Darling Arms

Darling Arms


funeral music for freemasons


I was always musical. I sang in choirs when I was a kid. I got my dad to teach me how to play the only 3 chords he knew on guitar (AKA Mr. Tambourine man) when I was 10 and within a few weeks came up with as many configurations as I could based on those chords, composing my own songs. I enrolled myself into guitar lessons but could never wrap my head around music theory; it always felt too dry and/or revealing. 15 years later, and several attempts at music theory courses, I still play everything by ear.

When I was 14 I sang in a 77’s-type punk band called SALAD DAYS that sounded similar to VICE SQUAD, Dead Kennedy's, Circle Jerks, etc. The band lasted about 2 years and we played a lot of shows. At that point I was probably the youngest kid in the Montreal music scene. I had very supportive parents - my dad worked at a print shop and made me a fake I.D. so I could get into bars, my mom would come to watch me play, hanging out with Paul Gott (from RIPCORDZ), CORPUSSE, and the other people who were around at that time.

When that was over I went back to writing songs in my bedroom. I got my hands on a 4 track and barely left the house in favor of staying home and making awkward and spontaneous recordings. At that point I became musically introverted and petrified of live performance. When I was about 19 I let my guard down and put a bunch of my songs on the Internet under the (now embarrassing) moniker “Chrissy’s Pillow”
I somehow managed to get a little fan base going. People would write me from all over the world, I was getting played on radio stations, written about in zines and would get royalty checks from mp3.com. At this point I also attempted to teach myself how to the play the cello by renting one for about as year. I would record cello tracks onto my songs and knew that I wanted to find orchestral musicians to play along with me.

When I was 21 I formed ONE CANDLE POWER after placing an ad for a cellist in the local classifieds. Although One Candle Power never had a cellist, it did have an upright bass player (Dave Castagner) for about the first year and a half of its existence. OCP was active from Jan 2001 – November 2004. We played a ton of shows, released 3 cds and booked a handful of tours all DIY. I wrote the vast majority of songs for OCP and was the only original member of the band towards the end. After the upright bass left the band changed direction quite a bit, becoming much louder, screamy and angular. The band ended when Andre Guerette (AIDS WOLF) left. He told me he always felt like he was getting in my way of making more beautiful/quiet music and I harbored resentment towards him for quite some time. By that point the band had become so far removed from what I set out for it to be, so I decided to call it a day.

I went through a horrible depression where I didn’t touch my guitar or think about making music for many months. I found myself back at square 1, slowly beginning to compose again, rebuilding the same building and tracing the same roots as I have always traced. At this point I also started working on SHARINGSHARINGSHARING, a mp3 mash-up filesharing performance (www.sharingsharingsharing.com)

A friend of mine named Stephen Guidry (THE CASETTES) was driving down to Louisiana in June 2006 and offered to take me with him. I head down to his place in DC and we took off for about a month. His band was in the process of recording their album and when we got back in DC he asked me to record some backing vocals for them. The vocals were all being recorded at singer/guitarist Shelby Cinca’s (FRODUS, FRANTIC MANTIS, DECAHEIDRON) so I went over and did some recording and he loved my vocals. I had bought myself a train ticket to get back to Montreal and was supposed to be leaving the next morning but he begged me to stay and record more. So I made a deal with him that I would cancel my train ticket and stay for another week if he also recorded some of my songs in exchange. He agreed and also suggested that we do some of my recording at the DISCHORD HOUSE since they had nice hardwood floors. I did all my guitar tracks at DISCHORD and then my vocals in Shelby’s bedroom. Then he invited Tom Bernath (also in the Casettes) over to add some upright bass on a few of the songs.

I came back to Montreal and put together my backing band, comprised of a pianist, violinist, bassist and drummer (still no cellist.) I waited 8 months for Shelby to finish mixing my ep. and in that time sold a bunch of handmade/unmixed ones at shows.

Currently my music is categorically singer-songwriter folkish stuff with an occasional country-tinge. The guitar is sparse and minimal, the vocals offering the most dynamic change. Comparisons can be drawn to Cat Power, Low, Azure Ray (but with more urgency and range on vocals.)

Some influences are: Ted Leo, Neutral Milk Hotel, Dirty Three, Buffy Ste. Marie, Leonard Cohen, Bonnie Prince Billy, Songs:Ohia, Loretta Lynn. Neil Young, Arab Strap, Nick



Written By: Christina Frances Musacchio

Beluga, I can barely see you
My arms are caught inside the algae
Big and bright
I know you through your presence
Beluga, I’m drowning in your water

Someone just pushed me in
And everything went black
And then I saw
I think I saw you
White as pearls
An obscure ghost
Enormous as a skyscraper building
You’re all that’s left of me

I see my body surfacing
My belly up in the sun
But I can’t feel anything
Beluga, You’re all that’s left of me

Some people like it better this way
At least so they say

The waters and mountains that we separate

Written By: Christina Frances Musacchio

He’s the one, the cathode ray
Too far beyond a fall from grace
I see him in numbers I calculate
The waters and mountains that we separate

We are burning blue at a feverish pace
Our fingers expel what our hearts retain
I see him in numbers I calculate
The time that escapes from reality

And when everything falls apart
I am the flame
You are the spark
And even when you are far
There is a bridge between us

And when the connection is lost
So is your pulse, so is your pulse
And when a tree falls
We both know we can
Hear it go

Cutting through from the inside
It’s zero degrees in the place I reside
Living days without timelines
We are non-linear with global pride

You get lost in my language instead of my eyes
I am who I am and have nothing to hide

Sell the birds

Written By: Christina Frances Musacchio

Sell the birds to the cage
So that they may never meet the worm
On a rainy afternoon in the dirt

Then sell those birds to the cage again
Place them into a new man’s hands
So that they may never meet the worm
On a rainy afternoon in the dirt

On a rainy afternoon in the dirt
We learn to re-learn what we’ve learnt
The monikers and half dozen phrases
We have for feverish displacement

Everyone is a winner now
Autumn is a few degrees warmer
As we watch the reluctance of the leaves to turn
The colors memorized in our heads
Sell the birds to the cage
So that they may never go down south
This winter we’ll keep them cold with us
This winter we’ll keep them cold

There's a spy in the house

Written By: Christina Frances Musacchio

Some fox you are
All teeth and claw
And when there’s no one around
Softer than a wall of sound

With black spots on the ceiling
They came out just this morning
To greet you and make you break down
There’s a spy in the house

They’ll mark their territory
With pictures and old shoes they’ve found
He shouts now from a treetop bow
“You are the one with the gold”

Some fox you are
All teeth and claw
And some fox am I
Quick to the eye
But not to the touch

And if you have nothing left to conquer
Then why are you so deep in the forest?
In your fortress built of reasons
And seasons you cannot afford


All the ghosts e.p (Blue Skies Turn Black - BSTB 12)

Set List

If playing an opening slot 5-7 songs lasting 30-45 minutes)

If headlining 7-10 songs lasting 45-60 minutes)