ROWEN

MUSIC

Choose your poison:

LYRICS

ABOUT

Rowen is an artist based in New York, NY. 

Thanks for listening. You are visitor number 3, (probably).

This album Pattern; Recognition emerged from several difficult years — my sister's private, terminal battle with cancer, my father lost to dementia and then to death months later, my mother worn down past what she had left to give, and a four year relationship unraveling - seemingly all of it at once. These twelve songs were written/recorded as an attempt to chronicle and find direction amidst this experience of being adrift and overwhelmed.

Thematically this is an album about drowning — in grief and mourning, in a dying relationship, in the private performances we mount to survive all that— and the slow, reluctant recognition that the shipwreck isn't just something that happened to you, but something you keep choosing to stay lashed to. Its deeper pursuit is the gap between mourning a life and living one: the masks, roles, and rituals that let you endure loss can calcify into the very thing keeping you underwater.

The push, against all that undertow, is toward the one unfashionable act left: to stop drifting and reengage life.

COMMUNICATE

ACKNOWLEDGMENTS

Dedicated to my sister; who never much liked her name.

Gratitude

Infinite thanks are due (but woefully insufficient) to properly acknowledge Denisse “What does the song need” Vera for all her wisdom, patience, positivity and musical guidance throughout this process. This project had stalled, with much of the music recorded, but sitting abandoned on my harddrive because I can’t sing and the material was too personal to have someone else do it. Denisse helped me find my voice (literally) and figure out how to use it. I really don’t have enough words to express my gratitude and appreciation.

All instruments and recorded sounds (including drums. electric drums, bass, guitar, piano, strings, samples: performed by Rowen; except):

  • Denisse Daniela Vera Pabon - All backing vocals, Tambourine on “Fictions in Our Wake”

  • Steven Soly - adds guitar on the coda of “The Fictions in Our Wake”

  • Daniel Criado - adds original piano on the chorus of “Landmines”

  • Aiden Rowen - rocks the Kazoo on the bridge of “Note to Self”

Caveats

Listener, I just wanted to go on the record to state: I have zero illusions that I have a singing voice worth sharing. I know I don’t. Still I tried my best to find something honest and unique in my voice and lean into that. In an AI age where anyone can push a button and magically sing like Wilson Pickett, my hope is these technological cheats make imperfections and vocal oddities more interesting.

Regardless, if you hear my aim in releasing these songs is that some other musician, somewhere, might hear one of them - and feel some private recognition pass over them and conclude: I could do something with that. And take it. Modify it. Cover it. Make it theirs.

Because a song that gets covered has, in some sense, survived its maker, the way a funeral attendee who didn't know the deceased personally, can sometimes recognize some of their own life in the eulogy.

Citations and Attributions

The ‘add lyrics’ functionality in Spotify won’t let you submit lyrics if you end your lyrical phrases in punctuation. Including quotation marks.
This makes attribution difficult. I wouldn’t want anyone thinking I was quoting without proper citations, so:

I owe Frank Spignese for the concept of ‘The Lover & The Loved’ referenced in The Fictions in Our Wake.
Likewise, the lyric “The architecture is abandoned” was originally from lyrics Jason Nargis penned for a Murdock song (ages ago). The line still resonated so I carried it forward.

"And if you want a happy ending, that depends... where you stop your story." Apocryphally , I’ve heard this attributed to Orson Wells.
From a filmmaking/editing perspective it makes total sense, but I think it’s devastating how it deconstructs our own manufactured expectations for finality, equanimity, and completion in relationships. Joy is never static. It’s a snapshot, not an emotion frozen in ice.

"You must go on. I can't go on. I'll go on." is, of course, Samuel Beckett.
I borrowed it because I liked how it helps reject any triumphal readings and frames endurance itself as the only remaining act.

"Against the current, borne back ceaselessly into the past." is Fitzgerald,
Rather than nostalgia for youth - I deployed it here to become an account of bereavement; every attempt to move forward is thwarted by memory’s undertow.

"Half-heard, in the stillness between two waves of the sea." is T.S.Eliot from Four Quartets.
I incorporated it here at precisely the point where the narrator can’t hear his own direction; I liked the implied idea that meaning only exists in the pauses between emotional tempests.

Boring, but important

Songwriting & Publishing

All songs written by Todd B. Rowen, except:  “It Must Have Been Love” — Written by Per Gessle; Published by Jimmy Fun Music (STIM) © 1987.
(additional lyrics by Todd Rowen)

All other songs published by Todd B. Rowen (ASCAP).

Production

Produced by Denisse Daniela Vera Pabon (& Todd Rowen)

Fair Use

This sound recording and the musical compositions embodied herein are protected by copyright and other intellectual property laws worldwide. Unauthorized reproduction, distribution, transmission, synchronization, sampling, or creation of derivative works from this recording or any portion thereof is strictly prohibited without the prior written consent of the rights holder. No part of this recording or the musical compositions embodied herein may be used to train, develop, fine-tune, test, or otherwise improve any machine learning system, artificial intelligence model, neural network, algorithmic system, or similar technology, whether for the purpose of generating music, audio, performances, compositions, or other outputs.

Artist Note on Covers, Interpretation, and Social Media:

Independent musicians and small creators are warmly and enthusiastically encouraged to record and perform their own covers and interpretations of the musical compositions contained on this album. The rights holder expressly welcomes such independent artistic engagement and, to the extent permitted by law, waives any objection to non-corporate, independent artists creating and releasing cover performances of these compositions, provided such artists are not acting on behalf of or in affiliation with a major record label, music conglomerate, or similar commercial enterprise. Artists affiliated with major record labels, corporate commercial entities are likewise encouraged to interpret and perform these songs; however, such entities are respectfully requested to obtain prior written permission from the rights holder before releasing commercial recordings.

Notwithstanding the foregoing, listeners and creators are welcome to use brief excerpts of this recording in user-generated content on social media platforms for non-commercial, expressive purposes, provided such uses do not reproduce substantial portions of the work or falsely imply endorsement by the artist.