After nearly a decade in gestation, I’m so very relieved to present Volume IV in the Birch Book series of albums: Casting Lines. As alluded to in the subtitle - A Museum of Memory - many of the songs explore the contents, mode and study of personal retrospection: an apparently endless trove of fascinations indulged upon toward a range of signification. The surreal displaced aesthetic sense experienced when inhabiting a focused memory world - set in stark contrast to the here and now - I find to be among the preeminent peculiar pleasures offered by a capacity for self-reflection. That these discursions may bestow pragmatic epiphanies relevant to worldly navigation, or a salutary temperance upon terrestrial actualities, are but ancillary blessings. Are we but phantom ships on phantom oceans? May we there settle tragedies never reconciled - reconcile sorrows never settled? To fully engage with this mystery of memory is to probe reality itself: an ontological quest beyond narcissistic self-absorption, toward-paradoxically-a more visceral experience of present circumstance. Casting Lines has been lovingly adorned with a collection of enlarged perspectives from the illustration A Museum of Memory by Maria Gordon, which was specially designed with themes from the songs herein. As with previous editions of Birch Book, Volume IV accommodates many compositions tending towards the mildly autobiographical.
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Birch Book plays intimate neofolk and baroque folk music characterized by acoustic instrumentation and poetic lyricism.
Birch Book is the acoustic side project of musician B'Eirth, renowned for his work with In Gowan Ring.
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