Posts Tagged ‘the Low Anthem’

Rhode Island-based folk band The Low Anthem have just released their newest LP, The Salt Doll Went To Measure The Depth Of The Sea, via Joyful Noise Recordings. Per the band’s announcement earlier this year, the concept album tells a story inspired by one found inside the Kay Larsen-written biography of John Cage, Where the Heart Beats: A salt doll goes into the depths of the sea to find herself but loses her body in the process. The beautiful story comes to a pivotal point during the third song on the LP, “Give My Body Back.” The Low Anthem now share the music video for this song .

The music video is hauntingly beautiful. Created by Dann Dodd and The Low Anthem co-founder Ben Knox Miller, it follows the narrative of a cube-shaped salt doll as she enters the waters of the ocean to discover who she really is. Knox Miller shares what brought about the salt doll’s unique shape:

In its lyrics, “Give My Body Back” describes the underwater landscape in which the salt doll now finds herself. Still unclear about who she is, the salt doll observes herself in relation to her new world and realizes she is dissolving: “Under the wilder cyclones / Tearing at my skin / I see the edges soften / As I shed some part back in.”

The themes of self-discovery found on The Salt Doll Went To Measure The Depth Of The Sea come at the end of a period of reflection and profound evolution for the band and its respective members, after having survived a car accident that ended their 2016 tour. The band now find purpose at a grass-roots level, giving back to their community by running a vaudeville-era theater in Providence, R.I., managed by band co-founders Knox Miller and Jeff Prystowsky. “I like to call it a palace of music,” says Prystowsky. “You’re walking into a theatre from almost a hundred years ago, still intact, built for the acoustics of music, pre-the invention of the PA. It’s so unlike anything in the 21st century that it ignites your creative muscles to work. You immediately lose your frame of reference, in a good way.”

I can’t think of another album that sounds quite like The Salt Doll Went To Measure The Depth Of The SeaNot in title, not in sound. there are the familiar song structures and vocal harmonies.  We first heard this ensemble from nearby Providence Rhode Island  signed to Nonesuch Records with a brilliant album about environmental decay called Oh My God, Charlie Darwin. That record was followed by Smart Flesh, after which they huddled back home to build a recording studio inside an old vaudevillian theater, birthing both an iconic art space and the album Eyeland.

In late June 2016, while on the road to play a show in Washington D.C., founding member Ben Knox Miller remembers the moment when everything changed for The Low Anthem. After a horrific auto crash “I remember looking at the burning van wrapped around a steel pole and knowing it was the end of Eyeland,” he wrote in an email. “I wasn’t hurt so I rented a box truck and packed up all our broken instruments and drove them from D.C. to Providence. That night I was reading Kay Larsen’s biography of John Cage, Where the Heart Beats, and came across the Salt Doll fable. I have found several versions of the Salt Doll story, but all basically tell the story of a doll that wants to know the ocean. The ocean says ‘come in.’ It puts its toe in, and knows something, but loses its toe. Puts its foot in, knows more, but loses its foot… and so on. I began to imagine its journey, and 16 days later the first version of [our new] album was written and recorded. (I had to wait for Jeff [Prystowsky] to recover, and together we rendered the final version.)”

 

The Salt Doll Went To Measure The Depth Of The Sea is a stark journey, made even starker by the odd percussion that haunted me during my initial listens. The spare percussion wasn’t drums, but it felt oddly familiar, like something I heard a lot as kid and as a teen. Ben Knox Miller solved the mystery for me.

“I don’t know what kind of headspace I was in for those 16 days,” he wrote. “I was alone. All of my regular instruments were destroyed (along with my bandmates). I had a parlor acoustic [guitar], a 64-key piano and a ’90s era DA-88 digital 8-track tape machine in my bedroom. I had been using it to record abstract instrumental tracks, produced by processing beats physically cut into the center loops of vinyl records. My turntable was running 24 hours a day and I set up a signal chain with crossovers and guitars pedals and electronic and physical filters, and the room was filled with continuous hypnotic sound.”

That was it: the sound of the inner grooves of a record going round and round and round as percussion. It’s quite brilliant given what feels to me like the circular nature of the tale told. Ben Knox Miller confirmed my suspicion.

“I think of the music as made of circles,” he wrote. “There is a safe sense of time (a constant feeling of return), but some of the space that is opened up is so bare as to be nearly uncomfortable. Amongst ourselves we call the sound ‘subtle energy circularism.’ A lot of the sounds on Salt Doll comes from tiny sources, like a chopstick scraping the rim of a brown paper bag or a record needle bouncing in a divot.”

Like I said. This is truly an album like no other.

The Low Anthem performs “In The Pepsi Moon” for The Crypt Sessions.

The Salt Doll Went To Measure The Depth Of The Sea comes out February. 23rd via Joyful Noise Recordings.

The Low Anthem  have announced their newest LP, The Salt Doll Went To Measure The Depth Of The Sea, along with an album trailer for the work. The Rhode Island natives come back in 2018 inspired by a car accident that changed the band.

“One second you’re dozing off in the passenger seat on the way to a gig, and the next, there’s fire and hell flames and black smoke and your face is bleeding and you can’t see, and you can’t process information, and you think it’s all over.” These are the words of Jeff Prystowsky, a founding member of the band, who describes the car accident that resulted in the cancellation of The Low Anthem’s 2016 tour after just four days on the road.

On the way to a show in Washington, D.C, The Low Anthem’s tour van crashed, wrecking a lot of the band’s gear and instruments in the process, and putting Prystowsky out of commission for several weeks as he receoved from minor injuries. The accident was said to be a driving force behind the band’s new album, created while Prystowsky was in recovery.

The album, conceptualized by Low Anthem cofounder Knox Miller, was inspired by John Cage biography Where the Heart Beats, written by Kay Larsen. The book tells the story of a salt doll who goes to the sea in search of herself. Each time, the salt doll puts a piece of her inside the ocean—she gains the wisdom that the ocean brings, but dissolves herself little by little until every part of her is lost in the sea. The Salt Doll Went To Measure The Depth Of The Sea is a concept album following the narrative of the salt doll in her quest for self-discovery.

Image may contain: 3 people, people smiling, people sitting and guitar

From the album’s sound, we can count on the usual harmonic voices of the band accompanied by guitars and “subtle yet immersive” electronic ambiance. Miller had to record the album using stripped-down instruments, since most of the band’s gear was lost in the accident. What we can expect from this album is a band that’s matured far beyond their conception in 2006. With their collective life experiences and the band members’ personal highs and lows,

The Salt Doll Went To Measure The Depth Of The Sea is set to release February. 23rd

Couple With Records

Image of Case / Lang / Veirs - Case / Lang / Veirs

Case/Lang/Veers case/lang/veers CD/LP+MP3 (ANTI-Records)

case/lang/veirs = Neko Case, k.d. lang, and Laura Veirs. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. Several years ago K.D. Lang sent an email to Neko Case and Laura Veirs on a whim. It read simply, “I think we should make a record together.” Though the three musicians were barely more than acquaintances “Laura and I both responded immediately,” recalls Case. “There was no question.”

But now there is an answer. ‘case/lang/veirs,’ a new album by three phenomenal, self-driven artists. ‘case/lang/veirs’ features fourteen new, original songs written by the artists over a period of two-and-a-half years. It was recorded in Portland, OR where lang and Veirs both live, and produced by Tucker Martine with the group. Sessions commenced in lang’s loft with a view of Mount St. Helens, and in Veirs‘ dining room and backyard studio.
Full of stunning harmonies and spellbinding rhythms, ‘case/lang/veirs‘ draws inspiration from alluring, mysterious subjects: a supermoon, the tumbledown story of 70s singer Judee Sill, and the “best kept secret” in Silver Lake, to name but three.

Image of Radiohead - A Moon Shaped Pool

RADIOHEAD – A Moon Shaped Pool

Radiohead’s ninth LP proper sees them once again couple with mega-producer Nigel Godrich. Together they have created possibly the band’s most coherent record of their whole career.  Some of these songs date well back in time and that coupled with the accessibility of comeback single Burn The Witch and their recent  dare-I-say fan-pleasing set-lists suggest a group finally comfortable in their own skin, embracing all that they really are.  So you do still get electronica, but less of the fractured kind. Sure, Thom still sings of alienation, doubt and paranoia, but  in the most beautiful way imaginable. These songs  build and build, swept into shape by Johnny Greenwood’s London Contemporary Orchestra strings, peppered with psych-folk and even dub reggae vibes. It’s heavy, (let’s face it) depressive, but eminently listenable. One for diehards, but crucially, the casual listeners too.

Image of Low Anthem - Eyeland

Low AnthemEyeland CD (Razor & Tie)

The Low Anthem are not only musical artists, they live their lives as art. The band creates constantly for themselves and others in their home base, The Columbus Theater in Providence, Rhode Island. This new release is the return from an extraordinary five-year journey with Eyeland, an unprecedented collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, Eyeland began as a “vague and rather abstract” short story by co-founder/singer/guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.”

The tall tale became real life as Low Anthem immersed themselves in the creation of their own Eyeland Studios, developing Providence’s once obsolete Columbus Theatre into an innovative and in-demand recording space and live concert venue. Eyeland proves a prism of the album’s inner themes, refracting Miller and co-founding drummer/multi-instrumentalist Jeff Prystowsky’s sonic escapades into a full-blown Möbius strip of music and meaning. Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like “The Pepsi Moon” and “Behind The Airport Mirror,” their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, Eyeland is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.

Image of Mitski - Puberty 2

MitskiPuberty 2 CD/LP/Cassette (Dead Oceans)

“Mitski Miyawaki is only 25 years old, but she’s already on her fourth album, and she’s developed an emotional vocabulary light years beyond almost anyone else working right now. With her new Puberty 2, Mitski has made one of the year’s best indie rock albums: An auteurist piece of profound, personal lo-fi music that finds sharp ways to say serious things. The album veers in different stylistic directions, but it’s also cohesive enough to get lost in.”  [Limited white color vinyl copies also available.]

WEAVES – WEAVES

Weaves have been working on their debut LP for almost as long as they have been a band, tracking with Leon Taheny (Dilly Dally, Owen Pallett, Austra) in sessions that span most of the last two years. Mixed by Alex Newport (Bloc Party, Melvins, At The Drive In) and mastered by John Greenham (Death Grips, Sky Ferreira), the result is an album that traverses the band’s history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, it’s the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them. Think a mix of an angry Micachu fronting the Pixies or a punky Tune-yards with brilliant flashes of melody.
LP – Neon Pink LP with download code.

THE CULT OF DOM KELLER – GOODBYE TO THE LIGHT

12″ coloured vinyl. TCODK – a four-piece from the Midlands – make the kind of experimental goth- tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks. The thing that first impresses on hearing TCODK is the sheer scale of their intentions. Speaking of first single ‘Broken Arm Of God,’ the band said “we wanted it to sound like a volcano giving birth to an atomic bomb. It has bass and baritone guitar that killed 3 guitar amps in one afternoon, then a studio preamp. It’s probably costing us a fortune in damages and repairs. The result was exactly what we wanted though” This band can make a lot of noise. To focus on that however would be to negate what makes this band truly beguiling: nuance. Take ‘Deepest Pit Of Emptiness’ for example – its prog leanings combined with a decidedly English vocal delivery are as distinctive and profound as anything released this year. TCODK have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album. Fans of Black Rebel Motorcycle Club will be enamoured, but play to it a Sisters Of Mercy fan and watch their reaction: there is a new contender for the throne.

LOU REED –  WALTZING MATILDA (LOVE HAS GONE AWAY)

Third in the series of Lou Reed live Concert albums these two shows taken from the 1978 Street Hassle Tour. Features in depth liner notes by author Dick Porter, Unseen photographs in the 12-page booklet plus deluxe album cover packaging. Includes classic tracks   Walk On The Wild Side & Satellite of Love from the iconic Transformer album as well as Velvet Underground tracks Sweet Jane & Rock N Roll and introducing the just shy of 13 minute brutal Street Hassle. Disc One Cleveland Music hall Ohio 26th April 1978.

Re-Issue

David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars [Reissue/1972] 2xLP (Rhino/Parlophone)
David Bowie – Live Santa Monica ’72 [Reissue/1973] 2xLP (Rhino/Parlophone)
HQ-180gm vinyl reissues now available.

Image of LUH - Spiritual Songs For Lovers To Sing

LUH  –  SPIRITUAL SONGS FOR LOVERS TO SING

LUH began 2016 by releasing ‘I&I’, a song about daybreak, new beginnings and fresh starts and with a sound so bold and unflinching, it served as perfect way to describe the shape of things to come.

Today they announce details of the their debut album ‘Spiritual Songs For Lovers To Sing’ available for pre-order now and out on 6th May 2016 on Mute. The album was produced by The Haxan Cloak (known for his own genre-bending experimental compositions and work on Björk’s Vulnicura album) on the remote island of Osea.

LUH (which stands for Lost Under Heaven) is Ellery Roberts and Ebony Hoorn. Over the past two years, they have been releasing music, art, photography, film and manifestos into the world, including 2014’s ‘Unites’ video and the expansive ‘Lost Under Heaven’ music and artwork package at the end of last year.

Ellery’s name might be familiar as the frontman of WU LYF, whose raw and primal voice helped create a sound that shaped a new model for the untamed fury of youth. Ebony is an audio-visual artist based in Amsterdam, where the pair now live, and co-directed the new video for ‘I&I’ with Florian Joahn.

ARIEL PINK / R STEVIE MOORE –  KU KLUX GLAM

Psych-pop masterpiece from two of the best to ever do it. Los Angeles native and weirdo-pop enthusiast Ariel Pink joins forces with lo-fi pop pioneer R. Stevie Moore in a crazy freak-out extravaganza. Back in 2012, two leaders of the modern psych scene colluded together in making a 60+ track album. Here, we have the definitive collection of songs from ‘Ku Klux Glam’. Re-mastered and compiled by R. Stevie Moore, this is a presentation of this record in it’s clearest form.

SERATONES – GET GONE

Serving up a combination of Southern musicality and garage rock ferocity, Shreveport, Louisiana natives Seratones announce their debut album ‘Get Gone,’ released via Fat Possum Records. Led by powerhouse frontwoman A.J. Haynes whose thunderous vocals recall the grit of Janis Joplin and gospel of Mavis Staples, Seratones make a strong case with ‘Get Gone’ to be your new favourite alt-rock band of 2016. Recorded at Dial Back Sound studios in Mississippi, ‘Get Gone’ is all live takes, a portrait of Seratones in their element. Add the soul and swagger of a juke joint with the electricity coursing through a basement DIY show, and you’d begin to approach the experience of seeing this foursome live. Haynes’ powerful singing voice, first honed at Brownsville Baptist Church in Columbia, Louisiana at age 6, rings across every track. ‘Don’t Need It,’ which opens with a muscular swing and tight guitar lines, builds into a monster finish with a nasty corkscrew of a guitar line. ‘Sun,’ a brawny thrasher, courses with huge, raw voltage riffs. ‘Chandelier,’ a mid-tempo burner and vocal workout by Haynes, goes from croon to a crescendo that would shake any crystals hanging from the rafters. Shared history in Shreveport’s music scene brought the Seratones together a few years ago. All four had played together with one or another in various local punk bands, bonding through all-ages basement shows, gigs at skate parks and BBQ joints, and late nights listening to jazz and blues records. In a city of multiple genres, no fixed musical identity and a flood of cover bands, these adventurous musicians carved out their own path, personifying the do-it-yourself ethos. The band’s unwavering dedication to staying true to themselves is echoed throughout their debut; however you try to describe it, ‘Get Gone’ is unexpected and unbowed, a head-snapping showcase of the twin pillars of Southern music, restlessness and resourcefulness.
LP – Black Vinyl With Download.
LP+ – Limited Yellow Coloured Vinyl with Download.

BILLIE MARTEN –  MILK AND HONEY

Limited 7″. With delicate, expansive ballads like ‘Bird’ and ‘Heavy Weather,’ 16-year-old Yorkshire folk-rocker Billie Marten proved last year that she’s talented beyond measure and wise beyond her years. ‘Milk and Honey’ is Marten’s latest, and it continues her hot streak. What begins as a breathy acoustic swirl blooms into a lush arrangement topped off by triumphal brass. As ever, Marten sounds vulnerable yet in complete command of her considerable powers.

ULTIMATE PAINTING –  LIVE AT THIRD MAN RECORDS

Ultimate Painting is a young, yet already distinguished UK duo comprised of Jack Cooper and James Hoare. As the story goes, these two spent time touring together with Cooper’s band, Mazes, supporting Hoare’s band, Veronica Falls. A fateful friendship developed and, to make it quick, demos were recorded and swapped, which all eventually led to their debut seeing release on Trouble In Mind. The project has been so thoroughly adored for its uncomplicated, beautifully calm approach to VU-style riff-making and loose-but-biting vibes that the follow up, ‘Green Lanes’, was released a mere ten months later. Needless to say Third Man are so glad they carved their way through the great land of Nashville, TN. Recorded direct-to-tape, ‘Live at Third Man Records’ is an impeccable document of English rock ‘n’ roll. The band is in top form here and their set consists of the finest material from the band’s first and second albums, ‘Ultimate Painting’ and ‘Green Lanes’ respectively, with a handful of extended jams featured here. This live record is a must own for fans of the band, not to mention anyone smitten with mellow guitar magic that absolutely explodes into some true, stately mayhem.

RYAN ADAMS  – HEARTBREAKER – DELUXE

‘Heartbreaker’ the debut solo studio album by Ryan Adams, which was hailed as a modern classic on its release in September 2000. The album, which has been remastered by original producer Ethan Johns, features the 15 song album in all its glory plus demos and unreleased outtakes from this landmark record by one of rock music’s most prolific and charismatic stars. The package also includes a DVD featuring a film of the legendary New York show at the Mercury Lounge in October 2000 and a glossy booklet of rare and unseen photos and Ryan Adams ephemera with an essay written by producer, friend and collaborator Ethan Johns.
4LP and DVD – 180 Gram vinyl set with DVD
2CD / DVD – Double CD with DVD Set.

THE LOW ANTHEM –  EYELAND

‘Eyeland’ marks the Low Anthem’s fourth full-length recording and first new music since 2011’s ‘Smart Flesh’. The Low Anthem return from an extraordinary five-year journey with ‘Eyeland’ an unprecedented collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, ‘Eyeland’ began as a “vague and rather abstract” short story by co-founder / singer / guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.”  Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like ‘Her Little Cosmos,’ ‘The Pepsi Moon’ and ‘Behind The Airport Mirror,’ their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, ‘Eyeland’ is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.

THOSE PRETTY WRONGS –  THOSE PRETTY WRONGS

Those Pretty Wrongs are Jody Stephens and Luther Russell, two old friends and veterans of the music scene in different ways. Jody was the drummer for the legendary band Big Star and now helps run equally legendary Ardent Studios in Memphis. Luther Russell was the leader of seminal roots-rock band The Freewheelers and is now an acclaimed solo artist and producer. Those Pretty Wrongs was tracked entirely to 2″ tape at Ardent Studios in Memphis, using much of the old Big Star gear, including Jody’s original kit from Radio City and Third and Chris Bell’s acoustic and electric guitars from No#1 Record. The album was mixed by Luther Russell and Jason Hiller at Hiller’s Electrosound Studios in Los Angeles, CA. Jody is way out in front on this release – really for the first time ever – taking all lead vocals and co-writing all of the songs with Luther. Through the words on this record Jody opens up about his life, which has been well-documented, but not in this very intimate way. Adds Stephens: “For me the lyrics are a walk through day-to-day emotions and experiences.” Luther lives in Los Angeles and Jody in Memphis, so there was a real commitment to finishing these songs and cutting them until they were totally satisfied.

DESTROYER –  MY MYSTERY

Late last year, Destroyer released ‘Poison Season’ – a treasure trove of mid-’70s Bowie-esque thumpers, string-laden laments and E Street horns – to universal acclaim. Recorded in the same sessions as ‘Poison Season’, the song ‘My Mystery’ was a huge favourite yet somehow felt like it didn’t quite fit on the album. Now it gets released as a stand alone 12″ backed by ‘My Mystery (DJ johnedwardcollins@gmail.com remix)’.
Comes with Download.

BEVERLY – THE BLUE SWELL

What began as a recording project between Frankie Rose (Dum Dum Girls, Crystal Stilts, Vivian Girls) and Drew Citron for their debut album ‘Careers’ has now morphed into something one would of never expected. Drew has speared headed this project into a full time touring band armed with tight musicians all gathered from some of the top bands around her musical community in Brooklyn. Where the first album took on a very 90’s Breeders influence, this sophomore album still has strong 90’s roots, yet sounds more in the vain of a female fronted Teenage Fanclub with jangly guitars and poppy lyrics that won’t escape your head for days on end.
LP – With Download.

Image of Psychic Ills - Inner Journey Out

The seekers in New York City’s Psychic Ills have spent more than a decade following their muse wherever it takes them. Inner Journey Out, the band’s highly anticipated fifth album and first since 2013, is the culmination of an odyssey of three years of writing, traversing the psych-rock landscape they’ve carved throughout their career and taking inspired pilgrimages into country, blues, gospel, and jazz.

Inner Journey Out started out the way many Ills records have – with frontman Tres Warren’s demos. Like all of their records, Elizabeth Hart’s bass is the glue that holds everything together. Where other recent albums found Warren overdubbing himself to create a blown-out, widescreen sound, this recording handed the reigns to a multitude of guest players. A cadre of musicians and vocalists – including Mazzy Star’s Hope Sandoval, who duets on lead single “I Don’t Mind” – join in on the journey. This is the first record to feature touring keyboard player Brent Cordero, his Farfisa and Wurlitzer work is a staple throughout. Rounding things out, is a platoon of drummers and percussionists including Chris Millstein, Harry Druzd of Endless Boogie, Derek James of The Entrance Band, and Charles Burst, one of the record’s engineers. These musicians build the frame on which Warren lays his hazy guitar and vocals. An endless array of friends and guests also provide pedal steel guitar, horns, strings, and backing vocals, which culminate in a career-defining moment for the Ills.

Thematically, Inner Journey Out is a detailed exploration of the interior and the exterior, and the pathway between the two. The focused songwriting makes the stylistic departures fit seamlessly within the band’s dexterous ethos. The rousing gospel number “Another Change” and the far-out free jazz exploration “Ra Wah Wah” help shape Inner Journey Out into a multi-faceted, full album experience. It’s the most personal Psychic Ills album, too, hinting tantalizingly at love and loss but denying the listener resolution — asking questions, but never answering; seeking, but never fully concluding.

A decade on from releasing their critically lauded cult debut, Dins, and the deep dive into cosmic improvisation of Mirror Eye that followed, through the more recent and straightforward outings of Hazed Dream and One Track Mind, Psychic Ills have delivered their most remarkable statement yet with Inner Journey Out.

Image of White Lung - Paradise

For the making of ‘Paradise’, vocalist Mish Barber- Way, guitarist Kenneth William and drummer Anne- Marie Vassiliou reconnected in Los Angeles to work with producer Lars Stalfors (HEALTH, Cold War Kids, Alice Glass) and also sat down with Annie Clark aka St. Vincent to discuss the making of the album.

Bringing all the energy, unique guitar work and lyrical prowess the band are known for to the studio, White Lung curated their songs with a new pop sensibility, focusing on making a record for the present.

from the self titled album by Arc Iris, led by Jocie Adams a main component of the Rhode Island band The Low Anthem, Adams departed to pursue a solo career and has recorded an intriguing array of music with elements of Folk, Jazz and country styles all entwined, quirky orchestrated Pop with complex arrangements