Orchin – ‘Orchin’ EP | Track by Track

orchin

Orchin’s self titled debut EP is out now.

Showcasing a wonderfully claustrophobic and theatrical brand of dream pop tinged with noise, LA’s Orchin have just dropped their self titled debut EP. Ranging from the intimate and delicate (‘Zero’) to the more confident and groovy (‘Ego Deathbed’) and on to the more driving and insistent (‘Never in Doubt’), this is a debut that is spackled with self-assurance and a certain swagger. With four songs possessing just enough difference in style to maintain interest without diverging from each other completely, the EP whets the appetite nicely for a longer release in the future.

The band told us what inspired each track on the EP. We touched on Elliot Smith, waltzes, and minimalism.

1. Zero


I started working on this song as an experiment in writing like Elliott Smith. As it developed, I felt that the arrangement needed to reflect the anxiety of the lyrics. I wanted the song to sound like the feeling of having a panic attack. If you’ve never had one, they always stem from something really minor and spiral until you’re in a sort of paralyzed state. It’s really scary and intimate, and I think “Zero” is confrontational in the same way that your emotions are in that situation.

2. Ego Deathbed


When I was working on an early version of “Ego”, I remember being really into Pavement and how loose their arrangements and songwriting are. It sounds like the song could fall apart at any minute. That’s just one of the many things that makes them so incredible, but this song was my attempt to recreate that quality. Thematically, this song describes the kind of cat-and-mouse chase between artists and their own self-doubt. Some days your work will sound like it’s coming along so well, and then the next day you’ll hear the same thing and feel totally dissatisfied. It’s the frightening cycle of creating things and making them public.

3. Corners


This is a weirder one. Lots of Sonic Youth, Miles Davis, and free form writing were really influential in its composition. I was also reading a Frank O’Hara book called Lunch Poems, and I liked how simple and minimal the subjects and phrasing were. I wrote “Corners” about an old man I noticed sitting alone at one of my favorite bars in LA, Smog Cutter.

4. Never In Doubt


This song was actually a second take on another song I’d written. I have a “Part 1” that’s a very slow, 6/8 waltz Cocteau Twins-esque ballad. The structure of it moved more like a classical suite than a pop song, so when I started coming up with the chords and sections for “Never In Doubt” I composed it as a continuation of that song. Slowdive’s arrangements became a big influence when we started working on the studio version of the song. We’d been playing it live for a while and it had a much bouncier arrangement that didn’t translate when recorded.

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