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Port Streets [EP]

by Port Streets

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1.
"Carine, Come Clean" I walked, you ran escaping down the sand The waves must have drowned out your laughter And you took my hand and torched all my best laid plans But I’m not the one needs looking after CHORUS oh CARINE, COME CLEAN you don’t have that much to hide CARRINE, COME CLEAN I’ll still be by your side if you’re smiling free happy just like me, you don’t need to see me proven wrong she says, “you and I’ve just stuck around too long” The days grew cold We spoke in secret code With all out plots growing thicker And you took my hand and pulled me onto the sand but my head kept spinning quicker CHORUS What happened to the time spent scouring traffic signs in desperate hopes to find some shortcut home now? Carine says, “let me steer, The one way out of here Is through that sad, thin veneer That we’re not alone now” No no no! CHORUS 2x
2.
“Palisades, 1989 (for Paul)" Let's go out to the PALISADES and contemplate plans we've made Before we die - or our youth starts to fade Let's go out in our fathers' German cars My Versatel and your brand new credit card The night is young and this city's ours Somehow the bills will all get paid $5 for a pack of Cartiers And espresso at some Sunset café Spend days in endless record bins At night, clubs never let us in To our eternal shame Let's go out to the Newport pier And see what dreams we see from there Before they drown or vanish into air Let's go out to a matinée And read the French dialogue all day And tell ourselves, "man, they'll be filming us someday" 'Til then we'll draw up master plans Lard up our riders with demands And quote poets we pretend to understand Passed out, I watch you while you sleep And curse the company you keep But you don't have to tell me that you love me. I know you do (3x), I know you well Let's go out to the PALISADES and contemplate plans we've made Before we die - or our youth starts to fade Let's go out in our fathers' German cars My Versatel and your brand new credit card The night is young and this city's ours Somehow the bills will all get paid Somehow the reckoning gets delayed As long as smokes are bought and cocktails get made free gas to drive the streets alone and curse the comfort of our homes But you don't have to tell me that you love me. I know you do (3x), I know you well
3.
“Genevieve Knows” She’s like, ‘yeah, Someone oughta follow me and write stuff down’ I’m like, ‘yeah Every time you speak it’s like a brand new sound’ but anyone can see I need her more than she needs me Genevieve takes the morning train To get to work by nine and back again She says it seems like no one acts their age And that it feels like life’s not lived it’s waged But GENEVIEVE KNOWS my love for her grows Each day - as long as she calls my name She goes down- town to be the empress of her tiny scene I go down swinging at the sycophants around my queen But let them all pretend she's gonna wake up next to them Genevieve takes the morning train To get to work by nine and back again She says it seems like no one acts their age And that it feels like life’s not lived it’s waged But GENEVIEVE KNOWS my love for her grows Whether she stays or whether I go insane As long as she calls my name Hey Jen, say when are you gonna let us all come up for air? Jen says, “depends on the weather and if whether I’m awake enough to care” and every night’s a blur but still I go to bat for her
4.
"Air Enough to Breathe" I woke up cuddling empty space kissing impressions of your face But you’d disappeared without a trace The night before I trailed your car From bar to club and club to bar But I always take these things too far ‘Cause you’re in town for a minute and the whole place burns down and you drag me down in it Never seen, not a sound You leave too late but I’m just grateful that you’re leaving me AIR ENOUGH TO BREATHE the afterclub I don’t recall emerging from a grafittied stall they saw you pin me to the wall and I stayed to the bitter end too gone to see the bitter friend who’ll never speak to me again ‘Cause you’re in town for a minute And the whole place burns down And you drag me down in it Never seen, not a sound You leave me tapped but I’m just happy that you’ve deigned to leave air enough to breathe
5.
“Girl from Galway” A night’s bar crawl away On an Irish pub floor I'll lay GIRL FROM GALWAY came on a tourist visa And decided to stay She was new so fresh so foreign And me so tired right-wing and boring With her I found myself ignoring My self control Now Guinness is Good for You Posters litter the walls of our loo GIRL FROM GALWAY came to know me better than I could ever do Six months in I'm not sure I'm staying She says, But now I find myself saying New words, like naff and craic and wanker Why I never took the time to thank her I'll never know [1st prog] I'll never know But I could turn you in so easily and nobody would know! And you could never come back, it would be so easy. Not so easy is forgetting you or letting you go I told her love was flawed And how we could have Shared a Catholic God But GIRL FROM GALWAY came and went faster than my junior year abroad Six months on I don't feel much better Though somewhat sobered up and whether She moves back home or across the street She still moving on, moving on…away from me ba ba ba ba ba
6.
“Don’t Let Your Dreams Get in the Way” And I sprung into action To duck your reaction When I thought you should settle here And I said, "I’m sorry," And you said, you scar me And never even let the wound heal Let it heal But baby please fall asleep Don’t let your dreams get in the way Don’t let your dreams make you go waste a perfect day Don’t let your dreams get in the way I kiss you and try now But you should know by now That we can’t get high now enough And I said, I’m sorry You ended the party And never even let clean up Let me clean up But baby please fall asleep Don’t let your dreams get in the way Don’t let your dreams make you go waste a perfect day But baby please fall asleep Don’t let the ghosts lead you astray Don’t let the ghosts we made and fed take you away Don’t let your dreams get in the way Hey let’s never us get this far again Let’s be happy we’ve got time to spare and spend Time to never betray your closest friend Hey let’s never think we deserve some more Let’s be grateful we’ve got stuff to be grateful for Give it time you won’t dream those dreams no more But baby please fall asleep Don’t let your dreams get in the way Don’t let your dreams make you go waste a perfect day But baby please fall asleep Don’t let the ghosts lead you astray Don’t let the ghosts we made and fed take you away Don’t let your dreams get in the way

about

Port Streets is the brainchild of a producer, songwriter and multi-instrumentalist Martin Borsanyi, who writes and records from his home in Orange County, California. The music -- a joyful, catchy, but often melancholy mix of organic indie pop -- is the collective output of a large group of friends and session players. Intimate boy/girl vocal harmonies meet piano, violins and new wave guitars in an eclectic but coherent musical vision that conjures up bands like The Decembrists, Dawes and Best Coast. Plaintive verses yield to urgent earworm choruses as the arrangements seamlessly span indie rock, 60s Brit pop, and 70s SoCal rock -- sometimes in the same track.

The result is a collection of compulsively catchy songs, expertly and eclectically arranged. Standouts include "Carine, Come Clean," a rollicking violin- and banjo-led plea to a lover who won't let herself be happy, with its organic vibe broken by a straight up Elvis Costello punk-ish bridge. “Genevieve Knows” mixes a quirky 60s groove with a larger-than-life sing-along chorus that sounds like the Hollies and They Might Be Giants wrote a musical together. “Palisades, 1989 (for Paul)“ is a sunny, saturated 70s piano pop postcard ballad from a faded, gilded teenage past, where the gas is free and drinks never end. “Air Enough to Breathe” is a straight up breezy bossa nova, with a punching Joe Jackson chorus.

At the center of the music are the sweet close harmonies of Borsanyi and friend and classical soprano Kellee King (Pacific Chorale), who sings on all the tracks and takes lead on “Air Enough to Breathe.” Other performers include local musical friends and crack session players, mostly based in Nashville, including organist Steve Peffer (Alabama), pedal steel player Kenny Hutson (Taylor Swift), and drummers Tim Horsely (Keith Urban) and John O’Reilly (Sara Bareilles, Josh Groban). The songs were written by Borsanyi except for two co-writes, including “Carine” which was written with UK singer-songwriter Stickboy (Craig Edmondson).

The EP is the first of four planned EP releases.

credits

released May 19, 2020

Produced by Martin Borsanyi. Track 1 mixed by Joe Gilder; Tracks 2, 3, and 5 mixed by Stewart Myers; Tracks 4 & 6 mixed by TJ Rivera. Mastered by Ben Holmes.

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Port Streets Newport Beach, California

Port Streets makes a joyful, catchy, melancholic mix of Britpop and Indie pop, reflecting a SoCal beach upbringing and an ongoing obsession with 90s and 00s Britpop and indie rock.

They are releasing new music every 4 weeks throughout 2022.
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