As a child MacEagon had a debilitating stutter. He was a hopeless bearer of his own last name. Over time, it became difficult to trust his voice, but through singing, he found a way to sidestep his speech.
He studied vocal performance and composition at Carleton College, singing his way through his stutter while beginning to find solace in the written word, transitioning into a career as a music journalist (Vice, Nerdist). For many years he hid his voice behind his pen, until he discovered (and later interviewed) the stuttering composer Alvin Lucier – one of the premier names of the 20th century avant-garde.
That conversation was the beginning of a long, slow embrace of a painful and defining part of himself. Eventually, he found his way back to his voice and his own music. Drawing from brooding melody makers like Angel Olsen and Thom Yorke, as well as prodigious vocalists like Jeff Buckley and Joe Cocker, the Minnesota-born & London-based singer-songwriter layers his powerful voice and poignant lyrics atop melancholic folk rock, captivating audiences from Brooklyn to Brazil.
"Time" is a song from the forthcoming EP meridian, a record about the pains of trying to be true.
Growing up, my stutter forced me to turn inwards. In time, a rift emerged between myself and the image of myself, and they grew in tandem until I could no longer tell them apart.
I am MacEagon. He is Moon Man. We are one and the same, spanning myriad unseen thresholds between life and death, darkness and light, love and loathing. "Time" – and meridian at large – is a conversation with the broken self, an attempt to navigate an infinity of paths, to carve out a passage that can reconcile these voices.
FOLK + Girl from the North Country
FOLKis a new collective focused on exploring folk relationships & methodologies to build a new commons infrastructure. We just launched a first-of-its-kind (we think) experiment called This Machine Kills Copyright: Bob Dylan and the Resurrection of Folk Traditions. You can listen to the song from the above NFT here.
Copyright helped enable a transformation from music of the folk into music of a folk, incentivizing artists like Bob Dylan to use the folk canon to elevate his own mythos.
Dylan borrowed and created in the folk tradition, invoking an "everything belongs to everyone" spirit -- all while copyright helped him accumulate massive personal wealth. Because outside of folk, everything does not belong to everyone.
Dylan recently sold his music rights for $600 million. Clearly he's a superlative songwriter, but (especially) in the context of a transmissive music and an “everything belongs to everyone” spirit, it makes no sense for one folk to have all that wealth.
Wrestling with legacy concepts of ownership – and a memetic Internet culture that's increasingly at odds with them – and the legal murk of new Internet technologies, I recorded, distributed, and sold a Bob Dylan cover to challenge the system of copyright and propose a new course that redistributes wealth from one folk to many. (I also wrote 9,000 words about it.)
Stay in touch
I won't bother you often, and when I do, there will always be music 🌻