Posts Tagged ‘Angelo De Augustine’

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Angelo De Augustine’s new single featuring Sufjan Stevens out now: Angelo De Augustine has shared a new track the beautifully contemplative “Santa Barbara,” released via Steven’s label Asthmatic Kitty. The track arrived in tandem with a music video self-directed by Augustine, featuring a glistening coastline and existential pondering. “‘Santa Barbara’ touches on the uncertainties and realities of being mortal in the landscape that we view through our experience; displaying ghostly apparitions, love, death, and a famous British novelist,” De Augustine told Rolling Stone. “It was a good experience to record this song with my friend Sufjan. I look forward to sharing more soon.”

Angelo De Augustine: “Santa Barbara” (Feat. Sufjan Stevens)

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Angelo De Augustine writes and records music in Thousand Oaks, California — a suburb north of Los Angeles, where he grew up. His self-released debut album, “Spirals of Silence”, and 3-song EP follow-up, “How Past Begins”, earned praise from The FADER, Stereogum, Vogue, My Old Kentucky Blog, and more. His next project “Swim Inside The Moon” Written in the aftermath of a devastating breakup, Angelo De Augustine’s hushed journal of the stream-of-consciousness thoughts that fill the silence when a gaping hole opens up, revealing that there never really was anything else. De Augustine whispers intimately.

 

“Swim Inside the Moon” out now

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Few artists can quieten a room quite like Angelo De Augustine. You cannot help but admire the intimacy of this LA-based singer-songwriter, from his hushed whisper-vocals to the gorgeous finger-picked acoustic guitar, he can make a music venue feel like a living room, demanding the audience’s full attention by simply refusing to raise his voice. When the news of Augustine’s new record, “Tomb”, hit, it was announced that he was working with Thomas Bartlett aka Doveman, a renowned musician and producer who helmed recent records by St. Vincent, Rhye, Glen Hansard and Stevens.

If a lot of why earlier album Swim Inside the Moon was so heartbreakingly striking stemmed from its rough and lo-fi recording, how would a studio-produced release even remotely capture this same closeness? By and large, Bartlett’s cleaner mix works wonders for De Augustine. With cleaner vocals and an emphasis on a variety of instrumentation, Tomb is more direct than anything De Augustine’s has released prior.

By adding cleaner production, synth and string flourishes alongside poppier and catchier refrains, De Augustine largely hits the mark on Tomb. With a few curveballs thrown throughout, the warm and comforting lull of Swim Inside the Moon is long gone, replaced by a fascinating record that updates his prior work without losing any of its intimacy.

I’m gonna put this out there: ever since I found out about collaboration with Sufjan Stevens’ strong affiliation with church, I pretty much banned him from my earlobes. Anyway, this one slipped through the cracks because Angelo De Augustine is singing it instead

Sufjan Stevens and Angelo De Augustine performing “Time”

Angelo De Augustin burst onto the scene at the back end of last year with his excellent second album, Swim Inside The Moon, a charmingly lo-fi record that was quite literally recorded in a bathtub. This week Angelo has announced details of his upcoming third album, Tomb, released again on Sufjan Stevens’ Asthmatic Kitty Records, as well as sharing the first single from it, Time.

Tomb is the first time Angelo has worked in a proper studio, collaborating with renowned producer, Thomas Bartlett aka Doveman, and listening to Time, it seems to suit him. Time loses none of the gorgeous simplicity and minimalism of Angelo’s previous work, but in Thomas Bartlett’s hands this sounds lusher and more ambitious than ever before. Described by Angelo as, “a lovelorn examination of heartbreak and moving on”, the addition of muted piano, gentle electronics, and even whistling (!) all just work to highlight his enviable songwriting instinct.

Equally good as the recorded version is live version, where Sufjan Stevens joins Angelo on Grand Piano. An album about heartbreak that ends up as a prayer for love, Angelo might sound broken, but he’s still dreaming, still open, still ready for love. the live version of his new track “Time” with Sufjan Stevens on piano. Watch their performance live from Manhattan’s Reservoir Studios

Out January 18th via Asthmatic Kitty.  From the album “Tomb,”

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24-year-old Californian songwriter, Angelo De Augustine. After relentlessly touring his debut album, Angelo developed whopping cough and found himself on stage, completely unable to sing. His voice took eight months to recover, and it was during this time that he turned a problem into an opportunity and sat about crafting the songs that would go on to become his upcoming second album, Swim Inside The Moon.

Swim Inside The Moon is Angelo’s first record working with Asthmatic Kitty, the label created by Sufjan Stevens and Sufjan’s step-father Lowell Brams. The record is a majestically lo-fi affair. Thinking deeply about his approach to songwriting, Angelo concluded his music couldn’t thrive inside a normal recording studio, and set about discovering his perfect recording method, which as he explains involved a bathtub, a reel-to-reel tape player and a single microphone. By keeping it simple, Angelo tapped into the truth behind his music, and like Elliot Smith or yes, Sufjan Stevens, he created a mood that flows throughout the record, giving it an instantly recognisable tone and atmosphere.

A brave, warm and frankly magical record, Swim Inside The Moon is the sound of a songwriter discovering himself, just in time for the rest of the world to surely learn who he is alongside him. Ahead of Swim Inside The Moon’s release next month, Angelo was kind enough to sit down and talk us through his recording process, how his mum is his major inspiration and why his dogs deserve to be credited as co-producers.

exclusively recorded in the bathtub of my house with one sm57 microphone, a 1970’s 4 track reel-to-reel tape machine, and an old P.A. mixing console. The album was recorded live. I thought it would be much easier to capture the performance as a whole and have it the way that I wanted from the start. It was a frequent occurrence that my dogs would bark outside the door or decide to happily saunter into the bathroom looking for a snuggle with their jingling collars interrupting the recording midway.

Another important part of my process was to position the microphone in such a way as to pick up the reflection of my voice and guitar that bounced off of the walls of the bath tub. I would engage the 4 track in my room, press record, and run into the bathroom to sit on the side of the tub and begin the song. When the guitar and voice were recorded , I would, in the same vain, record my mom’s 100 year old piano, electric guitar, or synthesizer on top of the song.