Posts Tagged ‘Nonesuch Records’

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.

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Late February, Lake Street Dive announced “Free Yourself Up”, the follow-up to their 2016 LP Side Pony, would be released May 4th via Nonesuch Records. The quartet shared an official music video for the new song “I Can Change.”

https://www.youtube.com/watch?v=00fYHljn8aU

Official music video for “I Can Change” from Lake Street Dive’s new album Free Yourself Up – Due out May 4th on Nonesuch Records

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The Way Is Read, a twelve-song album by the English trio The Staves—Emily, Jessica, and Camilla Staveley-Taylor (all vocals) and New York City based ensemble ymusic, released digitally on Nonesuch Records last week, is now available on limited-edition vinyl. You can pick up a copy at your local record store, and the Nonesuch Store, where orders include a download of the complete album.

“Developed from a live collaboration,” says a four-star review in the “the siblings’ voices are blended seamlessly with the instrumentation on haunting, experimental compositions where folk and contemporary classical meet halfway.”

The collaborative project was named Combo of the Week by the Sunday Times of London, with the album review concluding: “The fusion of the siblings interweaving harmonies and yMusic’s sonic chattering results in music that is equal parts Kate Bush, Joni Mitchell, Philip Glass and the Penguin Café Orchestra. A wonderful album.”

After being commissioned in 2016 by Justin Vernon’s Eaux Claires Festival to collaborate on a live performance piece, The Staves delved deep into yMusic’s catalogue of contemporary classical compositions to find pieces suited to their lyrics and vocals. While the Festival is known for bringing musicians together for one-off performances, this is the first time one of those partnerships has made the leap into a studio album. The LP was produced by Rob Moose and Jessica Staveley-Taylor and mixed and engineered by Brian Joseph at his studio, Hive, in Eau Claire, Wisconsin.

‘Silent Side’ is taken from The Staves & yMusic’s album ‘The Way Is Read’, available digitally on 24th November and on limited edition vinyl on 1st December.

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The ex-Vampire Weekend songwriter and instrumentalist has worked all over pop music in the past few years—producing Charlie XCX, making an album with the Walkmen’s Hamilton Leithauser, remixing Ty Dolla Sign, among many other projects. Now he’s throwing it all into his own debut album, Half-Light, with the big drums and singalong melodies we’ve come to expect from Vampire Weekend, filtered through a singular songwriter with as much potential as anyone working today.

Rostam’s “Bike Dream” from the album Half-Light, due September 15, 2017 on Nonesuch Records.