In fact, it was Statz who alerted us to Nelson’s new release, describing it as an EP he feels strongly about. Trusting his word, and feeling an obligation to finally cover Nelson in a proper post, we dove into Whittier.

On first impression, the EP seems a tad gentler than previous release Drugs to Make You Sober. The tempo is undoubtedly slower; the guitars played down a little, the drums are more relaxed and the swinging harmonica set to the side, leading to a sound that is more reflective and mournful, having a tangible end-of-the-night feel. Opener ‘Heart & Soul,’ is a good example, with neat guitar work accompanying Nelson’s crooning vocals. ’Isolation has taken its toll on me’ he sings amongst other lyrics of regret and remorse. ‘Truckers in Drag’ is a slight change of tack – the song is imbued with the weird dream-like feel of a Father John Misty song, as the narrator waits for a storm to pass in Missoula while truckers in drag try to get him drunk. ‘Dog’ has a similarly strange atomsphere, with the intensely satisfying build up from near-slow motion drums to clattering crescendo reminscent of Chad VanGaalen.

Nelson’s lyrical capabilities have always stood out, and Whittier is no different. The temptation with folk music, especially jangly good-time folk music, is to allow the energy be the focus and, as a result, lose something from the lyrics. Nelson has a talent for both poetic and narrative-driven songs that seem to owe as much to the written word and they do folk songs. Indeed, ‘Truckers in Drag’ works like short story, something Denis Johnson might write, with enough images and clues to set a scene and context.

Even the instrumentals, such as ‘Interludes’ (which by definition should be merely filler between the ‘proper’ songs) are intricate and delicate and carefully crafted, proving their worth is far beyond beefing up the release.

You can buy Whittier on a pay-what-you-can basis via Bandcamp.

The post Jeremiah Nelson – Whittier appeared first on Various Small Flames.

Tracklisting:

1. Carry On Wayward Son (Kansas Cover) – Gwar^
2. Rebellion (Lies) (Arcade Fire Cover) – Trampled By Turtles^
3. Hickory (Iron & Wine Cover) – Pilots & Errors
4. Candy O (The Cars Cover) – Richard Buckner
5. No Diggity (Backstreet Cover) – Chet Faker
6. All Hell For a Basement (Big Sugar Cover) – Jordan Soles
7. Locked In (Wesley Wolfe Cover) – Schooner
8. Hollywood Forever Cemetry Sings (Father John Misty Cover) – Tashaki Miyaki
9. Motor Away (Guided By Voices Cover) – Bill Times a Billion
10. Kid’s Allright (Bettie Serveert Cover) – Three Blind Wolves
11. (What’s So Funny ‘bout) Peace Love and Understanding (Brinsley Schwartz Cover) – Shovels & Rope
12. Red Comet Dust (Jason Molina Cover) – CFCF
13. I Would Not Die in the Springtime (Stephen Foster Cover) – Field Report
14. On of Us Cannot Be Wrong (Leonard Cohen Cover) – Father John Misty
15. True Love Will Find You in the End (Daniel Johnston Cover) – Isaac Delusion
16. Entertainment (Phoenix Cover) – Dinosaur Jr.
17. Hey Tonight (Free Energy Cover) – Patrick Stickles
18. Los Angeles, I’m Yours (The Decemberists Cover) – Mariachi El Bronx
19. Days of Heaven (Randy Newman Cover) – Phosphorescent
20. Everything Trying (Damien Jurado Cover) – Night Beds*
21. I Got You Babe (Sonny & Cher Cover) – Mark Kozelek

* – Taken from the Night Beds Chapel Session by Fuel Friends
^ – Taken from the A.V. Undercover series.

This mix is intended as a way of giving artists some publicity. Please have a closer look at the bands you enjoy, then maybe go to a show and buy their records. They probably have families to feed too.

The Covers Mix: Volume #7 from Wake The Deaf on 8tracks Radio.

The post The Covers Mix: Volume #7 appeared first on Various Small Flames.

Hi Brian, how is life on Long Island? How does it feel to finally release the new album after the long hard process of getting it into existence?

Long Island is excellent.  It’s a pretty small town I live in.  I commute via the railroad to Manhattan for work.  It’s nice to feel the energy of Brooklyn and NYC, but also have a break from it every night, and a bit of room to stretch out.  Releasing this new album is quite an amazing feeling.  As a musician, I think every time you can finish something it feels like a triumph on one level or another.  This is the first time we’ve ever worked with a PR company, so the process of waiting and not just releasing everything immediately via Bandcamp was challenging for me.  I think my impulse is just to share stuff and see what people think, but not that we’re finally here I’m super excited.  Brian V. and I are really proud of the album.  The songs come from a really honest place, and even though some of the songs are melancholy, there was a lot of joy that went into making it.

Your explanation of the new album on the Bandcamp page gives an honest picture of your life at the time of writing – the band’s situation, your family life with a wife and kids, the economic struggle and so on – and you say this heavily influences what you write. Do you find it difficult letting the people close to you see/hear the new songs?

There are a few songs – “Stars Collided in Our Hearts” in particular, that do feel really vulnerable and emotional to perform.  “Head Underwater” is another.  I think in the past I’ve written a lot of songs that portray more of a romanticized view of love and other things. I was always trying to create a dream world that was somewhat removed from my reality – an escape.  This time I was determined to let go of that a bit, and speak more directly from the heart.  I think one of the things I’ve learned as more of a general life-lesson is that it helps to be open about things.  I think a lot of people are really secretive about their problems, especially when it comes to money.  It’s fine to be private, but handling things that way can also create this weird cycle of shame and depression.  I found myself saying things in these songs that I wouldn’t say to friends and family.  It’s funny – a lot of those people will hear the record and probably won’t listen closely enough to the lyrics to really catch what I’m talking about.  It’s bizarre and ironic that I get to speak more intimately with strangers around the world through music than I do with family, but I guess it’s also pretty wonderful and amazing that I get the chance to do that.

As a follow-on from the previous question, do you see your music as a way of speaking to your loved ones? For example in ‘Hard Times, Go!’ you sing‘I haven’t been as brave in how I’ve loved you // as I know I should have been // I thought if I kept quiet // you might think I was strong’. Do you want your wife to listen to your music and treat it personally? Or do you use your situation and emotions to mould songs that are about (and for) other people? In other words, are you writing songs concerning your life and self? Or are you writing fiction from experience?

Ha – I’ve definitely learned that speaking through lyrics is not the most effective way to communicate with my wife!  That being said, this is definitely the most autobiographical set of songs that I’ve written.  I think I resisted writing that way for a long time, and maybe I was finally just at the point where I had nothing to lose.  When I was younger I started out playing more folky, singer-songwriter type music.  I played around a lot of coffee houses where the thing is to do a more straightforward, confessional style of songwriting.  I always resented the limitation and the implication that things should only be perceived that way.  It seemed like an oversimplification.  Of course, fiction comes from some sort of emotional reality, and there’s always a connection –   but if everything is confessional than you’re eliminating the entire scope of the writer’s imagination.  I always wanted my songs to be more than stream of conscious journal entries.  I took pride in the craft of transcending that.

What are the main influences on your music and writing outside of personal experience? In the aforementioned description you say that Robyn’s Body Talk had a large effect on Hard Times, Go! But are there any others? Do books and literature play a role in song writing for you?

I take from lots of different places I guess.  I think as a writer, my work was fundamentally shaped by Bob Dylan, Van Morrison, and Jack Kerouac more than anyone else.  I still think about Bob Dylan all the time – and just the sheer power of him as an artist.  Of course there are lots of others – Tom Waits is big.  I draw on literature a bunch too – I love the Beat Generation writers, and Bukowski and Henry Miller, but also more contemporary folks like Junot Diaz, Lorrie Moore, Denis Johnson.  I feel like film is pretty closely connected to music also, and even television.  The song “Chasing a Phantom” is a direct reference to one of the episodes from the last season of Mad Men.

The album was funded via Kickstarter, and through one of the updates on there you said that you felt it allows artists to receive funding for the work they want to produce, rather than the old model of producing what others want to hear in order to receive funding. Do you think this freedom could allow bands to thrive in areas where that were previously impossible? Does the amount raised significantly influence an artist’s ability to produce their work?

I think it’s part of a larger conversation, about the whole digital revolution, but Kickstarter has absolutely been an amazing tool for us, and bands are absolutely thriving in areas that were previously impossible.  I was always an indie rock kid at heart – I grew up idolizing people like Ian Mackaye from Fugazi, so for me that fact that’s it’s become so much easier to make records than it was back then is a really incredible thing that I’ll never take for granted.  You can make a record for almost nothing.  I don’t think the amount of money raised from Kickstarter relates directly to an artist’s ability to produce work – unless their work relies on more expensive tools than ours does – higher fidelity, mastering, etc.  It does take a bit of creativity and stubbornness to be self sufficient, but it always has.   We treat Kickstarter more like an extended pre-order for the record, with merch and stuff.  Our goal was set to make the process of making the Vinyl and the T Shirts and stuff something we knew we could break even at – instead of the old DIY way of basically funding things on a credit card and hoping you did well enough to recoup your expenses.  We aren’t able to do that.  On a larger scale – signing to a label was sort of the same thing.  Most bands never recouped expenses and got dropped.  My favorite thing about Kickstarter is that if you don’t meet your goal, no one gets charged and you aren’t required to complete or fulfill the project.  It seems responsible.  If there is not an audience demand to support a product, that product doesn’t come into existence.  You make music to connect with people.  You make records if people want them – not just because it seems like a cool thing to do. 

With all the said – with music and with our culture in general there is also a relationship between money and access.  There’s the challenge of reaching people through all the noise.  I try not to worry about that much.  I just try to do good work and share it, making use of the tools I have.  If there a content war going on with our culture – it’s probably a war that no one is going to win.

You wrote an essay on the evolution of the music industry and our relationship with the music we listen to, and conclude that the increased availability of music (and for free) has lessened our willingness to engage with each single album, as if in the gluttony of filesharing we no longer savour each bite and instead gulp down whatever we can (as highlighted by my first post on Beat Radio). Compare this to the positive effect of the internet where unknown bands can reach wide audiences through social media (and the aforementioned effect of Kickstarter allowing artists to create whatever they envision) and there is an interesting standoff between the good and evil of the information age. In your own experience (admittedly without the pleasure of a crystal ball to view alternate realities), has the internet been beneficial or detrimental to your musical career?

I used to get hung up on the question but I came to realize that there wasn’t really any point to look back.  Beat Radio came of age creatively at a strange time where people were still operating with the expectations of the old music industry, but the bottom had dropped out.  We were able to get the attention of lots of people – labels and stuff, but nothing ever really came of it, for lots of reasons.  Without the internet and the support of mp3 blogs and stuff, we never would have found an audience at all.  Without access to inexpensive gear where I could make records in my basement, we never would have gotten past the first album. So mostly I’m grateful that I’m able to make art and connect with an audience.  I feel really lucky to have been able to continue to develop as an artist. We’ve been fortunate to finally start bringing in revenue over the last couple years through licensing and download sales and stuff – but whenever I put pressure on music to have it be something that could take the place of my day job, it always seems to take the joy out of it.

Finally, what music are you enjoying at the moment? Could you list four or five artists that you are currently listening to? Any genre or vintage welcome.

Yeah, of course! I wrote a post about my favorite songs of 2012 here – I really loved the records last year from Will Stratton, Damian Jurado, and Father John Misty.  I also listen to a ton of Pavement over the last few years, and Neutral Milk Hotel.  I heard the new Yo La Tengo today also and that is really great.  I co-wrote a song recently with Drew Danburry and have been listening to a ton of his stuff.  The demos for the new album he’s working on are incredible.  There’s so much. It never ends.

The post Interview: Beat Radio appeared first on Various Small Flames.

Tracklisting:

1. From Stardust To Sentience (High Places cover) – Banjo or Freakout
2. So Prone (SLUTEVER cover) – Ghost/Light
3. I Will Always Love You (Dolly Parton cover) – Howth
4. Salvador Sanchez (Sun Kil Moon cover) – Little Silver
5. Brother (Annuals cover) – Manchester Orchestra
6. Darling (Magic Man cover) – And the Giraffe
7. When You Were Mine (Prince cover) – John Heart Jackie
8. I Wanna Be Adored (Stone Roses cover) – Coma Cinema
9. Crying (Roy Orbison cover) – Austra
10. Streets of Philadelphia (Bruce Springsteen cover) Casiotone For The Painfully Alone
11. Iron Man (Black Sabbath cover) – Four Tet
12. The Sidewinder Sleeps Tonight (R.E.M. cover) – Oxford Collapse
13. My Proud Mountains (Townes van Zandt cover) – J. Tillman
14. Chelsea Hotel #2 (Leonard Cohen cover) – Sarah Jaffe
15. If I Handle You With Care (Trembling Blue Stars cover) – Evening Hymns
16. Left & Leaving (The Weakerthans cover) – Beat Radio
17. I Know What I Know (Paul Simon cover) – Graham Wright
18. Some Things Last A Long Time (Daniel Johnston cover) – The Twilight Sad
19. Unicorn (Gay Against You cover) – Dananananaykroyd
20. See U Again (Miley Cyrus cover) – The Mae Shi

Click on the band name in the tracklisting to be whizzed off to a specific page for each artist. Buy some music if you like what you hear. I didn’t bother with Dolly Parton, Springsteen etc. but if you need some pointers on where to find out more about them give us a shout.

Enjoy.

The Covers Mix: Volume #2 from Wake The Deaf on 8tracks Radio.

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