Exploring the deep end with poolblood's Maryam Said
Through the fishbowl lenses with poolblood’s Maryam Said; photographed by Jibril Yassin.
Exhibiting the most inward stories and narratives requires mining the chambers, tunnels, trails and cavernous cisterns from the wells that lay within the spirit of the self. The meditations and inner glances traverse through subterranean tributaries that wrestle with concepts and constructs that bear resonance and meaning derived from cryptic and foggy notions that point toward epiphanies that shine brighter than a million outdated and obsolete sacred books of archaic and antiquated orders. The artist, the storyteller, the soothsayer paints portraits and landscapes from the smoky dust and mist that shows us who we are. What we are. Where we have been. Where we are going. What once was. All that is and all that can be.
Giving us all this and more is the almighty Maryam Said of poolblood who is readying the release of one of the year’s biggest and most anticipated albums — mole. The long awaited to follow up to the Yummy EP from 2019, we discovered the pop universe of poolblood via collaborators ranging from Annika Zee to Shamir and more of whom pointed toward Maryam’s rising star based out of Toronto. Working in conjunction with the aforementioned Shamir Bailey along with Louie Short; mole is a mystifying and grandiose album that materializes like a psychic cinematic production that reveals the soul’s own lullabies, swan songs and saudade symphonies from the connective corridors that travel between the heart, mind, body and human spirit.
Subtle and evocative deliveries permeate the entirety of the record, like a sentimental and sincere opera transpiring in the midsts of a daydream during an afternoon sojourn. The beautiful blend of field recordings and acoustic furnishings begins the record on "<3", transitioning gently into the endearing expressions of longing on the ethereal embraces of "wfy". The melancholic overtures of "shabby" exhibit the pangs of desire mixed with the void spaces of absentia, as "twinkie" gives way to an anthemic energy that blends a chamber pop sensibility with the grandiose orchestrations of bedroom rock baroque that defies the conventions of adjectives. The skronk and earnestness of "voyager" is executed with the craft of pure DIY bliss, as "null" dips down into those trenches of cursive scrawled journal entries that sway serenely on seesaw guitar strums and the cradle pendulum swings of horns.
The distorted blasts of "beam" traverses like electric chords churning like underground drills carving new directions, as "sorry" updates "I'm Sorry" off of Yummy with an increased and understated sense of dreaminess in motions that make amends toward a future peace. The closing ballad "my little room" basks in all of its bedroom pop glory as the economic orchestrals send the album out on a high note that reclaims the sanctuary and safety of one's respective domicile and quarters (no matter how humble). Bringing us to all those inward places and spaces of personal reckonings and realizations, mole reconnects us once again to ourselves amid all the external turbulence in our lives. Joining us after the jump, Maryam shares an exclusive assortment of inspirational items of import:
Items of fancy by Maryam Said of poolblood
The pop world of Maryam Said of poolblood; photographed by Jibril Yassin.
Japanese Breakfast, “Kokomo, IN”
I love this Japanese Breakfast song. It’s so beautiful and bittersweet. It’s such a gorgeous track that reminds me of something by the Cardigans. The arrangement on this song is literally the crème de la crème.
Maryam Said of poolblood in the warmth of the sun; photographed by Laura-Lynn Petrick.
Astrud Gilberto, “Agua de Beber”
I spent a lot of time exploring Astrud’s music. [Producer Louie Short] introduced me to her while we were in the recording process for the record and I just fell in love with her vocals and lush sound. She has such a brilliant voice. I’m also so intrigued by Bossa Nova and I think its such a great genre.
Reflections by poolblood’s Maryam Said; photographed by Jibril Yassin.
Jim Croce, "I Got a Name"
I think Jim was sorta floating in my head towards the end of recording. After we finished “twinkie”, Shamir and I talked about folk singers from Philly and when I first heard “I Got A Name’” I felt connected to the story he was telling, this idea of being a traveler. I just really love this song and I felt so deeply inspired mostly because of that incredible bassline. I love a good bassline.
Maryam Said basking in an aura of gold; photographed by Jibril Yassin.
Lost Highway
I love this film, I think its my favorite David Lynch film. I like the way he plays with time, and creates a mobius strip. The feverish tones that all of his work has is pretty inspiring to me, the way he’s fascinated by the dark. This film has such a beautiful soundtrack with the Smashing Pumpkins who I love so much and a tasteful placement of the Bossa Nova song “How Insensitive” [“Insensatez“].
Maryam Said on an overpass; a still from the “wfy” visual directed by Laura-Lynn Petrick.
Blur, “Charmless Man”
I love Blur and I love the quirkiness of the guitars and tones. I really love this song and had it on repeat before I wrote “twinkie”. What I love most about Blur is that they truly blended alot of sounds really well and I think they were not afraid of taking risks. The music video is also alot of fun.
mole will be available January 13 via Next Door Records.