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Friends

by Squirrelhouse

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Flint
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Flint Intricate guitars, exciting basslines, gorgeous horn sections and songs that sound like they flow wherever they want, rather than come off as precisely structured. Genuinely inspired and excellent. As the description for the album says, this is probably the only thing we'll hear from this project for now which is tragic - this is an amazing hidden treasure. Favorite track: Apocalypso.
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1.
Show You 04:53
You come in my room in the middle of the night You come in my room and you turn on the light You say, there is a good book I think you should read There is a garden I think you should see I'm gonna show you I'm gonna show you You think you're a tiger, you smell like a wolf You say come in close boy and take a better look You say there is an ocean inside of me I only know what I choose to see I'm gonna show you I'm gonna show you
2.
Jolene 04:05
I don't care if the world dies I don't care those falling skies I can't see the signs of the times I can't see you by my side I don't know who I am I don't know I don't understand I don't know what I see I only know what I believe Oh, Jolene, you said the world was ours Oh, Jolene, you said we'd survive the war Oh, Jolene, the fire ate your heart Oh, Jolene, you know that we were dead from the start I don't know where I am I don't know I don't understand I'm so scared out here alone Oh, Jolene, why did you have to go?
3.
You go to all the parties You make off with their love They set their fires inside you That you can't rise above You can't rise above It's all that It's all that shit It's all that It's a sign, a sign, all you wanted was a sign All you needed was a sign, a sign Of anything good A sign, a sign Of anything good It's all that shit It's all that shit It's all that shit It's all that shit between you and me
4.
Why won't you ever let me come inside? Why must I stay out in the cold and cry? Why must you always be so cruel? Why must you always play it cool? Let the right one in Sometimes at night beneath the dark of the moon I become a man that you never knew Does it ever cross your mind? That maybe, baby, I'm just one of a kind? Let the right one in And why won't he ever, ever back down And why can't we just leave this town? And why won't you ever just let me cross that line? And why can't you be forever mine? Let the right one in
5.
Oh you're such a soldier the way you play With all your guns and knives Out in the streets taking their lives Oh you're such a soldier the way that you crawl yourself off to bed With all those thoughts of god and war Stuck in your head But you, you don't know You don't know I'm gonna find you I'm gonna hold you Baby the fire inside me Baby I told you But you, you don't know You don't know You always told me that you would move on You always told me that you didn't belong Then the days came and they passed away And you don't know And you don't know And you don't know And you don't know
6.
Friends 04:51
All the talking And all the years That you disappeared And all the answers I never knew And all the questions You've put me through But who's listening? And all our daughters And all their friends Will never know How this will end But who's listening?
7.
Apocalypso 03:54
I looked in the book and I found your name Called you on the wire but you didn't say a thing Asked you for an answer, asked you for an answer But you-- Asked your father where would you go If the world was on fire and you were in love He said danger is my daughter, danger is my daughter But I, I don't know your face But in the morning Your body spins through space Your body spins through space Where there's nobody else Where there's nobody else And all you want All you want... And you know its coming, its coming soon The end is near! Oh you gotta get ready Oh, it's right around the bend! Oh, I can see them coming now! All four! Those four horsemen! Oh my God!
8.
Your momma was a hometown girl She gave herself to the world At night, you come to me To learn what to believe "Are you a monster?" At night, we go out to see The monster of belief The river, girl, of what you know Well, darling, don't let it show "Are you a monster?" (repeat many times) Hush, hush, baby, hush Hush, hush, baby, hush The lights are coming down The fire's gonna burn this town "Are you a monster?" (repeat many times)
9.
I awoke in time to find That your mother was by my side And she told me she saw me across the sea But I know that could never be me But you want it But you want it But you want it But you want it I awoke in time to find That your father was holding a knife And he told me, "Son, you know it's time For you to learn just how to die." But you want it But you want it But you want it But you want it Oh, baby, no... Oh, baby, no... Oh, baby, don't... Oh, baby, no... Oh, baby, don't...

about

“Oh, I had a band back in college,” a tossed-off footnote for cocktail parties and brief, embarrassing small talk before meetings and first dates. It’s like a dash of aquamarine eyeliner—it’s there, no reason to unpack it, everyone gets it. You were young, stupid—drank all the time, didn’t have any real responsibilities. And, I suppose, if life is a maze and we spend our formative years searching for the one true path from beginning to end, this is a fair assessment—it means nothing because it has made no substantive contribution to the path you have stumbled upon. But I don’t think that’s fair.

The present is the wake of the past, each moment echoing and colliding with itself, churning up unseen truths about ourselves and the people we’ve known. And here, in this now, I can see beyond the ambition and our supposedly misplaced priorities: driving to Athens, begging for shows, paying too much for amps and guitars and drum racks(Clay). All of that washes out and you’re left with the reality of the music, and I could not be prouder of what this recording is and represents.

Is it good? Is it bad? At this point I’m completely incapable of objectivity—each note is laced with nostalgia and the musty, ear-ringing claustrophobia of that basement on Riverside Drive where we sweated through song after song, dreaming that it might mean something to someone beyond ourselves. See? It’s all very romantic for me at this point.

I know this isn’t a unique story—this country’s full of self-anointed Late Greats—but I guess I don’t care. I can look at this album and say we tried to make the best possible thing we could with the resources we had. There’s great and rare satisfaction in knowing this thing represents a full exertion of effort, and, listening to this again, I wonder if I still have the same capability for earnestness and unguarded optimism that I had when we wrote these songs and thought we could beat the odds.

Maybe this album will resonate with some people, maybe no one will care. Or maybe the past should remain passed, rather than a collection of possible presents and futures forever on hold. With that in mind, I do not place any burdens on this album beyond the truth of what it is—a record of the culmination of 4 years of love and friendship woven out of a creative collaboration that was set aside perhaps too soon but maybe at just the right time. There’s no way to know, but I guess that’s half the fun.

-P

credits

released January 15, 2015

Recorded at DARC studios in Athens, GA
Sound Engineering by Asa Leffer

Additional Recording at Old Capitol Recording in Tuscaloosa, AL
Sound Engineering by Russell Bush

Guitar, vocals -- Paavo Hanninen
Drums -- Clay Pence
Bass -- Russell Bush
Lead Guitar -- Micah Craine
French Horn, Synthesizer -- Beth Hataway

Songs written by Squirrelhouse
Lyrics by P. Hanninen

Thank you to everyone who had a part in the life and times of Squirrelhouse.

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