Posts Tagged ‘Sylvan Esso’

Electronic duo and festival favourites Sylvan Esso will release their highly anticipated third LP later this month, and it feels like the perfect time to receive their buoyant, joyful, dance-inducing music. “It’s a record about being increasingly terrified of the world around you and looking inward to remember all the times when loving other people seemed so easy, so that you can find your way back to that place,” the pair said in a statement. Sylvan Esso is made up of Amelia Meath (who you also may know from her folk project Mountain Man) and producer Nick Sanborn. Their music has become increasingly polished over the years, first catching fire with more ambient songs like “Hey Mami” and “Coffee” on their 2014 self-titled debut and following it with 2017’s more pop-forward What Now. Free Love seems to position them somewhere in between those two sounds. Single “Ferris Wheel” is tremendously fun, but it’s also weirdly cleansing. Meath describes this phenomenon best: “Nick wants things to sound unsettling, but I want you to take your shirt off and dance.” There you have it.

We are thrilled to announce our third album, Free Love, will be out 9.25.20
It’s a record about being increasingly terrified of the world around you and looking inward to remember all the times when loving other people seemed so easy, so that you can find your way back to that place.
This first single, Ferris Wheel, is about discovering your power and awkwardly figuring out how to wield it. It’s for the summer, it’s for you, we hope you like it.

Nick Sanborn and Amelia Meath

Sylvan Esso  Nick Sanborn and Amelia Meath have shared a new single from their forthcoming album Free Love. “Frequency” arrives with an accompanying music video directed and styled by the group’s friend and collaborator Moses Sumney. Free Love marks Sylvan Esso’s third studio album, following the duo’s 2014 self-titled debut and 2017’s What Now. The new LP is out September 25 via Loma Vista, and it includes previously-shared tracks “Ferris Wheel” and “Rooftop Dancing.”

The video for “Frequency” was choreographed by North Carolina-based Stewart/Owen Dance. Of the visual, Sylvan Esso said in a press release:

We had a fantastic and rewarding time collaborating with our friend and fellow North Carolinian, Moses Sumney, on building a visual world for “Frequency.” He had such a beautiful vision for the project, one that ran parallel to the song’s initial source in a way that showed us new spaces it could inhabit. It’s a beautiful exploration of being together and apart at the same time—we feel it rings clearly in this moment.

New album Free Love out on September 25th

Folk trio and a capella angels Mountain Man—aka Sylvan Esso’s Amelia Meath, Daughter of Swords’ Alexandra Sauser-Monnig and Molly Sarlé have released a new live album called Look at Me Don’t Look at Me” recorded in November of 2018 at Saint Mark’s Cathedral in Seattle. It contains songs from their 2018 studio album Magic Ship, as well as covers of Fiona Apple’s “Hot Knife” and Michael Hurley’s “Blue Mountain,” which you can hear below.

The Look at Me Don’t Look at Me Tour was our first tour together in 10 years – it was a wild and magical ride and we are excited to share a live recording from a show we played at a beautiful verbed out church in Seattle! One of our favourite things in life is singing together to a bunch of people in a room. We hope this recording brings you some of the joy you may have been missing until the next time we can all be together.

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There are a lot of songs but also a lot of banter, and also a Fiona Apple cover, from Look At Me Don’t Look At Me, releases August 7th, 2020,

Image may contain: text that says 'MOUNTAIN MAN දදදෑද * LOOK AT ME DON'T LOOK AT ME Out now on Nonesuch Records'

Indie pop darlings Sylvan Esso have revealed they will drop their third album “Free Love” on September. 25th. Sylvan Esso is Amelia Randall Meath and Nick Sanborn. What started out in LA with Jon Hill and was finished back in North Carolina at Sylvan Esso’s home studio, Free Love asks major questions about self-image, self-righteousness, friendship, romance, and environmental calamity with enough warmth, playfulness, and magnetism to make you consider an alternate reality. These are Sylvan Esso’s most nuanced and undeniable songs—bold enough to say how they feel, big enough to make you join in that feeling.

“It’s a record about being increasingly terrified of the world around you and looking inward to remember all the times when loving other people seemed so easy, so that you can find your way back to that place,” the duo explained of the new LP in a press statement. This week, electronic duo Sylvan Esso announced their third studio album Free Love, out September. 25th via Loma Vista Recordings. Lead single “Ferris Wheel” is lush and bouncy—with synths keeping the song at a fun pace.

To give fans a taste of what to come, Sylvan Esso shared the lead single “Ferris Wheel” with the heat-wave appropriate opening lines, “August in the heat/ Sweaty in the street.”

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Releases September 25th, 2020

Sylvan-Esso-What-If-Video

Sylvan Esso have shared the video for a mysterious new track, “What If”: a brief, minimal and enticing track, just a minute and a half long. Over spacious synth-bleeps, Amelia Meath sings, “Oh life, dying out/ And the oceans turn to clouds.” The music slowly swells up behind her, but it never quite crests. In the “What If” video, we see Meath singing as her head bobs in the ocean. The camera rises up over her until she’s just a small spot amidst nothingness.

It’s been more than three years since Sylvan Esso dropped their sophomore LP What Now, and it’s been more than two years since “PARAD(w/m)E,” their last proper stand-alone single. Back in April, however, the electro-pop duo from Durham, NC, premiered their concert film “With” on YouTube, while they surprised fans with an accompanying live album of the same name, via Loma Vista Recordings.

Both the album and film capture the final two nights of the band’s 2019 WITH tour at the Durham Performing Arts Center, in which Amelia Meath and Nick Sanborn were joined by a 10-piece band. The film also offers a behind-the-scenes look at the musicians as they prepare for the tour. The 16-track live album spans material from Sylvan Esso’s two studio albums – their self-titled 2014 debut and their acclaimed 2017 LP, What Now. In support of “With”, the duo performed an intimate three-song set from their home for NPR’s Tiny Desk (Home) Concert series.

Amelia Meath (formerly of Mountain Man) and Nick Sanborn (Megafaun, Made Of Oak) formed Sylvan Esso in 2013. They made their debut with the single “Hey Mami” and released their eponymous debut album on Partisan Records on May, 2014, which reached No. 39 on the Billboard 200. They released their second album What Now on April, 2017,

local natives sylvan esso amelia meath dark days stream

Way back when bands were still able to perform for live audiences Local Natives debuted a new version of their song “Dark Days” featuring Sylvan Esso’s Amealia Meath they’ve shared the studio version of this indie collaboration. The update of the track from their 2016’ album “Sunlit Youth” finds Meath adding a brand new verse that, as Local Natives puts it, “taps into the nostalgia and the longing we all feel for a different time.” The new take was mixed by Spike Stent, known for his work with Madonna and Björk.

“It was a joy to dip into summertime with Local Natives,” Meath said of working with the band. “Dark Days’ is a beautiful illustration of being young, riding bikes, and trying to figure out how to love on and be vulnerable with someone. It was an honour to be asked to write a new verse and lend my voice to the story.”

Local Natives’ latest LP was last year’s Violet Street. Sylvan Esso, meanwhile, has recently released their live album and concert film WITH.

Local Natives performed the new version of their song “Dark Days” featuring Sylvan Esso’s Amealia Meath on Live with Jimmy Kimmel.

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.

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. Sometimes, you know, you’re flying alone you’re at a gate and realize there’s a school trip there too, and you think “oh fuck, a school trip!” This was like that, except the kids on the trip don’t think “oh fuck”, they think “fuck yeah, a school trip, fuck yeah a Hudson News it’s peanut m&m time” and so on, and that’s exactly how it was for us. The airport is almost great with that many friends. Almost.

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. Somehow there were zero disasters. Some nights the band felt more on than others, but we knew that the caliber of the show was always at a high enough level to be proud of, and so we’d go to sleep with the songs looping in our heads, and try it again the next day.

The spaces were wild. I’d never been a part of a show in such beautiful rooms, for such large and welcoming audiences. The Beacon Theater was a dream, the Ryman Auditorium even more so. We could really feel the shape of that room when we played there, and afterwards we rolled out the back door into Robert’s Western World to watch the best living country musicians do it right and proper and we would while we were awake enough to dance. That was the very best night of tour, from start to finish, without a doubt.

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The last two shows were homecoming shows in Durham, at the very large and official-feeling DPAC, which is short for ‘Don’t Play A Crappynotethisisbeingfilmedforofficialrelease’. This was a proper performing arts center, a little different feeling from the classic theaters, 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. See how I’ve moved from space to vortexes? It’s like I don’t know how to describe my feelings properly anymore. Or maybe it’s just time for this to end, for now.

released April 24th, 2020

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Grammy-nominated electro duo Sylvan Esso live-debuted a new tune on last night’s Jimmy Kimmel Live!, performing “PARAD(w/m)E” (just pronounced “parade”) and following up with a lyric video for the track on Friday.

Amber Coffman (formerly of Dirty Projectors) and Wye Oak’s Jenn Wasner contributed backing vocals (and claps) for Sylvan Esso’s Kimmel performance. “P-a-r-a-d with me,” Amelia Meath commands over a characteristically bouncy Nick Sanborn beat. Take a closer listen, however, and “PARAD(w/m)E” reveals itself to be as dark as it is danceable.

Sylvan Esso’s strong sophomore album What Now earned the duo a Grammy nod for best dance/electronic album, and rightfully so. Kayleigh Hughes hailed What Now’s “fuller, darker, and more chaotic sound” .

Watch Sylvan Esso’s “PARAD(w/m)E” lyric video below, The duo has an extensive 2018 tour planned.

When you listen to Sylvan Esso singer and lyricist Amelia Meath talk about the band’s new album, “What Now”, you quickly learn how profoundly she’s motivated by love. There’s the love of magical sounds and the euphoria she feels when music “lifts you off the earth.” There’s the love for the audience, of connecting with and freeing them through song. And, especially for Meath, there’s the love of dance and of feeling the body (literally) become the music.

The release of What Now, we asked Meath to share some of the stories behind the new songs. She revealed a lot about what went into each track, but also reflected on the kinds of things that can keep her up at night, like whether being in a band matters when there’s more important work to do, how she’s sometimes sad when everything is awesome and how flagrant sexism in the music industry can ruin everything.

“Lyrically, this is mostly me talking to myself. Hilariously enough this song is on the radio now, but at the time I was feeling an immense amount of pressure to write new songs for What Now even though we were still mid-cycle on our first record. Most of the song is spent accusing myself of trying to become a successful musician when there are so many other important things to be doing other than sucking up to the man, trying to get America to think you are cool. Also — getting on mainstream radio is like trying to join a secret society, particularly if you are female. Stations have literally come back to us saying that they already have ‘a female vocal’ in their playlist.

5. Kick Jump Twist

“This is about jumping through hoops trying to get people to love you. Be it practicing your dance moves and sexy face in the mirror, or prepping your audition for RuPaul’s Drag Race. It’s a song about how we perform our lives — and also, about being in a band and touring forever.”

6. Song

“My favorite manifestation of heartache is wanting to be a piece of music. As in, actually being so filled with emotion and energy that you leave your human body and transcend into pure melody. For real. That is what this tune is about, as well as the reality of being in love versus what love songs and rom-coms tell us love is like — how sometimes a song can make you feel more in love than the real thing. Or at least it gives you a moment to completely feel it, without distraction.”

7. Just Dancing

“I wanted to talk about how Tinder has made it possible to only go on first dates forever. How all of the sudden it is completely possible to be in control of how potential romantic partners see you. How if you wanted to, you could be your own most ideal version of yourself. But you would have to keep on changing who you were dating to keep that beginning of a relationship feeling. How you could live in this false image of yourself, reflected through your partners’ eyes, never landing.”

8. Signal

“It’s about life mimicking technology and technology mimicking life. Searching for truth and honesty in a sea of noise. How, despite all the changes to the ways we go about it, we all still want the same thing any human has ever wanted: to be, connect with other humans and feel understood.

9. Slack Jaw

“Everything is awesome — and I am still sad.”

10. Rewind

“This is about me watching scenes from movies over and over again when I was a kid, learning turns of phrases and dance moves, and how to be a person. The chorus is about repeated viewings on VHS — how when you are rewinding something the picture dims and when you press ‘play,’ the room floods with light again. It is about building your personality from media, and then slowly dismantling it to become an honest human and an amalgamation of your influences from family, friends, movies, music and idols.”

Sylvan Esso, What Now

Three years removed from their debut, the indie electro-pop duo of singer Amelia Meath and producer Nick Sanborn returned with a denser sound and a very different goal than the blissfully direct objective of “making people dance.” The band called What Now a representation of “the inevitable low that comes after every high.” Indeed, Meath and Sanborn dispense with many of the freeing and expansive sounds of their debut,

Sylvan Esso’s spangly electro-pop songs can throb joyfully, even ecstatically. But on “What Now”, even the brashest bashers — “The Glow,” “Kick Jump Twist,” et al — are deepened by the gently reflective ballads that surround them. As producer Nick Sanborn gives weight to the soft static in “Slack Jaw,” for example, Amelia Meath sings of the way being in love can produce a strangely humbling sense of awe: “I got all the parts I’ve wished for / I’ve got everything I need / Sometimes I’m above water / But mostly I’m at sea.”

As its title suggests, What Now fixates heavily on aftermaths, whether it documents music-industry pressures in the grabby “Radio” or, in “Die Young,” faces down a logistical complication Meath hadn’t anticipated: “I was gonna die young / Now I gotta wait for you.” But the album feels most of all like a celebration — of connection, of commitment and acceptance, of movement and sound and the liberation that comes with letting love in.