Parkland | Bleeding Daylight

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Rock: American Underground Avant Garde: Avant-Americana Moods: Mood: Brooding
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Bleeding Daylight

by Parkland

An unconventional mix of alt-country songwriting and improvisational sonic abstraction. An immersive, constantly evolving musical territory of impassioned, heart-laid-bare songwriting, textural improvisation, and prairie twang.
Genre: Rock: American Underground
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  Song Share Time Download
1. Compatriots
12:20 $1.99
2. Biggest Fan
7:48 $1.99
3. Singularity
10:25 $1.99
4. Lost My Heart
7:54 $1.99
5. Take Me Now
6:59 $1.99
Downloads are available as MP3-320 files.


Album Notes
The soundtrack to the concert film/documentary of the same name, Bleeding Daylight explores Vancouver-based Parkland’s unconventional mix of alt-country songwriting and improvisational sonic abstraction.
Recorded during an afternoon session as well as a live concert that evening at underground arts venue Merge, Bleeding Daylight spotlights a band of seasoned musical interpreters who push themselves—and each other—into parts unknown, morphing forms, tempos, and moods within each track.
From the wistful can’t-go-home-again waltz of “Biggest Fan” to the bracingly emotional closer “Take Me Now”, whose intense lyrics and visceral performance take the listener to the moment of Malowany’s grandfather’s death, Bleeding Daylight is an immersive experience that delves deeply into Parkland’s constantly evolving musical territory of impassioned, heart-laid-bare songwriting, textural improvisation, and alt-country twang.

Review in Ride the Tempo:

"Rob Malowany (Parkland) records himself (along with a few guest musicians) live and in improvisational mode, and the results are stunning. It is not to say that Malowany’s voice or songs bear any similarity to Neil Young, but the shambolic magic that is created in these “loose” recordings does remind one of Crazy Horse. Tracks like the dark folk “Biggest Fan” showcase Malowany at his mournful, plaintive best, while the music rambles around him. Things get really interesting on tracks like the southwest roasted “Take Me Now”, where the improvising leads to complete disorder, and on “Singularity”, which stays quiet until around the 9 minute mark but then gets increasingly heavy until reaching a cataclysm of grinding guitars."

Article in Beatroute:

"ALGARY – Paging through Robert Malowany’s extensive discography, it’s easy to see why he has been so successful in the music industry for so long. Starting out in 2000 with the band Devilsplendor as a way to practice recording and producing, Malowany has since moved on to his current project Parkland which draws from a variety of sources (think of the lo-fi work of artists like Sparklehorse and Smog), spanning several genres from roots, folk, and jazz to experimental and soundscape.

The Edmonton born, Vancouverite commented on the current state of music industry as well as his creative process regarding his upcoming documentary Bleeding Daylight. The film is scheduled for a release in the new year with high hopes of a festival premiere with SXSW. There’s also a soundtrack for the doc and a new album, Affiliate’s Part 2, on the horizon.

Bleeding Daylight encapsulates how Parkland, which Malowany describes specifically as a “music project”, creates and performs as a band. “Parkland is a special project. It’s kind of an intimate, personal way of playing music.” It’s also infused with elements of improvisation whereby Malowany wanted to share how he and his friends, some members having collaborated for up to 14 years, coexist together in the musical process. “Creating stuff in the moment… is so exhilarating and so exciting.”

As musical director, Malowany went into the filmmaking process with a question in mind: “Why can’t the audience collaborate as much as we are collaborating to the moment?” He and Parkland used Bleeding Daylight as a way to give listeners the opportunity to participate in the creative process. Parkland invited fans to attend a special show in which they asked them to send in videos from their perspective of the performance. This crowdshot perspective provided a more ‘social media’ engaged lens through which to see the project unfold.

At the same time, Malowany has been in the music industry since long before the age of social media and has seen the industry shift sharply. Of the most significant changes, he expressed an attachment to more analog methods of booking shows and distributing records, lamenting slightly that the internet has become such an integral part of the process. With more music available in one place than ever before, he feels the internet is a bit of a mixed bag noting that while “the idea that [music] is more available to everyone is great… It can get oversaturated in a way.”



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