D//E Interviews: Markers // Track Premiere: Civil Twilight

  • Posted on
  • 1.2.19



Markers is a mighty impressive experimental guitar duo collaboration between Jodie Cox and Jason Carty. The two guitarists are already experienced and very skillful musicians, as Jodie has played alongside Dylan Carlson in Earth, and is currently a member of psychedelic/post punk outfit, Sex Swing, while he was previously in the post hardcore supergroup, Narrows. Jason has cut his teeth in heavy rock outfits such as Art Of Burning Water and Foe.

Their debut album, Heaven In The Dark Earth, will be out February 22nd, 2019 on God Unknown Records, and it presents a clear shift from the sound of most of the bands they have been in. The new album is still heavy and a very engaging listen, but something which focuses more on the atmospheric side of their creativity; built exclusively on the two whiz guitars, as the duo emerges excited to explore every new sound and sentiment they can reach through their exploratory compositions.

The incredibly serene, Civil Twilight, presents a charming neo-classical feel mingled with folk and contemporary Americana undertones, and it's part of Markers' forthcoming album. The track streams exclusively, for the first time ever, below, followed by an interview with the band's own, Jason Carty.





How would you describe the sound of Markers?

You're approaching a dusty, deserted village. You're cautious. A little nervous. Registering little details to figure the place out. There's an ancient sadness there. It fills the air. Or, the day is ending in high summer and there's a time when the warmth and colour of the light, as the sun begins to set, feels like a gentle, timeless embrace. Or, you're under the sea and observing unspoken, seamless communication between the different species. Honed to perfection. All in a subdued shade of turquoise.


How different is the duo's creative approach and production process compared to those of
your other bands and projects?

The timescale of the work ethic mirrors the pacing of most of the music in this project. We like to take small, tortoise-like steps with the compositions, gradually rejecting or evolving micro-ideas to piece them together. We're very patient with it, striving to get things right. Another thing we've noticed is that it takes us a little while to find the right internal metronome before playing this stuff – especially live. It often requires us chilling out a bit beforehand, taking the time to catch up and talk about other music we've been listening to. We're both quite hyper personalities with intricate schedules, so if we just went straight into playing this stuff without the necessary easing, it would come out sounding more like speed metal.


Which were the main influences behind Heaven In The Dark Earth?

Angelo Badalamenti's music for Twin Peaks came up a lot in conversation when we started writing this stuff, as did Jonny Greenwood's score for There Will Be Blood and John Williams' more atmospheric sections of music for Star Wars! Although, a few of the initial melodic ideas, in tracks like In Amber and Marine Parlance for example, are very old and have been lying around unused for years before this project, waiting for the right outlet.


Are there any non-musical influences that have had a big impact on Markers?

The art of cinematography is probably the most referenced subject within our camp. Imagery comes up a lot in our conversations - especially how it creates a sense of atmosphere. Going forward, I think we'll be even more concerned with this as an area to explore more and expand on.


Do you treat Markers more like an ongoing project or as a one time collaboration?

There's no reason I can think of to stop doing this thing together. As long as we both stay human and have something to express, the possibilities are endless.


How different are Markers as a live act compared to the recordings?

Up to now, we've been performing the songs from the album exactly as it was recorded. Most of the album was played live, with the exception of a few overdubs. We're about to start experimenting with occasional extra guitarists when we play live though, which may influence the next batch of songs in some way. We're not opposed at all to the idea of incorporating other instruments or collaborating with other artists in the future. The mere thought of it gives me goosebumps.


What kinds of films would Markers music be a better match to? What would you be
interested in scoring if you had the chance?

Anything that requires a lot of space for the narrative or imagery to unfold naturally, or economically would be rewarding to write for. Something like Paris, Texas, another film we've often talked about liking, would be perfect for us. I can imagine our sound stretching enough to enhance films by Jim Jarmusch, Christopher Nolan and David Lynch, especially if we started involving orchestral instruments, but not necessarily with typical full force.


What are you currently listening to?

A lot of noise rock bands from the 90s, as well as John Cage, Morton Feldman, some post-punk stuff. Current bands like Grey Hairs, Neurotic Fiction, Color TV and The Tunnel have been getting a lot of play. We're hungry listeners – the hunting never stops!




Markers Bandcamp | Facebook | TwitterInstagram



ZR

You Might Also Like

0 comments

Privacy Policy