when Aidan called action. They said she was a teller he'd worked with in town, or maybe an ex-girlfriend from college. That he had found her in a J.C. Penney catalog, or maybe he'd put an ad in the newspaper and she'd been the only one to reply. That she wanted to act on stage or become a state senator. That she'd had an affair with a professor. That she was still a virgin. That she was going through a divorce, or saving up her money to get married. That she was a Mormon, a Protestant, an atheist.

The truths were like blackberry brambles, but it was clear she wasn't known among the group of friends. Like me: a stranger.

* * * * *

One afternoon between takes, I slipped into my sandals and walked out to the creek, where I liked to sit on a particular flat rock and dip my toes into the cool eddy that gathered beneath its lip. Branches scratched my sunburned skin as I pushed through the path. When I got to the small clearing that led down to the water, I saw Henry already there, almost like I’d anticipated myself. She was facing away from me and standing in the creek with water up to her mid-shins. She clutched the skirt of her cotton dress against her thigh. It was the first time I’d seen her with her hair up––bunched at her neck, like a nest of coarse golden straw. She hadn’t heard me. She stood flamingo-like, one foot on an ankle. I was careful not to make a sound, but couldn’t force myself to turn and leave. I stepped back so a fraction of me hid behind a tree.

There was a mottling across the backs of her knees and base of her thighs that, at first, looked like uneven shadows splattering across her skin. But the light was angled sharper, away from her body. From that distance, I could just make out that they were scars, normally hidden by the black cotton dress. Purple and stretched. A healed burn. I recognized the particular iridescent and bruised casing only because I'd seen something close across the backs of my high school English teacher's hands a few years before. Henry's scars were much worse, nearly the size of two handprints pressed into her legs. I tried to imagine the fire that would wound like that, so harsh and full, but I couldn’t. I couldn’t put Henry near that kind of ripping shredding heat. I couldn’t imagine her bones buckling beneath the pressure. But, with the ease of a child’s daydream, there I was: in the arms of a fireman, cradling me as he descended a ladder propped against an open window; pushed beneath the table, clutching at its legs as the flames got closer and the smoke clogged my throat. The backs of my knees tingled.

We stood like that for minutes. Neither moved. I hooked my right heel over my left ankle bone and waited. Then, as if waking from sleep, her limbs clicked back and she turned around, walked back up the small rise, toward where I was standing. There wasn’t time to react, or hide, so I stayed there. As she walked, she looked down and began to unbunch the bottom hem of her dress. She didn’t glance up until she was right there, next to me. When she did, her gaze caught on my shoulder and stayed there. My breath caught between my ribs and spine. She seemed surprised, almost, and then said something, whispered words that barely escaped her teeth. I couldn't decipher the syllables. Like a moment caught on fishline, then lost. She shook her head and walked back along the path toward the house.

* * * * *

A week out from the end of our time there, Aidan had Sissie come find me, to ask if I could fill in for Henry. She'd done one take and had gotten sick or lightheaded or unhappy––Sissie didn’t fully explain––but they really needed some insurance they had the scene. It would only be a few shots from a distance and I’d be facing away from the camera. I said fine, so Sissie took me out to the woods behind the backyard and I saw why they had to get the shot that afternoon: the dead deer. I hadn’t checked the dailies, hadn’t realized they were filming this scene. It was the climactic finale, when Henry's character sobbed over a dead deer her brother had killed. It was meant to be the culminating coming of age, Skylar explained while he positioned me between the deer's splayed legs. They could only have the deer for so many hours and for only this day. If they didn’t get this one, they’d be stuck on set another week, maybe, before they could figure out another deal with the hunter they’d bought this from, and that would be too much money and time and technicalities.

Besides, he said, just look at it. It’s a beauty.

I didn’t look.

Aidan waved Skylar off and walked me through my part. I wouldn't have to sob, just make the motions and cover my face so that from behind it would look convincing. I'd become used to the way everything orbited around me, silent in the center. Aidan made sure my posture was slouched and bunched enough, cupped his palm around my shoulder, tilted me to the side so the angle of the camera would hit my neck and hair just right.

Skylar came back. His deft fingers worked with the deer's limbs, its head, and then moved onto its open, bloody stomach. This time I forgot what I'd been trying not to do. I looked when I shouldn't have and saw the twisted purple organs tucked beneath a flap of skin. The smell that pushed out was warm and soupy. I nearly puked. Aidan made some sound and Skylar stopped. He sat down beside me and began to trace his hand up and down my spine. Here, he said. I'll count your ridges. With his pointer finger, he started up my thoracic vertebrae, south to north. One, he said. Two. Three. I wasn't any better when he reached the top, so he went back down. Fifteen. Sixteen. Seventeen.

I can't remember when he stopped, when they got the shot they needed and dismantled the cameras, when I forced my way through them and into the woods, toward the creek somewhere further on around some corner of trees, but somehow I went from the flank of the deer to the bank of the water. My knees dug into sharp rocks. I dry-heaved until I couldn’t anymore. I lay back in the mud and panted. I didn't feel the dirt I pressed my palms into. I didn't count leaves as I stared up through the branches. I didn't listen. I lay there wishing I could scoop my veins clean.

* * * * *

Sometimes now, late at night when I can't sleep, I push the tape into the VCR and queue it to that final scene. I’m still not sure if they were able to use anything from that aborted afternoon. Pale blue light flickers over my blank walls. Through the crack in the window, I smell something burning and hear a couple fighting downstairs, the cough of someone walking past. It’s the quiet noise of the way others fill their lives. I kick my pantyhose off. I pull my dress over my shoulders, wrap the blanket tighter around my bare chest, and lay lengthwise across the couch without taking my eyes off the screen.

I rewind it and watch again, and then again, looking for some clue that might tell me which girl is sitting there, bare shins scratched and knees caked with leaves.




Kelsey Ford works at New Directions Publishing and lives in Brooklyn. She loves whales. Follow her on Twitter and Tumblr.

Jocelyn Spaar draws, writes, paints, translates, and walks a lot. One time she won a hamburger eating contest. Follow her as "jaspaar" on Instagram.

Single Ben is the musical project of John McElwee. He originally hails from North Carolina and now calls Greenpoint, Brooklyn his home. He steals all of his lyrics. Follow him on Twitter.

ISSUE #59: Sarah Clayville, Alanna Vanacore, Secret Cove

Posted: Monday, January 7, 2013 | | Labels:


Painting by Alanna Vanacore

SEEMING IS BELIEVING
by Sarah Clayville


Mia adjusts her tangled white veil and shakes it to loosen the bad thoughts from her brain like spiders shocked from their webs. She pushes down her hands stacked on top of one another as if she were trying to resuscitate the smooth mahogany vanity she leans upon. Nothing works. She stands in front of her mirror, balanced precariously on a stack of old phone books for a view of her body with no head and pretends her nerves aren’t skinning her from the inside out. She can’t believe it is possible to look so pretty and feel so rotten. This isn’t what her childhood stories promised her about weddings and marriage. Not at all.

“Should I be doing this?” she whispers to the mirrored figure that looks as miserable as she does.



Issue #59 soundtrack: Secret Cove "Alice"

This question assaults every bride’s brain throughout the engagement. But Mia’s small moments of doubt have ganged up on her, formed hours of misgivings, and now her pale hands tremble when she thinks of approaching the aisle later this morning. The aisle. Her thoughts turn to the luxury of eloping. One man. One woman. Two rings and her aunt’s small country home with unintimidating stone paths and a thousand soft, pleasantly distracting noises that are not dependent upon her arrival. Out in the middle of nowhere the world is not revolving around the ceremony. Only Mia’s heart.

And in the church every set of eyes will be trained on her and her alone. It’s the curse that comes with donning the white satin dress. Mia ignores the small voice in her head mumbling about time to reconsider. She turns and hunts for Evan’s tie, the one he left the other night neatly folded on her pillow. The small green diamonds on the tie make her dizzy if she stares at them too long. She likes being dizzy this morning. She feels the space swim around her and only reluctantly turns to face the rest of the room.

Even the clean lines of her apartment seem wrong and out of place this morning. Nothing about it can stay the same under the weight of a second person’s belongings, HIS likes and dislikes. Evan prefers the color gray and eating after eight. His clothes are never off their hangers. Mia’s dresses cling for dear life to the flimsy wire hangers from the drycleaner because she never hangs them the proper way. Often they fall into the dark abyss of her closet floor and wrinkle beyond repair. Evan hates oversized books that don’t sit flush on the shelves. She used to hunt for big books with no sense of space, running her fingers over the uneven edges at the bookstore as if they were Braille. The antique ragged pages carry old secrets that Evan has no hope of decoding. Mia prefers broken things. She supposes that is why she loves Evan as much as she does. Underneath the surface nothing about him is neat or orderly.

Mia moves gingerly for fear of wrinkling the white satin dress resembling the smooth surface of a frozen winter pond. The answering machine blinks relentlessly behind her, and after hearing phrases like no…don’t…ruin your life… Mia is numb to her sister’s warnings. She turns on the radio instead and listens to waves of classical music mimic what she will hear in the church. To bolster her courage she traces the silver stars on the wedding invitation tacked to the corner of the mirror.

Except in her anxious state she regards the names as strangers. Someone else’s father presents the bride. Another mother of the bride is proud of the union. These are not the names they should be, and her mind is off in another land.

The seventeenth button on the gown won’t stay closed, and Mia feels a tiny wisp of air like a cold pinprick stinging her spine. Each time she turns to admire her tanned back above the buttons, the back that took two weeks in a tanning machine to attain, the buttonhole opens and winks. Her family believes that things like this are clearly bad omens. Evan believes in bad omens, too. Mia, on the other hand, has become accustomed to them and refers to them tenderly as ‘hiccups’.

“A hiccup?” her sister scolded her the week prior when they sat outside their office building eating packed lunches.

The fountain by which they sat by had splattered them with bubbling water that smelled like copper, and it was the waning time of day between lunch and dinner. Remnants of food lay scattered for the clever pigeons. The world had forgotten about them for a few moments.

“A hiccup isn’t cheating on your fiancĂ©.” Her sister’s opinion of Evan was clear.

“Cheating is an unkind word,” Mia reminded her softly.

“The man is getting married in seven days. It’s the ugliest and most appropriate word I can think of.”

Mia blissfully ignored cheating and instead settled on the pleasanter term married, allowing herself to be swept away with the romantic ideas of monogrammed towels and flower girls like tiny swans dropping petals.

“The wedding should be called off. But it’s not up to me,” her sister fretted. “I’m worried about you.”

“You should be happy for me,” Mia reminded her.

“Impossible,” she pouted with the same pair of plump lips that Mia and all the women in her family shared. Evan had told Mia that her lips were the first thing that drew him to her across the restaurant where they first met. Afterwards, he’d forgotten to mention the other reasons he was drawn to her, but Mia supposed there had to be dozens more.

Since that ugly conversation at the fountain she’d refused to speak with her sister, instead letting the answering machine manage unpleasant calls and admonitions.

Now Mia sits in her gown with flat silver slippers and watches the clock tick away the minutes. It doesn’t matter if her sister won’t be in attendance behind her to lend an arm of support in case Mia loses nerve and falls backward, an avalanche of a dress and netting burying her. She’ll come along, in her own time. She’ll be there for Mia’s first baby when Evan extends his arms and all the uneven spots of their relationship will fit together the way Mia has always dreamed they would.

The car arrives exactly at ten, and the attendant leaps out to help her fit everything neatly beside her on the torn vinyl seat.

“What a sight,” he wheezes, hitting the meter at his elbow. “Don’t get too many brides in here.”

“Well then,” Mia says as confidently as she can, “today must be both of our lucky days.”

The ride is extra bumpy, and Mia enjoys it. She remembers the carnival teacups and the sheer electric excitement that stayed with her for hours as a little girl once the rides were over. She wants the driver to go faster, to race over hills. Instead they quickly pull up to the church, stopping in front by a taped yellow x for the occasion.

“Need help getting out?” he offers.

“No. This part I get to do alone.”

The church is packed. It’s better than a show. Half of the guests whisper how beautiful the orchids are. Beaded streamers flank the alter. The other guests just whisper, aware that Evan keeps a mistress, and the formality is punctuated by the stain of his indiscretions. Mia thinks both things at once, trying to smile. It is essential, she has learned, to smile through these tough times. Her mother taught her that trick, to smile when the medicine tastes rotten, to force your brain to surrender to the pretense of the situation. Her dress crunches like brittle leaves beneath the weight of crinoline and embroidered fabric. Everything unfolds exactly as she imagined as she races through the back doors to interrupt the vows, her feet landing on the first inches of the carpeted aisle.

“Should I be doing this?” she thinks too late, the room turning with an ugly stare.

This isn’t Mia’s wedding day, because mistresses don’t get them. Evan stands with his wife-to-be in her own, better white gown at the front of the church. Real brides stand there. Evan’s hands are intertwined with his fiancĂ©’s lacey gloved fingers. They are two puzzle pieces that fit together perfectly, exactly the way he prefers things to be when others are watching. He was never really comfortable with the solitude of Mia’s dark, sultry bedroom where they lay with their limbs askew. The whispering halts. No need to gossip about her when the crazy mistress is standing in the flesh, in a white gown, at the back of the church ready to collect all the promises Evan offered to her late at night in the apartment with the uneven books where he left his ties.

This isn’t Mia’s wedding day. But in her mind it should be.



Sarah Clayville's work has appeared in the Threepenny Review, Central PA Magazine, and Small Spiral Notebook, among other journals. She is a recent Pushcart Prize nominee, and currently works as a American Literature and Creative Writing teacher.

Alanna Vanacore is a native Floridian who earned her Bachelor of Fine Arts in Painting and Drawing from the University of North Florida in 2010. At a young age, Alanna was infused with the desire to create, seeing as her mother is a painter and her father a builder. While in school, she had models to work with, but out of school she had no one to reference but herself. In her bathroom she would set up her easel and paints and position herself into the pose that she wanted as a way of translating what she had learned in school into an exponentially more intimate representation of herself. She exhibited work at a number of galleries in Jacksonville, Florida, before moving to New York City this past year. To view more of her work, visit her online portfolio at alannavanacore.com.

Secret Cove is the Brooklyn-based project of multi-instrumentalist Johnny Zachman. Their latest project, Interesting Times: Three Songs by Secret Cove, is an E.P. with three accompanying music videos. For more, visit secretcove.bandcamp.com and secretcovemusic.net.