Posts Tagged ‘Bon Iver’

The song title’s reference to stable ground is upended as reality is seen slipping away and replaced by manipulations or mediations. Against the backdrop of today’s political, economic, and environmental climate, the material world is distorted beyond recognition and the “screen” has become our most reliable means of community and communication, acting as an interface between us and lived reality. Closing with the line “all is all of it now,” the song gives expression to the contemporary experience of totalizing media and the enduring desire for finding connection to others in a world that privileges other values.” – CARM, CARM is the debut self-titled album of multi-instrumentalist, producer, and arranger CJ Camerieri. Whether it’s playing the iconic piccolo trumpet solo on Paul Simon’s “The Boxer;” anthemic horn parts on songs like The National’s “Fake Empire,” Sufjan Stevens’ “Chicago,” or Bon Iver’s “For Emma, Forever Ago;” or performing with his contemporary classical ensemble yMusic; or recording lush beds of french horns for artists from John Legend to The Tallest Man on Earth, you have undoubtedly heard the virtuosity of Camerieri.

He is the musician that musicians want to play with, and that is further evidenced by the cast on his debut. Since completing his classical trumpet training at The Juilliard School and quickly joining the touring band for Sufjan Stevens, Camerieri has played trumpet, french horn, and keyboards for some of the most important artists of our time. He founded the classical ensemble yMusic, joined Bon Iver—winning two Grammy awards for the band’s sophomore album and became an integral member of Paul Simon’s touring band in 2014, assuming a pivotal role in the legend’s last two records. According to Camerieri, “CARM started with the question: ‘What kind of record would my trumpet-playing heroes from the past make today?’ I believe Miles Davis would want to work with the best producers, beat makers, song-writers, and singers to create truly culturally relevant music, and that’s what I sought to do with this project.” The record was produced in Minneapolis by Ryan Olson (Gayngs, Polica, Lizzo) and features collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova (My Brightest Diamond), Mouse on Mars, Jake Luppen (Hippo Campus), and many others.

It is a completely unique sound that additionally serves as a survey of the many collaborations that have come to define the artist’s career thus far. The album begins with an orchestral brass choir of french horns, which quickly gives way to a piano sample of Francis and the Lights, as Stevens and Luppen combine voices over a lush bed of horns to sing “Song of Trouble” The album bookends with the same piano sample used as a springboard to a beautiful and iconic lyric by Vernon in the album closer “Land” Between these two generation-defining artists we have the upward sweeping melodies in “Soft Night” fanfares reminiscent of Ennio Morricone in “Nowhere” and the uncompromisingly original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in “Already Gone”.

Two dark and mysterious journeys in “After Hours” and “Invisible Walls” give way to the virtuoso sound of Nova’s voice, who the artist stood side-by-side with in his first Sufjan Stevens tour over a decade ago. “Slantwise” and “Scarcely Out” take us back down a more experimental path before the strings from yMusic members Rob Moose and Gabriel Cabezas bring us back to the piano sample that started the record. Given the oversaturated contemporary music market that often recycles well-trodden sounds, CARM offers a respite for those seeking an original voice.

http://

Released January 22nd, 2021

Produced by Ryan Olson and CARM. Featuring guest vocals by Sufjan Stevens, Shara Nova, Justin Vernon, Georgia Hubley, Ira Kaplan, Lupin, Cliff Rhymes, and Benson Ramsey.

Also featuring Mouse on Mars, Francis Starlite, Jake Hanson, Mike Boschen, Chris Bierden, Mark McGee, Amati, Joe Westerlund, Dustin Zahn, Alex Nutter, Trever Hagen, Nick Camerieri, Hideaki Aomori, Mick Rossi, Bryan Nichols, Rob Moose, Gabe Cabezas.

The first single from the debut album, out 22nd January 2021 with 37d03d Records

Sylvan Esso is Amelia Randall Meath and Nick Sanborn. A Band. With the swift demise of concerts as we know them this year, the live album has taken on a significance it’s not enjoyed for the better part of a half-century. So lucky were we that Sylvan Esso released “With” and its accompanying concert film a month into what felt like the end of everything good. Calling on a row of musician-friends hailing from Landlady, Hand Habits, Bon Iver, Mountain Man, and Mr Twin Sister, the already-great-live duo burn through a jaw-dropping set that recasts their catalogue with the warmth of eight further beating hearts, giving fans less of a reason to mourn the shows that could not be, but rather a glimmer of those to look forward to yet. 

Surprise! Our new “With Love” EP, featuring songs from the extra special From The Satellite performance, is available for streaming. Like its sister record “With” this album reimagines Sylvan Esso’s works as a full band, adding new layers and textures to these classic songs. The live version of “Free” at the end of this is hauntingly, intimately perfect. Twenty minutes and fifty eight seconds of sublime joy. The big band Sylvan Esso vibe is the finest thing there is.

http://

This tour existed only to exist, not to promote a new album or celebrate a milestone. No, Sylvan Esso simply wanted to do something fun. For themselves, for their fans, and for us, their friends, who got easily roped into being in the ten piece band. We were all sent the song list in advance, with just a few written ideas of what some of us could do on each song, but largely it all remained open for interpretation and when we convened in the house to rehearse in Durham for the first time. On the first day we played the song “Wolf,” checking the pulse of the band, how would we sound together, how would we arrange together, and how much homework did everyone actually do? The first take of that song put everyone immediately at ease and also turned up the temperature. Because it went really well. We knew how good this could sound, how different it could be from the original recordings and how special that would feel for the crowd, and for us. “Wolf” ended up being the first song in the set. “Wolf” became the anchor, before the rocket ship would take off each night. Yes I know I made a boat analogy early. And now I’ve shifted to space. That’s an accurate representation of how this show ended up.

The first four days we would just keep chipping away at songs, written on a large piece of butcher paper on the wall in fat marker, and we’d cross them off one by one as we hit them. The first day was a dream because we learned five songs and they all sounded great. The second day was impossible, because we had to learn five more songs, and then suddenly the songs from the first day weren’t so perfect anymore. That’s the big problem with getting better. Your ceiling goes up, the standards rise, and the goods can always keep improving, which means, in more pessimistic terms, it can always also keep sounding worse. There were twenty songs to learn, so there was a lot of bucking and bobbing back and forth between feeling over-confident and supremely challenged. Sometimes that had to do with how hungry we were.

http://

After the family style rehearsals concluded, we headed to Los Angeles for tech rehearsal. To get there involved thirteen of us, band and crew, flying on an airplane. Thirteen people each checking three bags. Thirteen people moving through the airport together is insane. It’s like a school trip. After the tour was done Nick and Amelia remarked on how ridiculous it was that we didn’t do any warm-up shows, how insane it was that we jumped into the fire at the Walt Disney Concert Hall, a Frank Gehry designed space for the LA Philharmonic where a portion of the audience sits behind you. But we did it. For over two thousand people on night one, we did it, and we did it surprisingly well. We had our expectations set to cautious, because sometimes the first show can be a true disaster, it almost is supposed to be, but everyone cared so much and worked so hard and the stakes felt so high that somehow a meltdown just didn’t happen. 

The last two shows were homecoming shows in Durham, a little different feeling from the classic theatres, and these were the shows that were filmed for what you’re seeing here and now. I’m excited to watch it just so I can see the light show from the front. We were so sad when it ended but there wasn’t a formal goodbye. Folks trickled off to go home, and a bunch of us watched a movie the next day. It’s implied that we will be together again, we’re just not sure how or when. Those of us who don’t live in North Carolina feel ourselves threatening ourselves to move there, but I don’t see it happening for me. I like being called to serve and being swept into the vortex, then returning home to wait for the next vortex to assemble

Acclaimed singer/songwriter Pieta Brown has teamed up with Bon Iver’s S. Carey for a new single called “Follow You” that veers confidently into the world of indie-pop. Out now via Ani DiFranco’s Righteous Babe Records, “Follow You” is a first taste of new music to come and continues to showcase Pieta’s experimentation with expanding her musical palette and pushing her sonic boundaries. The accompanying video was filmed in Ireland by director Peadar Gill and features actress/dancer Taylor Graham.

“Written in Belgium standing by the North Sea, for me this song is simple,” Pieta told Flood Magazine, who featured the single. “Imagination and connection amidst the chaos! ‘Nature is imagination itself…’ Many of my last recordings have been recorded live all in one room, and this was anything but that! This track started one afternoon in Paris with my friends Bertrand Belin and Thibault Frisoni, and morphed and grew slowly with the help of my friend S. Carey. Sean and mixing engineer Brett Bullion were very instrumental in translating my ideas into sound – and in giving this track some wings!”

“It’s been a real joy helping Pieta stretch out her sonic palette on some of her more recent releases,” said Carey. “And like all of her songs I’ve heard, this one had real legs to stand on and expand upon.”

http://

Pieta enlisted S. Carey to produce her revolutionary new album ‘Freeway’ last year, which was recorded at Justin Vernon’s April Base Studios and also released through Righteous Babe Records. It was marked as her most experimental collection of songs to date, as well as her most confident and direct. It was met with widespread critical acclaim from NPR Music, Billboard, Stereogum, Flood Magazine, Paste, American Songwriter, Folk Alley, and Relix Magazine among many others. 

ATO Records released a pair of remixes of songs from Brittany Howard’s acclaimed debut solo album, “Jaime”. Atlanta-based hip hop duo EARTHGANG reimagines “Goat Head” and Bon Iver brings fresh textures to “Short and Sweet.” The tracks are the first to be revealed from an upcoming collection of remixes from Jaime.

EARTHGANG explains, “We’ve been big fans of Brittany and Alabama Shakes so this is a dream come true. Songs like these help us make sense of all the craziness in the world at times. Her song ‘Goat Head,’ dealing with her black experience in America and The World, resonated the loudest at this time. Just thankful to be able to give the world our medicine and heal the people.”

Bon Iver adds rich layers to “Short and Sweet” – a song celebrating a nascent romance that Howard originally recorded alone, accompanying herself on acoustic guitar – and imbues it with a twinkling, ethereal vibe that both complements and contrasts its old-time warmth.

Brittany is a truly singular artist; so much power and musicality. This album speaks to so many people, including us,” says Justin Vernon, founder of the Grammy award winning band Bon Iver. “To have a chance to recreate ‘Short and Sweet’ in our own image with long-time collaborators Jenn Wassner and CJ Camerieri, was both an honour and almost too much of a privilege.

BON IVER – ” AUATC “

Posted: August 8, 2020 in MUSIC
Tags:

Image may contain: one or more people

Four months after sharing the Kacy Hill–featuring acronymic single “PDLIF,” Bon Iver is back with reinforcements for their second track of 2020: “AUATC” (which stands for “Ate up all their cake”) arrived  with vocal contributions from Jenny Lewis and Jenn Wasner (who’s had a busy month between a new Wye Oak EP and her work on the new Madeline Kenney LP) with production credits for the band’s Justin Vernon as well as Jim E-Stacks and BJ Burton.

In lieu of the glitchy folktronica of its predecessor, “AUATC” recalls the roots rock of The Band, complete with a jaunty piano lining the chorus of voices (Bruce Springsteen also gets a vocals credit here). Hear the song below, and watch the video which features graceful moves from Randall Riley.

From celebrating art and music, to empowering women, to liberating incarcerated people, to fighting climate change, these organizations work tirelessly to foster a world that celebrates our humanity on a local, national, and global level. Please explore, support, and take action:

Vocals: Elsa Jensen, Jenny Lewis, Bruce Springsteen, Justin Vernon, and Jenn Wasner Morphagene: Jenn Wasner Synthetic String Parts: BJ Burton Pianos: Phil Cook Percussion and Drums: Jim-E Stack, Reggie Pace, Matt McCaughan, JT Bates, and Justin Vernon Guitars, Ob6_Bass, and Banjers: Justin Vernon Pedal Steel: Ben Lester Fiddle: Barbara Jean Meyers

Written by Phil Cook, Justin Vernon, Jim-E Stack, BJ Burton, and Jenn Wasner

Bon Iver’s “Blood Bank” is “arguably the most consequential EP of the 2000s” and now, the group announces its 10th Anniversary  reissue. Released 11 years ago yesterday (we know), and coming March 27th on Jagjaguwar, the package pairs each of the original four songs with brand new live renditions recorded during shows in Stockholm, Dallas, London, and Paris.

Similar to how the first Blood Bank followed For Emma, Forever Ago, the reissue forecasts the evolution of Bon Iver as the project expands to new breadths of sound and community. In its new liner notes, Wisconsinite Ryan Matteson reflects on the mantras of Blood Bank and the growth of Bon Iver, writing how songs like “Woods” heralded “not just a new direction but a new beginning entirely. A place where boundaries don’t exist. It was a signal change of things to come, laying the groundwork for new collaborations.”

Bon Iver performed music from Blood Bank throughout their 2019 arena tour supporting new album i,i. That tour will extend through November 2020 with a series of just-added European dates

The reissue will feature new artwork by Eric Timothy Carlson, both original and brand new live renditions of each track, and an in-depth essay written by longtime Bon Iver friend Ryan Matteson.

Side A:
01 – Blood Bank
02 – Beach Baby
03 – Babys
04 – Woods

Side B:
05 – Blood Bank (Live from Ericsson Globe, Stockholm SE, Oct 31 2018)
06 – Beach Baby (Live from The Bomb Factory, Dallas TX, Jan 23 2018)
07 – Babys (Live from Eventim Apollo Hammersmith, London UK, Mar 4 2018)
08 – Woods (Live from Pitchfork Paris Presented by La Blogothèque, Nov 3 2018)

Blood Bank (10th Anniversary Edition) – out March 27, 2020 via Jagjaguwar Recordings.

Bon Iver Announce ‘i,i’<span>New Album Out August 30th </span>

Bon Iver have announced a new studio album, i,i, set for release on August. 30th via Jagjaguwar Records, along with sharing two more tracks from the effort, “Jelmore” and the song “Faith.”

As was hinted at with the band’s “Sincerity is Forever in Season” teaser trailer, released earlier this month, this is the fourth studio record from Justin Vernon’s project follows in the seasonal pattern of the previous three: 2007’s For Emma, Forever Ago (winter); 2011’s Bon Iver (spring); 2016’s 22, A Million (summer); and now i,i representing the fall.

“It feels very much like the most adult record, the most complete,” Vernon says in a press announcement for the album. “It feels like when you get through all this life, when the sun starts to set, and what happens is you start gaining perspective. And then you can put that perspective into more honest, generous work.”

Vernon recorded i,i at Wisconsin’s April Base and Texas’ Sonic Ranch studios and, according to the press release, at times used all five studio rooms of the latter location simultaneously. For the sessions, Vernon was joined by a band comprising Sean Carey, Andrew Fitzpatrick, Mike Lewis, Matt McCaughan, Rob Moose and Jenn Wasner, along with contributions from James Blake, Brad and Phil Cook, Aaron and Bryce Dessner, Bruce Hornsby and several others.

“The title of the record can mean whatever it means to you or me,” Vernon says. “It can mean deciphering and bolstering one’s identity. It can be how important the self is and how unimportant the self is, how we’re all connected.”

Bon Iver will head out on a North American tour in the late summer and fall this year, kicking off August. 31st in Missoula, MT.  the two new i,i singles (which follow up the previously released “Hey, Ma” and “U (Man Like)”) .

Image may contain: text

Bon Iver (the project of Justin Vernon) shared two new songs, “Hey Ma” and “U (Man Like),” via lyric videos for each track. They also announced some new tour dates and launched a new website (www.icommai.com). The songs feature a slew of special guests, including Jenn Wasner of Wye Oak and Flock of DimesMoses Sumney, and Bruce Hornsby. We were torn between the two, but settled on “U (Man Like)” as our favorite of the two, with “Hey Ma” an honorable mention below.

Vernon had this to say in a press release: “This project began with a single person, but throughout the last 11 years, the identity of Bon Iver has bloomed and can only be defined by the faces in the ever growing family we are.”

The official musician credits on “Hey Ma” are: Ben Lester – CP-70 Electric Piano. Psymun – Sampling. Justin Vernon – Matrix 6, Guitar. Brian Moen – Drums. Jenn Wasner – Voice, Guitar. Jake Luppen – Guitar. Buddy Ross – Synth. Rob Moose – Violin, Viola, String Arrangement, Worm Crew Arrangement, Conductor. Brad Cook – Basses. Worm Crew – Horns.

The official musician credits on “U (Man Like)” are: “Justin Vernon – Bass + Voice. Bruce Hornsby – Piano, Voice. Phil Cook – Piano and B3, Voice. Elsa Jensen – Voice. Moses Sumney – Voice. Jenn Wasner – Voice. Rob Moose – Violin, Viola, Octave Viola, String Arrangement, Worm Crew Arrangement. Worm Crew – Horns. Brooklyn Youth Chorus + Bryce Dessner – Choral.”

Listen to Gordi's Haunting Acapella Cover of Bon Iver's "00000 Million"

The Australian musician and 21 year old Sydney indie-folk singer songwriter known as Gordi recently covered her Jagjaguwar labelmate Bon Iver’s “00000 Million.”

On the decision to do an acapella cover, the musician says, “I think words can be best understood when they are all you can hear.” Listen to Gordi’s beautiful and haunting cover

Gordi will support Bon Iver at his upcoming Hammerstein Ballroom show in New York on December. 10th. Leading up to that show, she will support The Tallest Man on Earth for a string of Australian dates.

Bon Iver’s first album in five years takes an unexpected turn toward the strange and experimental. But behind the arranged glitches and processed voices are deeply felt songs about uncertainty.

10 days after its release, and I’m still getting my head around the beautiful weirdness that is Bon Iver’s 22, A Million, but if you pushed me for a favorite song, then I’d probably say “#29 Strafford APTS.” A sweeping acoustic ballad that provides an alien-like spin on Justin Vernon’s more traditional breed of folk and Americana, it comes paired with a video that sees the track’s inscrutable lyrics splayed out across Illuminati-esque imagery.

Created/Produced/Directed by Aaron Anderson & Eric Timothy Carlson