The debut album is the result of a young lifetime spent immersed in music. As a band member of Bon Iver from the very beginning, Carey endured a flip of his formal training to step firmly into a worldwide-touring rock band. His performance degree in classical percussion from the University of Wisconsin - Eau Claire and his love for jazz drumming prepared him for a central role in the inspiring force of the Bon Iver live show.
All We Grow is a convergence of Carey's Waltz For Debbie era Bill Evans inflected jazz tendencies, and traditional rock band experience, taking leads from Mark Hollis' Talk Talk. It also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich. In his downtime on tour with Bon Iver, Sean would spend time pining for his soul-mate's arms, and in that context, dreaming and composing. During infrequent tour breaks at home he would patiently record these pieces, adding layers each time. Two years later, the parts converged to make an album.
For as much room to breathe as Carey allows his compositions, there are incredibly dynamic moments of bombast held right next to moments of subtle depth and texture. Engineered by Jaime Hansen and Brian Joseph, intermittently at home and at April Base (Justin Vernon's studio outside Eau Claire), All We Grow is an all-encompassing headphone experience as intimate as chamber music and as ambitious as a symphony.
While many are familiar with the cabin mythology of Bon Iver, the story behind Sean joining the band is equally kismet. After hearing through mutual friends that Justin was looking to put together a band, he spent two weeks in his bedroom listening to For Emma, Forever Ago on Myspace, dissecting and learning the drum and vocal parts so well that Justin invited him to join the band upon Sean's approach.
All We Grow is a classic album born without expectation and met with adoration - a cathartic result of Carey's extraordinary and vibrant life experiences that resonates loss, dreams and heart in a manner so instantly relatable, you feel as though you can touch it.
Glass/Film
S. Carey Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Slipped through a little hole in the film
Silent hills, patchwork fields, fall bitter lines
Oh my darling dear
Sleep to see what it looks like
I never meant to do no harm
In the glass, see your face
I was made for this
I was tamed by this
In the first verse, the lyrics "Counting the hours, come where I lay" convey a sense of waiting and anticipation. The singer is longing for someone to join them in this moment of vulnerability or perhaps asking for comfort. The line "Slipped through a little hole in the film" can be interpreted metaphorically as a moment of escape or breaking free from the constraints of reality, allowing for a deeper connection to be formed.
The second line paints a vivid image of peaceful landscapes, saying "Silent hills, patchwork fields, fall bitter lines." These natural scenes may symbolize a sense of tranquility and harmony, but the words "bitter lines" suggest underlying hardships or challenges in life. The singer addresses their beloved with affection by saying "Oh my darling dear," indicating a close, intimate connection between them.
The next verse contains the line "Sleep to see what it looks like." This phrase reflects a desire to explore and understand something deeper by delving into the realm of dreams. It implies that sleep provides an opportunity for introspection and revelation. The following line, "I never meant to do no harm," suggests a remorseful or reflective tone, implying that the singer may have unintentionally caused pain or hurt to someone they care about.
The subsequent lines, "In the glass, see your face, I know this place, I called the case," are open to interpretation. These phrases suggest looking into a mirror or reflection, possibly metaphorically exploring one's own identity or the impact of one's actions. The singer states that they "called the case," invoking a sense of responsibility for their choices and acknowledging the consequences of their actions.
The final line, "I was made for this, I was tamed by this," conveys a sense of purpose and acceptance. It implies that the singer feels destined for a particular path or situation and has become accustomed to it. This can be seen as an acknowledgement of finding solace or comfort in a particular circumstance, even if it may have its challenges.
Overall, "Glass/Film" by S. Carey explores themes of longing, introspection, and accepting the consequences of one's actions. It captures the beauty of natural landscapes and the complexities of human emotions, inviting listeners to reflect on their own experiences and relationships.
Line by Line Meaning
Counting the hours, come where I lay
Tracking the passing time, come to my resting place
Slipped through a little hole in the film
Eased through a small opening in the illusion
Silent hills, patchwork fields, fall bitter lines
Quiet mountains, fragmented landscapes, reveal harsh divisions
Oh my darling dear
Oh my beloved
Sleep to see what it looks like
Rest to perceive its true appearance
I never meant to do no harm
I never intended to cause any damage
In the glass, see your face
In the reflection, observe your own visage
I know this place, I called the case
I am familiar with this location, I initiated the situation
I was made for this
I was created for this purpose
I was tamed by this
I was subdued or controlled by this circumstance
Writer(s): Sean Carey
Contributed by Lincoln N. Suggest a correction in the comments below.