17 Ergebnisse für tag: Accoustic

Alameda

Weaned in the mile-high confines of Denver, Colorado, the core of Portland chamber-folk collective Alameda—guitarist/vocalist Stirling Myles, and cellist/vocalist Jessie Dettwiler—have weathered their share of evolutions during their musical marriage. Beginning as half of instrumental post-rock outfit Strangers Die Every Day, Myles and Dettwiler had already cultivated a unique understanding for the sonic properties of strings, and the beauty in voiceless aural planes.But it was the grounding of those stratospheric intentions, and the introduction of Myles’ abstract storytelling that proved to be a musical epiphany of sorts for what would become Alameda."Slowly, I realized the potency within softer music; it’s not like you had to really push it,” explains Myles. "I’ve always had an affinity for folk, growing up with it. I loved Dylan, Donovan, Patsy Cline. I always loved how you could capture a mood with less voices present.”The seeds of Alameda were sown when Myles’ previously supportive role of bassist fell by the wayside, as he embraced guitar and began to sing. This move hatched an untapped wellspring of song ideas, despite an initial learning curve, and a deliberate songwriting process that accounted for the band’s first self-released LP, Seasons/Specters. A rolodex of local musicians helped to carve out Myles’ initial output of tunes with more organic instrumentation, culminating in the addition of clarinetist Jennifer Woodall early on. The group now also includes Tim Grimes on guitar, and Barra Brown on drums.While Seasons represented what Myles describes as a "sounding board of general ideas” he had during his initial metamorphosis to songwriter, the songs that made up the collection hinted at the austere soundscapes and fully formed string-and-horn arrangements that the band utilizes to crisp precision on Procession. The band’s sophomore album is set for release September 15 on Myles’ label False Migration."Seasons/Specters was the great starting point, but now it’s going into where I feel the songs are more realized because we are bringing in these distorted tones,” says Myles. "I always felt like distortion and dissonance was a really beautiful thing.”Myles’ Buddhist school upbringing, and his meditations on space, community, dialogue and abstraction account for major sub-themes on Procession. "Colfax,” the album’s opener, emerges an ominous foreshadowing of the shape-shifting panorama found throughout the record. Disparate snapshots of pensive scenes are back-dropped by beautifully lilting cello and violin, while driving acoustic guitars, French horn and trumpet provide spacious reservoirs for Myles’ deliberate vocal phrasing. The contrasts on similarly broad-reaching opuses like "Slow Beginnings” provide equally gilded and gloomy similes of war and peace, light and dark, the gristle and glare of life."The intention of this album was looking at and going in and out of perspective. I’ve really been fascinated with looking at moments in media res, moments in time,” explains Myles. "You enter in the middle, exit in the middle. Some songs blow it up into general emotions of different aspects of what a procession is in different contexts, but it also goes into very specific things as well.”Myles’ desires to open dialogue and to embrace the natural byproducts of communal space within his music adds a familial presence to more unrestrained tunes such as the slowly building "Swollen Light” or the briskly delivered, vaguely Sam Beam-ish folk ditty "Summer Dharma.” The result of this symbiosis, as you’ll hear, is a uniquely honest and vibrant listen.Recorded by Skyler Norwood at Miracle Lake Studios, the band continued its collaborative approach on Procession, bringing in friends Nate Crockett (violinist for Horse Feathers), multi-instrumentalist Dan Pisarcik, and Ages and Ages’ drummer Dan Hunt, among others, to round out production."This album is very community oriented, and in some ways it just happened to be that way,” says Myles. "It happened organically. I think you can hear everyone’s enthusiasm.” Mehr lesen...

Aoife O’Donovan

The thing about fossils is that they take a very long time in the making, and it’s not an entirely intentional process. The making of Aoife O’Donovan’s debut album Fossils has hardly been a glacial affair, but it has spent rather more than a decade forming about in her creative subconscious. It was time well spent, for she’s crafted a beautiful, timeless record, the natural evolution of an accomplished singer and songwriter.The album’s roots stretch back to Aoife’s time at the New England Conservatory, where she dreamed of one day recording an album with celebrated producer Tucker Martine (My Morning Jacket, Tift Merritt). Upon graduation, Aoife (pronounced "ee-fuh”) hit the road as the lead singer and principal songwriter/song-finder of Crooked Still, which grew into one of the world’s most acclaimed progressive string groups over the ensuing decade. The stunning versatility and appeal of her voice brought her to the attention of some of the most eminent names in music and led to collaborations across a wide variety of genres with everyone from Alison Krauss to Dave Douglas, along with a role as vocalist on the Grammy-winning Goat Rodeo Sessions alongside Chris Thile, Yo-Yo Ma, Edgar Meyer and Stuart Duncan.O’Donovan never forgot the call of that solo record, though, and last year she headed to Portland, OR, to fulfill her dream and record with Martine. Rich in songs and unexpected textures, the resulting album bears the remarkable fruits of their creative partnership. Both joyously open and profoundly private, the album is at all times an opportunity to enjoy O’Donovan’s thoroughly modern and deeply rooted vocals.The album opens with "Lay My Burden Down,” perhaps O’Donovan’s best-known song simply because Alison Krauss recorded it on Paper Airplane. O’Donovan acknowledges the risk in this choice, and the reward. "One of my uncles loves to say that nobody owns songs, and I think that’s true. My version is so different from hers, and it really sets a nice tone for the record,” she says.O’Donovan and Martine have carefully placed her songs in a variety of musical settings, from the chorus of horns which opens "Thursday’s Child” to the country-rock of "Fire Engine,” from Charlie Rose’s pedal steel, running throughout Fossils, to the sometimes squalling electric guitar on "Beekeeper.” It is a rooted album, to be sure, but not precisely a roots album.O’Donovan chuckles a little. "I guess it just feels totally natural,” she says. "It’s how a lot of these songs have just come to life over the years.”Most of O’Donovan’s songs are character-driven, and many of them resemble portions of the folk traditions in which she was raised. The second track, "Briar Rose,” for example, is based on an Anne Sexton poem, a recontextualized fairytale. Though she will concede that a couple tracks are somewhat more personal.And that she is quite properly proud of Fossils. "This solo album seems like it was a long time coming to me,” she says, the sounds of an airport in the background. "I’ve been thinking about it since I was 18 years old.”Time well-spent. Fossils, after all, are among nature’s most durable, lasting creations. - See more at: http://aoifeodonovan.com/about/#sthash.a49k6beU.dpuf Mehr lesen...