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The first word on Two Saviors is “pareidolia.” It is a word about recognising shapes where none were intended to exist - like searching for images in the clouds. It’s an uncommon word, with a beautiful sound, and serves as an apt guide through these new songs of Buck’s, which are themselves uncommon and beautiful, and which invite a deep, cloud-gaze state of attention.\u003cbr\u003e \u003cbr\u003e Two Saviors was recorded by producer and engineer Andrew Sarlo (who produced the first four Big Thief LPs), under his specific conditions: they make the album in New Orleans, during the hottest part of the year, spend no more than 7 days tracking, all live, on an 8-track tape machine with only dynamic microphones, and no headphones, not allowing the players to hear back any takes until the final day. The band, featuring Adam Brisbin (guitar), Mat Davidson (bass, pedal steel, fiddle), Austin Vaughn (drums), and Buck’s brother Dylan Meek (piano, organ), set up in a Victorian house one block from the Mississippi River and worked within these limitations, encouraging every recording to be imbued with the living, intuitive, and human energy of a first take. \u003cbr\u003e \u003cbr\u003e The rituals that led towards these songs are ones of pain and healing; the power felt through the songs lies in the fact that the pain is never plainly stated, never a note of anguish or resentment, no complaints about the feeling of pain. Pain is not weaponised on this record, but cared for, nurtured, and the songs become meditations on the reality of pain, conducted without resistance.\u003cbr\u003e \u003cbr\u003e Although the song’s narrator runs into several roadblocks in 'Second Sight' - like a pool spiked with turpentine - the chorus is uplifting, with sprightly guitar and upbeat lyrics: “I work for free \/\/ because love is all I need \/\/ yes I work for free \/\/ and love is all I need.” “The value in our world is built by the labour of love - a currency that accrues no debt, enriching both the giver and receiver,” says Buck. “This wealth provides the vitality needed to lift a hammer, to raise a roof, and to lay upon the eaves in silent awe of nature and civilization and the culmination of universal effort. Magic (the left hand of love?) arises from attention, and is accessible to all without prejudice. 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In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. “We all needed to be making that music together,” he recalls. “We’ve all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown.”\u003c\/p\u003e\n\u003cp\u003eThroughout Quietly Blowing It, Taylor brings his keen eye to our “broken American moment”—as he first sang on Hiss Golden Messenger’s critically acclaimed, GRAMMY ® - nominated Terms of Surrender—in ways that feel devastatingly intimate and human. Beginning with the wanderer’s lament of “Way Back in the Way Back,” with its rallying cry of “Up with the mountains, down with the system,” Taylor carries the listener on a musical journey that continually returns to themes of growing up, loss, obligation, and labor with piercing clarity, and his musical influences—including classic Southern soul and gospel, renegade country, and spiritual jazz—have never felt more genuine. 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Recorded raw and direct with a small ensemble, the record is framed by expansive sonic textures: treated strings, analogue synth drones and ambient guitars. Where the Spirit Rests was co-produced with British electronic composer Alastair McNeill (Roísín Murphy, Yila) and includes an inspired cast of collaborators: pedal steel maverick Chuck Johnson, avant-garde violinist Catherine Graindorge and Dream Syndicate\/Green on Red keyboardist Chris Cacavas.\u003c\/p\u003e\n\u003cp\u003e The All Music Guide called Eckman \"one of the most underrated U.S. songwriters, a man who can pack a short story into image-laden lyrics.\" The new album - Where the Spirit Rests - is amongst his most personal and vivid. A place to which he has been headed all along. \u003c\/p\u003e\n\u003cp\u003eThis has been a time that's clawed at our hearts. It's dug deep into our bones. It's been a time to reach for touchstones to help us through it all, whether it's the solace of the familiar or the seeking of something new. For Chris Eckman, the time brought the desire to write songs once more, crafting and shaping the music that would become his new album, Where the Spirit Rests. \"I hadn't played a lot of guitar in the last few years,\" explains Eckman (whose other job is running the global music label Glitterbeat). Even before the pandemic tore the world apart,  he'd been confronting difficult changes in his personal life. Picking up the instrument again brought a muscle memory, a lifeline. It was a return to the things he'd known for decades as a musician. \"From that, some songs came. They weren't very good at first, then around spring things started to grow.\"\u003c\/p\u003e\n\u003cp\u003eSongwriting brought a way to navigate his life, to articulate the thoughts and emotions tumbling around his head. At that point, though, they were only songs; he had no thought of making them into an album. \"There was no deadline, there wasn't even a project; I had time to think about words and lines,\" he recalls. \"I ended up with between 15 and 20 songs. Seven made it onto the record.\"\u003c\/p\u003e\n\u003cp\u003eOf those seven, the first two on the record (\"Early Snow\" and \"This Curving Track\") came as his writing began to catch fire, while the final three (\"Northern Lights,\" \"Where the Spirit Rests\" and \"CTFD\") were among the last of the batch. Together, they form a collection of oblique short stories, \"an internal dialogue between a  person and the outside world,\" Eckman says. \"It's a very insular voice, kind of like those Samuel  Beckett rolling monologues.\" But there's nothing abstract here. The narrator's perspective is  always firmly rooted in the real world. \"I wanted dirt under the fingernails, touching the earth,\" he adds.  \u003c\/p\u003e\n\u003cp\u003eThe recording process began as tentatively as the writing. Eckman has years of studio experience, as a performer with The Walkabouts, Dirtmusic and others and as the producer of countless albums. This time, though, he needed things to be different.\u003c\/p\u003e\n\u003cp\u003eThe whole sound of Where the Spirit Rests is intimate and close. Eckman's dusty voice and hypnotic acoustic guitar draws the listener into the hushed secrets gradually being revealed.  He trusted the collaborators to add what was right. His only instruction was to listen closely and then record what they heard. It was a calculated risk, \"but I had it all back in four or five days and I didn't change a note.\u003c\/p\u003e\n\u003cp\u003eI just lined up what they'd done with the original tracks. It turned out to be one of the least deliberately arranged records I've ever done.\"\u003c\/p\u003e\n\u003cp\u003eThe contributions ranged from the simplicity of McNeill's disquieting synth drone under \"Early Snow\" to ambient country pioneer Chuck Johnson's atmospheric pedal steel on \"This Curving Track.\" Eckman was wary about approaching him, as he releases Johnson's acclaimed albums via his label. But in the end that was no problem; it turned out Johnson had been a fan of Eckman's former band, The Walkabouts. Old Seattle friend Jon Hyde brought woozy, boozy carousing steel sounds to \"Drinking in America,\" a track that teeters on a knife-edge of violence - what Eckman calls his \"break up with America song.\"\u003c\/p\u003e\n\u003cp\u003eViolinist Catherine Graindorge, who orchestrated \"Cabin Fever\" and the title track, brought the kind of colours and unpredictability that's highlighted her work with John Parish and Nick Cave\/Warren Ellis. Chris Cacavas, pulled his Wurlitzer electric piano out of the closet for the subtle gospel shadings on \"Where the Spirit Rests.\" And Eckman's long-time Ljubljana cohorts Blaž Celarec (drums) and Žiga Golob (upright bass), provided the supple, resonant groove. Track by track, Where The Spirit Rests unspools patient, lengthy songs. Like a grainy Super-8 film, scene builds upon scene, each revealing a kernel of truth, and the stark honesty at its heart.\u003c\/p\u003e\n\u003cp\u003e“I’m interested in how the story is told, the narrative aspects. The elusive details,” Eckman says. “Maybe that makes things not so easy to navigate. You have to mark out a listening space.”\u003c\/p\u003e\n\u003cp\u003eTake the time. Follow the curving track that leads from the disorientation of “Early Snow” to the promise of redemption that hangs like hope over “CTFD.” But in these times, it’s still only a tentative destination on the horizon: “I see tomorrow different now\/ Both savage and demure\/ August comets glistening\/Though still a bit unsure”.\u003c\/p\u003e\n\u003cp\u003eGradually, cautiously, moving towards a place where the spirit can rest.\u003c\/p\u003e","brand":"Chris Eckman","offers":[{"title":"CD","offer_id":39595584487610,"sku":"GRCD1032","price":11.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":39595584520378,"sku":"GRLP1032","price":18.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/Eckman.jpg?v=1619522173"},{"product_id":"luke-schneider-altar-of-harmony","title":"Luke Schneider - Altar Of Harmony","description":"\u003cp\u003eReleased 26th June 2020.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSam's Albums of the Year 2020: 'Schneider conjures extraordinary walls of sound from his vintage pedal steel. 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With their rich, raw instrumentation, these rock ballads sound like the resilience discovered in facing one’s darkest moments, the assurance of the calm and clarity that comes after the storm. As she sings on the second track, “Bones,” “Through the darkness of the field \/ I walk through without yielding \/ To the rest of the feelings \/ I’m carrying.” With her confident song craft, Rosali illustrates the ability to push through, moving toward something greater without being destroyed by the weight of trauma.\u003c\/p\u003e\n\u003cp\u003eEngineered by James Shroeder and featuring Kevin Donahue (Simon Joyner), James Shroeder (Simon Joyner, DNG, Connor Oberst), David Nance, Noah Sterba, Colin Duckworth, and Daniel Knapp, the album was recorded in ten days and the raw immediacy of the music is palpable across these ten tracks. Added adornment was contributed by Philadelphia's Robbie Bennett (War on Drugs) on organ and keys, and Matt Barrick (The Walkmen, Jonathan Fire Eater, Muzz) makes a percussion cameo on “Whisper,”which was tracked at Philly’s Silent Partner Studio, where No Medium was mixed by Quentin Stoltzfus (Mazarin, Light Heat). The open creative collaboration elevated the songs, resulting in the exciting, vibrant sound of the album.\u003c\/p\u003e\n\u003cp\u003eRosali wrote the bulk of these songs in January of 2019 while on a self-imposed two week residency in the hills of South Carolina. Alone in an old farmhouse, she experienced supernatural events and faced her own demons in the deepest darkness. Perhaps as a result, there is a boldness that permeates the album, a daring vulnerability in both the lyrical themes and their musical accompaniment. Rosali says, “I approach guitar playing the same intuitive way I sing, which is profoundly spiritual for me. Where words fail, the guitar becomes the conduit for raw feelings, providing a direct connection to them. I’m constantly working on being fearless in my work, which means showing the rough side, the mistakes along with the triumphs.”\u003c\/p\u003e\n\u003cp\u003eWhile writing No Medium, Rosali was inspired by harmonographs—swinging pendulums that create beautiful illustrations of the mathematics of music—considering how the mind, too, creates images through song. She imagined herself as the swinging pendulum—“a body suspended from a fixed point” (Encyclopedia Britannica), governed by the forces surrounding her. She thought about the pendulum’s relationship to time, movement, and even its use in divination practices. The album’s title, lifted from Charlotte Brontë’s, Jane Eyre, resonated with this vision: “I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.” With the multiple meanings of “medium”—as middle ground, a term for psychics, and as the material of artistic expression—No Medium felt like the appropriate name, describing how the self is shaped by the patterns of life .\u003c\/p\u003e\n\u003cp\u003eThe influences for the sound of No Medium reflect this pairing of assured vulnerability, in the stylistic coherence of Bob Dylan’s Desire, the tender delivery in Iain Matthews’ Journey From Gospel Oak, the strut and swagger of Bowie’s Hunky Dory, the ambition and beauty of Gene Clark’s No Other, and the playful catharsis of Harry Nilsson’s Nilsson Schmilsson. The Richard and Linda Thompson-esque album opener “Mouth,” places Rosali within both a physical and emotional space. “East of the river I was travelling on \/ watch me lie, undone \/ rest me in a forest, overgrown \/ until I am free of all that I’ve known,” she sings. There is movement, both within a cityscape, and in her outlook on love. Speaking of her thought process when writing the song, she says, “I imagine confidently walking away from the past, toward a new approach to love and intimacy to achieve a closer relationship with myself.”\u003c\/p\u003e\n\u003cp\u003eIn “Pour Over Ice,” Rosali explores her relationship with alcohol and her former reliance upon it as a social lubricant to quell her social anxiety, an energizer to keep moving, a means to cope and self-medicate, and most addictively, to lure out her wild side as a free flowing, good time girl. While drinking helped her through some shitty times, it eventually got the upper hand and became an insatiable hole within. 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The pairing was effortless and natural, and in November of the same year, they were recording No Medium in a basement in Omaha.\u003c\/p\u003e","brand":"Rosali","offers":[{"title":"CD","offer_id":39713803337914,"sku":"SIS0007CD","price":11.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":39713803370682,"sku":"SIS0007LP","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/rosali.jpg?v=1621078413"},{"product_id":"johnny-cash-classic-cash-early-mixes","title":"Johnny Cash - Classic Cash (Early Mixes)","description":"RSD 2020.","brand":"Johnny Cash","offers":[{"title":"2LP","offer_id":39714728313018,"sku":"6772685","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/Johnny-Cash-Early-Mixes-Cover_800x_c44f75a7-5a4f-48e9-93dd-da1cee7a5d96.jpg?v=1621095772"},{"product_id":"mega-bog-life-and-another","title":"Mega Bog - Life, And Another","description":"\u003cp\u003eReleased 23rd July 2021.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinyl Expected 27th August.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe magical Mega Bog returns with another fantastical off-world transmission, the most sophisticated, exploratory, and accessible statement yet from surrealist songwriter and avant-pop prospector Erin Birgy. Featuring James Krivchenia (Big Thief), who co-produced, and Zach Burba (iji) among its cast of vibrant players, Life, and Another bristles with painterly technicolor surface textures while plumbing fathomless depths of feeling.\u003cbr\u003e \u003cbr\u003eCohabiting with Life, and Another’s co-producer, engineer, and percussionist James Krivchenia (Big Thief) in a small cabin near the Rio Grande off of NM State Route 68, Birgy found herself often alone, suspended between their separate touring schedules. In these silent time passages, Birgy experienced a complete loss of self amid the expanse. Frequently thinking about death in the middle of nowhere opened a familiar black hole of troubling projections, and any desire to find freedom or remain positive continued to fold back into self-destructive thought and fear. New, northern landscapes, like the woods and rivers outside of Seattle, Washington, provided inspiration during odd sublets in the area. 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The album’s title — The Intimate Landscape — is a clue to these dual intentions, as is Ben’s use of his given name rather than the 6OOA alias he has preferred in his career. These songs manifest lovely themes played on acoustic guitar, recorded with spacious, almost pastoral ambiance; richly evocative pieces that can fill the multiple purposes of any sound library around the world. When paired with their titles, however — such as, “Last Night to Use the Telescope,” “Circular Road,” and “On the Way to the Coast” — these pieces are profoundly re-contextualized as potent personal expressions. So too are the songs with titles like “Water Dragon.” “Star Cascade,” and “Dust In the Ravine.” Two decades-plus into his life in music, Ben’s got the craft and ability to make music that can be encompassingly heard as intimate AND universal.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eGoing for melody, Ben employs a relaxed technical facility, supported by a few guitar overdubs, plus several well-placed synths and a passage of wordless vocalizing, accessing the murky depths of his reservoir of spirituality while hand-spinning irresistible sonic candy at the same time. This is a greatly engrossing listening experience, regardless of what the listener’s intentions are.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eGiven the rarity of such lovely acoustic essays from the fingers of Ben Chasny, and thanks to EMI and KPM Music, we’ll find ourselves returning to gaze over The Intimate Landscape often, for many years to come.\u003c\/p\u003e","brand":"Six Organs of Admittance","offers":[{"title":"CD","offer_id":40222333731002,"sku":"DC810CD","price":10.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":40222333763770,"sku":"DC810","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/DC810hires.jpg?v=1628604815"},{"product_id":"robert-plant-alison-krauss-raise-the-roof","title":"Robert Plant \u0026 Alison Krauss - Raise The Roof","description":"\u003cp\u003eReleased 19th November 2021.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndies Vinyl Expected 17th December.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"Default\"\u003e\u003cspan lang=\"EN-US\"\u003eReunited after some fourteen years, following the historic success of their first collaboration\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRaising Sand\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e(2007), which reached #2 on the UK album chart, generated multi-platinum sales, and earned six Grammy Awards including Album and Record of the Year.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Default\"\u003e\u003cspan lang=\"EN-US\"\u003eLike its predecessor,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRaise The Roof\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas produced by T Bone Burnett, who worked with Plant and Krauss to expand their collaboration in thrilling new directions, accompanied by drummer Jay Bellerose, guitarists Marc Ribot, David Hidalgo, Bill Frisell, and Buddy Miller, bassists Dennis Crouch and Viktor Krauss, along with pedal steel guitarist Russ Pahl among others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Default\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eThe album features twelve new recordings of songs by legends and unsung heroes including Merle Haggard, Allen Toussaint, The Everly Brothers, Anne Briggs, Geeshie Wiley, Bert Jansch and more. Other highlights include a Plant-Burnett original, “High and Lonesome,” and the Lucinda Williams classic “Can’t Let Go”. \u003c\/span\u003e\u003c\/p\u003e","brand":"Robert Plant","offers":[{"title":"CD","offer_id":40238936948922,"sku":"0190296672194","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"Deluxe CD - SOLD OUT","offer_id":40238936981690,"sku":"0190296606502","price":13.99,"currency_code":"GBP","in_stock":false},{"title":"2LP","offer_id":40238937014458,"sku":"0190296672200","price":35.0,"currency_code":"GBP","in_stock":false},{"title":"Indies Yellow 2LP","offer_id":40238937047226,"sku":"0190296548840","price":36.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/image012.png?v=1628843077"}],"url":"https:\/\/www.sound-knowledge.co.uk\/collections\/country-americana.oembed?page=15","provider":"Sound Knowledge","version":"1.0","type":"link"}