Posts Tagged ‘Nonesuch Records’

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Halfway through Vagabon’s 2017 debut Infinite Worlds, Lætitia Tamko stepped away from her guitar. The song, “Mal a Laise,” was an exercise in atmosphere, with droning synth loops layered over reverb-heavy vocals murmured in both French and English. It stood at odds with the guitar-centric indie rock production that defined the rest of the record: It was a detour, but it almost felt like a homecoming. Maybe it was. Tamko’s sophomore effort, the self-titled, self-produced Vagabon, is a more formless affair, a cosmic journey through synthetic sounds, lush orchestral suites and lyrical self-realization.

The result is an ambitious album overflowing with generosity and empathy, warm in production and rich in theme, even if it largely lacks the punch that made Infinite Worlds so immediately memorable. But homes are made to shelter aspirations, dreams, fears, anxieties, hopes, doubts. Homes are sanctuaries, and that’s what Tamko has created with Vagabon

Vagabon’s “Every Woman,” from her self-titled album, out now on Nonesuch Records; vinyl out soon:

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Vagabon (aka Lætitia Tamko) released a new self-titled album via Nonesuch. Earlier this week she shared one last pre-release single from the album, “Every Woman,” via a video for the track. Lino Asana directed the video, which features Tamko in a clear bubble house and out in nature.

Tamko had this to say about the song and video in a press release: “‘Every Woman’ is the thesis of my album so I wanted the visuals to represent transparency and to create a world for this thesis statement to live inside of. It’s an ode to all those who feel different and who actively search and fight for space. When I was approached by Cameroonian filmmaker, Lino Asana, I was really, really excited to work with an artist from my country. There was this immediate understanding of one another. So many scenes of this video feel reminiscent of my early life in Cameroon, the chores I would do as a kid, the way we lived simply and humbly. The bubble displayed in this video represents an invitation to find yourself in this world.”

Previously the album was titled All the Women in Me and due out September 27th, but in August Tamko announced that the album title and release date were both changing. Also, the album’s first single was originally titled “Flood Hands” but was then changed simply to “Flood” and another track from the album had a title change from “All the Women” to “Every Woman.” The lyrics for both songs were also changed. This was all because a poet wouldn’t give Tamko her blessing to reference her work in the songs.

“My original album title and two lyrics were inspired by and referenced poetry by a writer I greatly admire, Nayyirah Waheed,” Tamko said in a previous press statement about the changes to her album. “When I learned that she preferred I not quote her words, I made changes out of respect for her wishes.”

Vagabon is Vagabon’s second album, the follow-up to her 2017-released debut Infinite Worlds, and is her first for Nonesuch. Tamko wrote and produced the entire album herself. “Flood Hands” (or “Flood” now) Then she shared another song from the album, “Water Me Down”  as well as a stylish video for the song.

In a previous press release Tamko set the scene for where she was at prior to recording the new album: “I was in a pretty tortured headspace when I returned home from touring Infinite Worlds. That album contained some of the first songs I’d ever written, and more people than I could have ever imagined heard it. I was proud to become a full-time musician and recognized how rare of a thing that is, but was also debilitated by the very same fact. Fear overtook me and I couldn’t write. I felt stagnant and unsure of what to do next.”

Unlike Infinite Worlds, Vagabon has less of a straight up indie rock guitar sound, with more electronic textures. “With this album, I wanted to impress myself,” Tamko said in the previous press release. “I wanted to be curious and I wanted to make big leaps as a producer. All I had access to on the road was my computer and Logic, so naturally I started writing songs electronically with what was at hand.”

Tamko added: “The drums and vocal forward approach I took on [Vagabon] is drawn from my love for rap and hip-hop production as well as R&B and folk storytelling. That’s the music that got me excited about writing again.”

“Break the rules you think you are bound by.”

That’s the recurring sentiment Lætitia Tamko carried with her through the writing and recording of her second album under the Vagabon moniker. Her first, 2017’s Infinite Worlds, was an indie breakthrough that put her on the map, prompting Tamko to tour around the world and quit her job in electrical/computer engineering to pursue a career in music full-time. Tamko’s self-titled Nonesuch Records debut finds her in a state of creative expansion, leaning fully into some of the experimental instincts she flirted with on the previous album. This time around, she’s throwing genre to the wind. Vagabon is a vibrant culmination of influences, emotional landscapes, and moods; a colorful and masterful statement by an artist and producer stepping into her own.

Following her 2017 debut Infinite Worlds, Vagabon (aka Laetitia Tamko) became one of the most distinct voices in indie rock. Her husky alto is warm and unforgettable. Now add indie pop to that faction of genres. Her next album, a self-titled effort, breezes through synthy breakdowns and horn numbers with ease, never content to be just one thing. Tamko’s voice remains each song’s focal point, especially on the bouncing pop numbers, but the album as a whole feels most like a low-lit mood. Hypnotic and transportive, Vagabon feels even more like Tamko’s arrival than her warmly received debut.

releases October 18th, 2019

Produced by Laetitia Tamko

The year is just halfway through, but 2019 has already been a big one for Alexandra Sauser-Monnig. The musician best known as one-third of Mountain Man, the folk trio who made their comeback with last year’s beautiful Magic Ship, announced earlier this year that her debut solo record was en route. Dawnbreaker arrives less than a year after Magic Ship, Mountain Man’s second album as a trio and their first after an eight-year hiatus. It’s a gentle 10-song collection of rustling folk-pop.

Dawnbreaker is the first album Alexandra Sauser-Monnig she has released under the name Daughter of Swords. To celebrate its release (it’s out today via Nonesuch Records) Sauser-Monnig broke the album down for us track-by-track.

“Fellows”

The guitar line of “Fellows” materialized while I was living in a beautiful, ramshackle old farmhouse in rural Virginia with a former partner, and the words later while camping high up a California mountain road on a break from touring with Feist many years ago. The writing of the song spanned the end of one relationship and the beginning of another, and it reflects on the futility of defining yourself through your relationship to a partner.

“Gem” 

“Gem” was the first song that Nick Sanborn — who engineered, co-produced, mixed and played on the record — and I collaborated on arranging. He’s really good at following what’s fun, and pivoting to another song or idea or approach when the joy or the energy feels like it’s beginning to lag. After having recorded a couple of pretty spare demos and takes, this song ventured into new terrain and was the first time the breadth of the spectrum of sound and arrangement of the record became clear.

“Shining Woman” 

I wrote this song when I was feeling wrapped up about what being an adult person with a womb means. Writing it felt like a reminder to myself that the world is full of inspiring people choosing to make their own paths through life liberated from the cultural and biological script. The main character of the song took up residence in my mind and served as a reminder to me that change is always possible.

“Fields of Gold”

Drummer Joe Westerlund, formerly of Megafaun and currently of Mandolin Orange, played a large role in shaping the feel of “Fields of Gold.” He is a wizard of aux percussion and has a library of things to make sounds with, from shakers and bells to custom made metal sculptures that you play with a bow to things nature made that happen to sound beautiful. He lived next door to the studio where Dawnbreaker was made, and for a couple of magical days made complicated, delicate percussive arrangements holding more percussion in his hands than seemed humanly possible before I saw him in action.

“Grasses” 

“Grasses” is a meditation on acceptance. I wrote the words when I was sick with tick-borne illness. My body felt really wrong and I was having trouble getting any insight or advice, or even a diagnosis from doctors. So all I knew was that I felt terrible and that it wasn’t getting better. I sang “Grasses” to myself while lying in bed in an effort to comfort myself and to get down from the high ledges of fear and panic I was on in my mind.

“Easy is Hard”

Country was the first kind of music that made me feel something potent that I couldn’t name. It’s often where my songwriting begins, even if it doesn’t stay there. “Easy is Hard” follows its own logic, but feels like one of the songs on the record whose roots are most obviously in country.

“Rising Sun”

For a while I had an old worn out Sun Records tape of Billy Lee Riley songs in my car. I was in a very transitional phase of life and latched onto this tape and listened to it all the time in a way that gave me the tiniest sense of stability. I learned a blues shuffle off of it and wrote a different version of the song, which is “Rising Sun.” One of my favorite moments on the record is the end of this song — as the band fades out, the voices of Mountain Man fade in, humming like the highway and ending with all our voices and the sound of the room predominant in an unexpected way.

“Long Leaf Pine”

I had just moved to North Carolina and had been out blackberry picking and exploring the woods behind my house when I wrote “Long Leaf Pine.” I came back in and sat down and the song came out more or less complete. Recording it was equally magical — Nick Sanborn and I had been trying different arrangements of the song, and had started over again, making some kind of far out choices. It had started snowing outside when Amelia Meath and Molly Sarlé came over. They sang beautiful witchy harmonies while snow was falling outside the window and contextualized everything else beautifully within the realm of harmony.

“Human”

This was another song that appeared mostly formed very fast. I’ve had the possibly common but definitely surreal experience a few times of my subconscious delivering up verdicts on my life choices in song form before the rest of my mind is ready to acknowledge whatever it is, and that was the case with Human. We recorded the song, and then I left it alone for almost a year without even listening to it. There was a point that I didn’t want it on the record because it’s so raw. But now its presence feels crucial to me in the arc of the record.

“Dawnbreaker” 

“Dawnbreaker” is a dive into the ways imagining possible transmogrification into a different life form sometimes feels preferable to facing the hard emotional truths of life with a human consciousness. This last track on the record was one of the first takes that we recorded, and it was recorded as a demo. For a while, I wanted to get a different take to use, but none of the subsequent takes had the same rawness and tentative energy that ultimately felt so right as a note to end on.

thanks to http://www.talkhouse.com

“Dawnbreaker” is on the debut album from Daughter of Swords, out 28th June via Nonesuch Records

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Vagabon (aka Lætitia Tamko)’s new album, All The Women In Me, the follow up to her breakout debut, Infinite Worlds, is an artistic leap for Tamko, who wrote and produced the entire album. Guitar-driven melodies are largely absent, replaced by hybridized analog and digital arrangements,

All the Women in Me will be Vagabon’s second album, the follow-up to her 2017-released debut Infinite Worlds, and is her first for Nonesuch. Tamko wrote and produced the entire album herself and plays all the instruments on “Flood Hands,” for example.

Of the single Tamko says in a press release: “‘Flood Hands’ is a track I originally produced and arranged for a well-known pop-duo to have on their album. Knowing I was writing this song for musicians I admire, allowed me this relief from my writer’s block. I used this assignment as a chance to flex my production muscles and write something I wouldn’t have written as a ‘Vagabon’ song a couple years ago. The result felt like a triumph for me in my progression as an artist and I just couldn’t stand to part with the song by the time I was finished.”

The press release Tamko sets the scene for where she was at prior to recording the new album: “I was in a pretty tortured headspace when I returned home from touring Infinite Worlds. That album contained some of the first songs I’d ever written, and more people than I could have ever imagined heard it. I was proud to become a full-time musician and recognized how rare of a thing that is, but was also debilitated by the very same fact. Fear overtook me and I couldn’t write. I felt stagnant and unsure of what to do next.”

Unlike Infinite Worlds, All the Women in Me has less of a straight up indie rock guitar sound, with more electronic textures. “With this album, I wanted to impress myself,” Tamko says in the press release. “I wanted to be curious and I wanted to make big leaps as a producer. All I had access to on the road was my computer and Logic, so naturally I started writing songs electronically with what was at hand.”

Tamko adds: “The drums and vocal forward approach I took on All The Women In Me is drawn from my love for rap and hip-hop production as well as R&B and folk storytelling. That’s the music that got me excited about writing again.”

Vagabon’s “Flood Hands,” from the album ‘All The Women In Me,’ due September 27th on Nonesuch Records.

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The year isn’t yet halfway through, but 2019 has already been a big one for Alexandra Sauser-Monnig. The musician best known as being one-third of Mountain Man, the folk trio who made their comeback with last year’s beautiful Magic Ship, announced earlier this year that her debut solo record is en route: Dawnbreaker is out June 28th on Nonesuch Records.

Sauser-Monnig says, The last line of the last song on the record is ‘Dawn breaking.’ And I feel like I was sitting at dinner with some friends and it was like towards the end of recording the album, and we were talking about names for the record. And ‘Dawnbreaker’ had come up for me and through talking, like maybe my friend Amelia [Meath] had also had that same thought or just confirmed the great idea. But it sort of does feel like a ship name or starting out on a new foot. There are all sorts of different images or ideas that come up with it.

It arrives less than a year after Magic Ship, Mountain Man’s second album as a trio and their first after an eight-year hiatus.

Following previously released singles “Gem” and the title track, The spritely new tune “Shining Woman” with a fitting video. Documenting a chance encounter with a striking woman, the song works like folklore, as if the woman in question (portrayed in the video by one of Sauser-Monnig’s friends who donned a pair of “shining” gold pants) is so arresting she’s not even real. Was she ever really there? “She rode away into the breeze,” Sauser-Monnig sings over a quietly looping drum beat and a polite electric guitar. The video, which you can watch below, culminates in a twilight gathering of cyclists that looks like a lovely way to send off the day.

Daughter of Swords new album, “Dawnbreaker”, out 28th June.2019.

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We are very pleased to introduce you all to Daughter of Swords, the solo project from Mountain Man’s Alexandra Sauser-Monnig. Listen to the beautiful first single “Gem” now + stay tuned for more news.

Mountain Man’s Alexandra Sauser-Monnig is stepping out on her own with her debut solo album, titled Dawnbreaker(out June 28th on Nonesuch Records), also her first full-length under the Daughter of Swords name. “Dawnbreaker” is an airy acoustic dream track with rumbling chords so warm and inviting you’ll want to sink into them like a bath. Sauser-Monnig, who wrote many of Dawnbreaker’s 10 tracks while anticipating the dissolution of a relationship, sees life mirrored in nature, likening herself to “a white rose,” “red hawk,” “hollow reed” or even “just a leaf” at different points in the song.

“Dawnbreaker” is on the debut album from Daughter of Swords, out 28th june via Nonesuch Records.

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Mountain Man

Mountain Man‘s anticipated first album in eight years, Magic Ship, came in September via Nonesuch Records, . As the singles hinted, there’s some acappella stuff, some folky type stuff, and the whole thing is totally worth hearing. Mountain Man have also been touring, including a free record release show/signing at Rough Trade NYC on September 24th.

The highly anticipated follow-up to Made the Harbor doesn’t disappoint. On their magnificent new album for Nonesuch Records, Alexandra Sauser-Monnig, Amelia Meath, and Molly Sarle draw textured, hair-raising harmonies from a bountiful well of originals and covers, sung both with instrumentation and A Capella. There is a transportive quality to their voices and to these recordings. As soon the sisters start, the listener is carried to the back porch of a small farmhouse at the end of a dirt road, or to the top of a knoll as the fog lifts at daybreak. Magic that could have been tracked by Ferris or Lomax. The perfect tonic for these chaotic times.

Mountain Man member Amelia Meath also has upcoming dates with her band Sylvan Esso.

‘Magic Ship’ is the new album from Mountain Man, out 21st September via Bella Union.

And listen to the tracks, ‘Window’, ‘Stella’ and ‘Ring Tang Toon’

Previously only available on a vinyl 7″ for Record Store Day: Black Friday in 2014, Conor Oberst‘s songs “Standing on the Outside Looking In” and “Sugar Street” are now available digitally. The tracks were recorded during the sessions for his 2014 Nonesuch Records debut album, Upside Down Mountain, of which Rolling Stone said: “A sumptuous immersion in ’70s California folk pop, it is the most immediately charming album he has ever made.”

Conor Oberst released his Nonesuch Records debut album, Upside Down Mountain, in the May of 2014. Earlier that spring, he had previewed what was to come with the release of a limited-edition vinyl 7″ for Record Store Day, featuring the album track “Hundreds of Ways” b/w the album outtake “Fast Friends.” Later that year, for Record Store Day: Black Friday, came another limited-edition vinyl 7″ with two non-album tracks recorded during the Upside Down Mountain sessions: “Standing on the Outside Looking In” b/w “Sugar Street.” All of those tracks are finally available now digitally and can be heard here below.

Previously only available for Record Store Day: Black Friday, released on November 24th, 2014, The tracks were recorded during the sessions for Oberst’s 2014 Nonesuch Records debut album, Upside Down Mountain,

From the Standing On The Outside Looking In/Sugar Street Record Store Day 7-inch single.

Fleet Foxes’ “Icicle Tusk” from The Fleet Foxes EP in First Collection 2006–2009, out November 9th.  The special edition First Collection 2006–2009 honors the tenth anniversary of Fleet Foxes’ eponymous debut album. It features content spanning the early days of the band’s career, including the self-titled full-length debut album on 12″ vinyl, as well as the Sun Giant EP on 10″ vinyl, and the first vinyl releases of both the very limited-edition, previously only self-released The Fleet Foxes EP on 10″, and B-sides & Rarities on 10″. Also available in a four-CD set. In addition to its musical offerings, the special edition features a 32-page booklet with show flyers, lyrics, and artwork from band’s early history.

Fleet Foxes’ debut album made a tremendous impact on the international musical scene, topping numerous “best of” lists, including Rolling Stone’s 100 Best Albums of the 2000’s and Pitchfork’s 50 Best Albums of 2008, and earned the band Uncut’s inaugural Music Award Prize. Fleet Foxes is certified Gold in North America and Platinum in both the UK and Australia.

Fleet Foxes‘ most recent release was the critically acclaimed full-length, Crack-Up, released June 2017 on Nonesuch following a six-year hiatus. Additionally, the band sold out notable venues including Red Rocks Amphitheatre and the Hollywood Bowl, performed on the Late Show with Stephen Colbert as well as CBS This Morning, and earned year-end recognition from Esquire, Consequence of Sound, Paste, Uproxx, Vulture, and more.