We’re thrilled to announce that Sub Pop will release Love Letter For Fire, a collaborative effort from Sam Beam (of Iron and Wine) and Jesca Hoop, worldwide this coming April 15th. The thirteen-track album features the singles “Every Songbird Says” (listen now via YouTube or Soundcloud) and “Valley Clouds,” and was written throughout 2014. Love Letter for Fire features Beam and Hoop on vocals and guitar along with Robert Burger (keys), Eyvind Kang (violin, viola), Glenn Kotche (drums, percussion), Sebastian Steinberg (bass) and Edward Rankin-Parker (cello).
Love Letter For Fire was produced, recorded and mixed by Tucker Martine (Modest Mouse, Decemberists, Neko Case) at Flora Recording & Playback in Portland, and mastered by Richard Dodd in Nashville. The album also features a cover photo by Sam Beam.
Love Letter For Firewill be available on CD / LP / DL / CASS, and is available for preorder now. LP preorders through megamart.subpop.com will receive the limited Loser edition on Smoke-colored vinyl (while supplies last, so don’t sleep!).
More on Love Letter For Fire:
Love Letter for Fire is the name of the collaborative record from songwriters Sam Beam (Iron & Wine) and Jesca Hoop. A collection of songs steeped in the tradition of the male/female duet where love – in its many forms - takes center stage.
Contemplating a duets album for some time, Beam was never able to find the right voice - until Hoop’s music found its way to his stereo. Diving into her catalog on iTunes one afternoon, specifically the album Kismet, was the spark Sam needed to reach out to Jesca and propose the idea of writing together.
The timing could not have been better for Beam: “I was looking to work with another songwriter because I had never shared the songwriting responsibility with anyone. I really enjoyed her music and it’s different than mine which is what excited me about the project.”
Hoop at the time was finishing her fourth record and had never co-written either. However she notes, “I had the advantage of knowing Sam’s music because it had cleaned my house many times, so I was familiar with his sensibilities and knew the combination could work.” Her memory though of “Sam’s pitch” for making the record occurred once they connected in person and Beam “threw [the idea] under his breath, like ‘If we ever write songs together.’ I think he said ‘Let’s make an EP’ and I said ‘Let’s make an album.’”
The inspiration behind Love Letter For Fire was Sam’s love of classic duets, most of which are ones he grew up hearing on the radio. “Some of my favorite songs are duets, because the narrative is expanded. It’s not just a monologue. It’s a conversation, and so it gets complicated. I had melodies over the years that I’d been compiling that I thought, this sounds like a classic Kenny and Dolly, ‘Islands in the Stream’ kind of thing, or George and Tammy”. While the record itself is not Countrypolitan in nature, the two have carved out something that feels wholly original and should have no trouble appealing to fans of their previous work.
Over the course of thirteen songs Love Letter for Fire brims with a joyful energy, contrasting Beam and Hoop’s songwriting styles yet never feeling forced, nor pandering. Veering from disparate pop (“Every Songbird Says” / “Chalk It Up To Chi”) to introspective folk (“One Way to Pray” / “Soft Place to Land”) to a few things in between (“Welcome to Feeling” / “Midas Tongue”), the record never rests solely on just the two voices but rather showcases the new chapter of songwriting each found in the collaboration. Beam notes: “(Jesca) brought a lot of energy and a lot of heart in places where I would be cerebral, she would bring heart. In places where I would be steady, she would add an exclamation point.”
Recorded in Portland, Oregon with the steady hand of Tucker Martine, the album features a collection of handpicked musicians. The band includes Rob Burger, a frequent Iron & Wine contributor, Sebastian Steinberg (Soul Coughing, Fiona Apple), Teddy Rankin-Parker (Primus), Eyvind Kang (Decemberists/Tzadik and Ipecac labels) and Glenn Kotche (Wilco). This particular set of musicians had never worked together, but quickly found themselves on equal footing. For Beam it was a bit of a dream team: “It was a really funband, and a lot less guitar than I usually have on my [Iron & Wine] records. Tucker and the band were able to help bring out what’s inside of you that you might not know is there.”
The album’s title comes from the song, “We Two Are A Moon“ and the irony of the title and record of love songs by two folks not in love is not lost on its creators. The idea of love in song and life is a constant and universal denominator that everyone relates to. Hoop describes love and the songs succinctly: “Each song has its own heat, its own trajectory.” The album title represents a kind of “ephemeral love that passes through” and then it’s gone. Beam on the other hand insists the title plays on itself in that “is it a love letter for fire? Or is it a love letter ready to be wasted?” and leaves it up to the listener to come to their own conclusions (read more at Sub Pop).
Sam Beam and Jesca Hoop have scheduled a North American tour in support Love Letter For Fire, which begins Tuesday, May 17th in Ann Arbor, MI at The Ark and ends Saturday, June 11th in Chicago, IL at Thalia Hall. Tickets go on sale to the general public Friday, February 19th.
Tour Dates May 17 - Ann Arbor, MI - The Ark* May 18 - Toronto, ON - The Danforth Music Hall* May 20 - New York, NY - The Town Hall* May 21 - Washington, DC - The Lincoln Theatre* May 22 - Boston, MA - The Wilbur Theatre* May 24 - Philadelphia, PA - Union Transfer* May 26 - Atlanta, GA - The Buckhead Theatre* May 27 - New Orleans, LA - The Civic Theatre* May 28 - Dallas, TX - The Kessler Theater* May 30 - Tucson, AZ - The Rialto Theatre* May 31 - Los Angeles, CA - The Fonda Theatre* Jun. 02 - San Francisco, CA - Great American Music Hall* Jun. 03 - Portland, OR - Aladdin Theater* Jun. 04 - Seattle, WA - Neptune Theatre* Jun. 05 - Boise, ID - The Egyptian Theatre* Jun. 07 - Boulder, CO - Boulder Theater* Jun. 08 - Omaha, NE - Slowdown* Jun. 09 - Minneapolis, MN - Varsity Theater* Jun. 10 - Milwaukee, WI - Turner Hall Ballroom* Jun. 11 - Chicago, IL - Thalia Hall* * w/ Marlon Williams
Low has delivered a new video for “Into You,” a standout from Ones and Sixes, their acclaimed 2015 album. The visual was directed by Jim Burns and Beth Chalmers, and filmed while on location in Glasgow, Scotland.
The directors had this to say of the video: “Inspired by the hypnotic reflections of the River Clyde on the archways beneath Glasgow’s city bridges, this film draws parallels between the power of a single beam of sunlight and the deeply affecting personal experience one feels during Low’s live performance. Despite being part of a crowd, Low’s music invokes within you a profound and unique individual perspective.”
Low’s 2016 tour schedule in support of Ones and Sixes is underway with a show tonight, February 1st in Philadelphia, PA at Johnny Brenda’s and runs through June 11th in Kværndrup, DK at Heartland Festival. New tour highlights include a tour of Australia and New Zealand from April 1st-9th. (see dates below.)
Low’s Ones and Sixes is available for purchase from the Sub Pop Mega Mart, iTunes, Amazon, and Bandcamp. Now completely sold-out through megamart.subpop.com, the limited “Loser Edition” of the double-LP on yellow vinyl and packaged in a variant slipcase cover is available from select independent stores and from the band themselves at upcoming tour dates, while supplies last. There are also two new T-shirt designs available at megamart.subpop.com, both as individual items and as part of CD and LP bundles.
Ones and Sixes garnered year-end praise from the likes of NPR Music (50 Best Albums and “Readers Poll”), Music OMH (#10), MOJO (#13), Drowned in Sound (#16), Under The Radar (#24), The Skinny (#28), Uncut (#37), and Village Voice “Pazz & Jop” (#46). It also earned the group’s first-ever U.K. Top 40 album spot, coming in at #35 on the official albums chart, and entered at #68 here in the U.S. on SoundScan’s Top Current Albums charts. Ones and Sixes also peaked at #7 on the CMJ Top 200 chart.
[Photo Credit :: Zoran Orlic]
What ‘the people’ are saying about Low’s Ones and Sixes:
“It’s one thing for Low to have made a rewarding career of spare, dramatic, glacially paced music…It’s another to make those ingredients sound so incredibly dynamic; to spend 20-plus years making a dozen albums that each feel distinct, and that each introduce new ideas, twists and ways to wring drama out of the space between notes…Throughout Ones and Sixes, the Minnesota trio somehow gives weight to airiness as comfort and discord orbit each other like a binary star. But every time the portent threatens to become overbearing — just as the mix of prettiness and heaviness tips a little too far out of alignment — Low punctures it with a burst of cleansing aggression or some pristine, exquisite surprise. Anything to keep us off balance.” [“First Listen”] - NPR Music
“The band’s strengths are here in abundance, but they are reimagined, twisted into new shapes and given a visceral intensity that is utterly irresistible.” [9/10] - CLASH
“…Striking a balance between their majestic, slow-moving melancholy and harsher experimental noise.” [4/5] - The Guardian
“One of the most impressive albums of their career” [4/5] - MOJO
“‘What Part of Me,’ with its upbeat percussion, fuzzy guitar textures andsweet harmonized lyrics about relationship boundaries (‘What part of me don’t you own?’), feels like a sideways response to the post-1989 maximalism of today’s Top 40; “Into You” is a gospel-inflected, subtly sexy slow jam; and “The Innocents” sets accusatory vocals over a crunching electro-industrial beat, all to excellent effect. Elsewhere, on the gentle, pained duet “Lies,” Low remind us they’re still masters of doing a lot with a little.” - Rolling Stone
”Ones and Sixes is all at once beautiful, ugly, tense, warm, inviting and repellent. It’s an emotional and sonic juggling act where even the slightest bum-note would draw attention to itself. As always with Low, the beauty is all about the details” - Pitchfork
‘Ones and Sixes is an ear-pricking listen.’ [Album of the Week] - The Observer
“Ones and Sixes finds them producing some of their best work in years” - The Quietus
“It’sanothersubtly heart-rending effort from a band that remains one of the very finest in the world. If you needed a reminder of why Low are an institution then this is it.” [8/10] - Drowned in Sound
“Somehow, with each new release (and they come regularly, every two or three years), Low manage to find new ways of protracting their deceptively beautiful melodies.” [4.5/5] - Music OMH
“Ones and Sixes hinges on tension that courses throughout these 12 songs. The drums land with a thud, as if transferred from modern R&B and hip-hop. They anchor songs that crackle with bits of distortion and chiming guitars that somehow feel disembodied from everything surrounding them. Then, in keeping with a signature Low move, there is the spectral spark created by Parker and Sparhawk singing together; their alchemy is otherworldly and downright intoxicating.” - Boston Globe
“With Ones and Sixes they’ve pulled together many of their disparate sides in a masterful survey of what makes them one of the great rock bands of their era.” - Dusted
“Ones and Sixes sees Low churning out some of their most accessible work, with “What Part of Me” having the potential to be an unlikely hit. As ever, strong stuff in every way.” [4/5] - Record Collector
“Low’s always been good at making records where it sounds like every note and beat contains some degree of pain and hope you’ve felt.Sohopefully it’s compelling when this one stands out even more as one of their best.” [8.1 /10] - PASTE
“Low remain as vital as ever” - DIY
“After two decades, a band that could easily feel part of the wallpaper remain hungry to show that you never know what lies beneath” [8/10] - Uncut
“Comfortably ahead of the pop pack” - TheSunday Times
“Masters of transforming emptiness into swelling, sweeping orchestrations of musical and mental noise, Low are truly intense and joyful on their newest exhibition of off-kilter, subterranean pop.” [4/5] -NOW
Feb. 01 - Philadelphia, PA – Johnny Brenda’s Feb. 02 - Baltimore, MD - Creative Alliance (Seated) Feb. 03 - Carrboro, NC - Cat’s Cradle Feb. 04 - Atlanta, GA - The Earl Feb. 05 - Birmingham, AL - Saturn Feb. 06 - New Orleans, LA - One Eyed Jacks Feb. 08 - Houston, TX - Walter’s Downtown Feb. 09 - Austin, TX - The Parish Feb. 10 - Dallas, TX - The Kessler Theatre Feb. 11 - Hot Springs, AR - Low Key Arts Feb. 12 - Nashville, TN - City Winery Feb. 13 - St. Louis, MO - Off Broadway Mar. 12 - Mexico City, MX - Festival NRML Apr. 01 - Wellington, NZ - Bodega Apr. 02 - Auckland, NZ - King’s Arms Apr. 04 - Southbank, AU - Melbourne Recital Centre Apr. 05 - North Fremantle, AU - Mojos Fremantle Apr. 07 - Fortitude Valley, AU - Black Bear Lodge Apr. 08 - Sydney, AU - Oxford Art Factory Apr. 09 - Hobart, AU - Eros & Thanatos (at the Museum of Old and New Art) Jun. 11 - Kværndrup, DK - Heartland Festival * w/ Andy Shauf
Mass Gothic’s self-titled debut is out tomorrow! The group will kick-off their 2016 headlining tour in support of the album, with a show tonight, Thursday, February 4th in Philadelphia at Johnny Brenda’s. Tour ends on March 19th in Austin at SXSW. Support for the tour (February 4th -25th) will come from fellow NYC band Mazed (Autre Ne Veut affiliates, ex-Bear in Heaven, Zambri). Scroll down for all the dates.
The band recently shared an official video for “Every Night You’ve Got To Save Me”, the iridescent lead single. The exuberant visual, directed by Addison Post (Colleen Green, Solvey), follows group members Noel Heroux and Jessica Zambri on a night out in Manhattan (watch it here).
Mass Gothic and tourmates Mazed have also teamed up to release “March of the Cigs” / “Ronette,” a 7” split-single.
Mass Gothic’s “March of the Cigs” is featured on the A-side, and was produced by the band, mixed by Chris Coady, mastered by Greg Calbi. Meanwhile Mazed’s “Ronette” is on the B-side, and was produced by the group, with additional engineering by Rick Kwan, mixing by the group and Josh Ascalon, and mastered by Joe LaPorta.
You can listen to both songs now via Mass Gothic’s Bandcamp page (with Mazed’s “Ronette” also available for download). Listen here.
What people are saying about Mass Gothic:
“Don’t let the name Mass Gothic trick you into thinking the record is a spiral into sadsackism. Each song carries its own weight unreliant and wholly different from the track that came before it, creating a collection of different modes of music and feeling. Songs like “Nice Night” carry an unwavering heaviness and compliment the reflective nature of the lyrics, while the track “Territory” creates a variety of different electronic textures that all stay dancy and catchy. The record is a trip into a variety of different vibes and reasons to listen to music, forming into a wholly memorable and engaging listen. It warps what you think pop, rock, and punk can do when bleeding into each other, one song to the next.” - Noisey
“The four-minute clip follows Heroux as he wanders Chinatown, the East Village, and SoHo, karaoke mic in hand, lip-syncing to the track and going nowhere in particular. Along for the ride are his bandmate (and wife) Jessica Zambri, some random passerby, a few cab drivers, and Sub Pop co-founder Jonathan Poneman…The laid-back feel of the video matches the content (if not the upbeat sound) of the song, which covers Heroux’s feelings of alienation and depression when he was making music that didn’t resonate within. Mass Gothic is an honest record, and its lead single needed an honest video where Heroux could exhale and act naturally” [“Every Night You’ve…” video] - Village Voice
“Noel Heroux started off working alone on a four-track, and after nine years and mild success with his old band, dance-rockers Hooray for Earth, he’s gone back to the way he used to do things. This became a necessity, really — a way of dealing with his depression — but the results capture something quintessential about the emotional experience at hand: There are definite highs, and there are definite lows on his self-titled debut as Mass Gothic for Sub Pop. Sometimes Heroux, who’s accompanied at turns by his wife Jessica Zambri, sounds like he’s trying to kick down the doors of his own brain with the sheer force of distorted riffs and heavy echoes and sharp turns. Other times, he’s just trying to shake off the bad stuff with a dance party where the playlist’s almost exclusively synth-pop.” [ 20 Artists You need To Know in 2016] - Vulture
“Tracks such as the exhilarating “Nice Night” - layered stinging distortion - offer a cathartic energy that’s it’s hard not to be pulled in by. Other highlights include the crisp modern doo-wop of “Every Night You’ve Got To Save Me” and the pulsating digital clatter of “Want To Bad”. The sound of a man finding freedom, it’s an impressive reincarnation.” - Q Magazine
Tour Dates Feb. 04 - Philadelphia, PA - Johnny Brenda’s* Feb. 05 - Cleveland, OH - Grog Shop* Feb. 06 - Chicago, IL - Schuba’s Tavern* Feb. 08 - Minneapolis, MN - 7th Street Entry* Feb. 11 - Boise, ID – Neurolux* Feb. 12 - Seattle, WA - Columbia City Theatre* Feb. 13 - Portland, OR - Bunk Bar* Feb. 14- San Francisco, CA - Rickshaw Stop* Feb. 16 - Los Angeles, CA – Bootleg* Feb. 18 - Denver, CO - Lost Lake* Feb. 19 - Kansas City, MO - Riot Room* Feb. 21 - Louisville, KY – Zanzabar* Feb. 22 - Cincinnati, OH - MOTR Pub* Feb. 23 - Pittsburgh, PA - Club Café* Feb. 25 - Allston, MA - Great Scott* Feb. 26 - Providence, RI - Columbus Theatre* Feb. 27 - Brooklyn, NY – Palisades* Mar. 10 - Washington, DC - Black Cat Mar. 12 - Savannah, GA - Savannah Stopover Mar. 16 - Austin, TX - SXSW Mar. 17 - Austin, TX - SXSW Mar. 18 - Austin, TX - SXSW Mar. 19 - Austin, TX – SXSW *w/ Mazed
What is the Sub Pop Podcast and why did we make it? Furthermore, you may be asking yourself, “What is this ‘Sub’ ‘Pop’ the narrator of this press release keeps throwing at me?!?” You have questions, we have answers. We also have questions. (But we asked ours to the guests of the Sub Pop Podcast. That’s where you and we differ.)
Firstly: Sub Pop Records is the premier medium-sized, Seattle-based record label, and has been (in existence) since 1988. This is what people refer to as “pre-Internet.”
And then secondly: We are herewith launching The Sub Pop Podcast, where you can hear the stories from inside, outside, and adjacent to Sub Pop, straight from the source. You’ll get conversations with our artists, people who work at/with/around Sub Pop, and anyone else willing or gullible enough to talk to us. And don’t forget our sibling label Hardly Art. They get props, too.
Here’s why a podcast. It’s time to tell the Sub Pop story in our own way. But we realize the Sub Pop story is a fractally diverging, untamed thing that can’t properly be approached from just one viewpoint or in a strictly linear fashion. Everyone we’ve ever been involved with has their own “Sub Pop story,” and that’s how we’re choosing to tell it: through the people in our past, present, and maybe even future. The podcast is the perfect vehicle to try to contain this sprawl in a (we think) entertaining way. And just like Sub Pop itself, the podcast will certainly change as it grows(“certainly”because, on the 1 to 10 “we know what we’re doing” scale, we’re currently registering at about 2, *maybe* 2.5).
And let’s get this straight: When we say “we” are making a podcast (and we’ve been saying that a lot), we mean actual real people who really actually work at Sub Pop Records are making it. It’s produced and hosted by Alissa Atkins (long-time and indispensable Sub Pop employee) and Arwen Nicks (recently hired, no less indispensable). We even constructed a “studio” in a broom closet out of discarded blankets, secondhand burlap, and maybe a microphone or two. So you know we’re serious.
Here are the key facts on the ground: we’re releasing the first TWO episodes today, and until around the beginning of April 2016 we’re releasing a new episode every Wednesday. Once that process is finished we’re going to get a second season together and start this whole process over again.
we have loved and lost before. Who among us hasn’t? And when it comes to that
rare, fine sort of love reserved for major music industry awards like the
Grammys, we have loved really, really hard. With the exception of that one time
in 2008, when The Flight of the Conchordssomewhat miraculously won for Best
we have also, regularly, lost. In fact, we have lost TWICE over the years just
to “Weird Al” Yankovic alone. One would imagine that we would, at some point,
learn from these experiences.
be clear here, when I use “we” throughout the preceding and following, I am,
it’s worth admitting, attempting to associate Sub Pop Records with the
accomplishments of people, groups or artists who have worked with or for us,
thereby taking some largely undeserved credit for their accomplishments…]
hope (and our desire for just this sort of prominent music industry
recognition) blooms springs eternal! Which is why, this year, with the nomination of
our own Sasha Barr (one of Sub Pop’s Art Directors, and a member of our
profoundly talented and surprisingly sensitive Art Department) in the category
of “Best Boxed Or Special Limited Edition
Package,” we are ready to love again. We are, it turns out, SO ready to love
again that we have asked Sasha, and he has reluctantly agreed, to document his
experience this weekend and through Monday’s awards presentation in photos. In
turn, we will be foisting the favorites of these on you through our various and
powerful social media channels (likely: Instagram and Twitter, both @subpop). You
can, and we very much hope you will, follow along with our Mr. Barr on his
journey as a Grammy nominee from the comfort (or other conditions) of your own
home or mobile device! It should be fun and will, undoubtedly, be at least a
Nominated for his art direction of the Deluxe Edition of
Father John Misty’s 2015 album I Love You, Honeybear, we are exceedingly
proud of Sasha, and Father John Misty, and the amazing illustration work by
Stacey Rozich featured
throughout the album’s art. So much so that win or lose (as unimaginable as
that latter thing may be), we have every intention of very thoroughly
celebrating Sasha on his return. If he does not bring home the Grammy he
deserves, we will present him with our own, less official and recognizable,
though no less merited and certainly way more homemade, award. It will probably
be called a Grumpy or something.
good luck, Sasha! We’ll all be watching, very closely!
do, in fact, want what we haven’t got (more than that one time).
We couldn’t be more pleased to announce that singer-songwriter and multi-instrumentalist Kyle Craftwill release his label debut, Dolls of Highland, worldwide April 29th on Sub Pop Records. The twelve track album features singles “Lady of the Ark,” “Eye of the Hurricane,” “Future Midcity Massacre,” and “Black Mary”.
You can listen to lead track “Lady of the Ark” right here, right now.
Billboard says of Kyle Craft and “Lady of the Ark”: “Craft admits his voice sounds a good deal like Bob Dylan’s, and that his muse has come to him many, many times. Still, “Lady of the Ark” hints that Craft’s music is so full of its own weird singularity that he’s on to something far beyond idol worship (see news story Thursday, February 4th).”
Kyle Craft has scheduled a hometown show on Sunday, February 7th at Mississippi Studios in Portland, Oregon. There will be additional tour dates announced shortly.
The album was written, recorded and produced by Craft, mixed by Brandon Summers and Benjamin Weikel of The Helio Sequence at the Old Jantzen Building in Portland, and mastered by Greg Calbi at Sterling Sound.
Dolls of Highland Tracklisting 1. Eye of a Hurricane 2. Balmorhea 3. Berlin 4. Lady of the Ark 5. Gloom Girl 6. Trinidad Beach (Before I Ride) 7. Future Midcity Massacre 8. Black Mary 9. Pentecost 10. Dolls of Highland 11. Jane Beat the Reaper 12. Three Candles
About Kyle Craft: Kyle Craft grew up in a tiny Louisiana town on the banks of the Mississippi, where he spent most of his time catching alligators and rattlesnakes instead of playing football or picking up the guitar. He’s not the born product of a musical family, and bands never came through town–it was only a chance trip to K-Mart that gave him his first album, a David Bowie hits compilation that helped inspire him eventually to channel his innate feral energy into songwriting and rock and roll.
That self-made talent drives every note of Dolls of Highland, Craft’s exhilarating, fearless solo debut. “This album is the dark corner of a bar,” he says. “It’s that feeling at the end of the night when you’re confronted with ‘now what?’”
Craft knows the feeling well–Dolls began to take shape when everything he took for granted was suddenly over, including an eight-year relationship. “All of a sudden I was left with just me for the first time in my adult life,” he says. He decided to get himself and the music he’d been working on far away from the ghosts of his home in Shreveport, Louisiana, to make a new life for himself in Portland, Oregon, living under a friend’s pool table while he demoed new songs and started to tackle his own question about what came next.
Dolls of Highland crashes open with “Eye of a Hurricane,” a whirlwind of ragtime piano and Craft’s dynamic, enthralling vocals. He calls it a “jealous song,” stirred up by the memories of an ill-fated crush and a drama of “weird little connections, a spider web of what the fuck?”
The swinging, resonant “Lady of the Ark” is also tied up in that web, “a very incestuous song,” says Craft. “It’s about these messed up relationships, maybe involving me, maybe revolving around me.” Most of the characters and atmospheres on the album come from in and around Shreveport, where Craft briefly returned while recording the album for an intensely productive reckoning with his past. He stayed in a friend’s laundry room in the Highland neighborhood, where he recorded the whole album in two months on a home studio rig. “I dedicated the album to Shreveport and called it Dolls of Highland for all the girls and ghosts in town who influenced it so strongly.”
Craft eventually returned to Portland where Brandon Summers and Benjamin Weikel of The Helio Sequence helped refine and mix the album to move it from its DIY beginnings to a more fully realized work. Craft played most of the instruments on the album, but the recorded songs transmit the power of his live performance. “It’s just letting go,” says Craft. “I think it’s just all about feeling it in your chest.”
And then there’s Craft’s unforgettable voice–”I’m fully aware that I have a very abrasive, very loud voice, but Bob Dylan is the one that taught me to embrace that,” says Craft. “I stray away from him from time to time, but always come back. I don’t want to come off as antique, but I also don’t want to be afraid of paying homage to the stuff I’ve always loved.” With those influences as inspiration, Craft’s talent and singular creativity move the conversation into new and unpredictable places.
And no question, this album is very much about moving forward. “After everything fell apart, it didn’t take very long for me to learn who I was and what I should be doing,” says Craft, who is walking out on the other side with Dolls of Highland.