In today’s warp-speed music internet where you can see an artist release 3+ new full lengths within the span of a year, Clint Heidorn is a patient glacier. He put out a stellar debut full length, Atwater, in 2011. The next year he released a tape with one 8 minute song. 4 years later (this year) he put out a collaboration with Loren Connors, but it’s a single-sided LP with a song that’s just under 15 minutes. All of it’s outstanding, but clearly this dude is meticulous and highly selective (or maybe he’s just super fuckin busy being the production supervisor for DreamWorks). Now he’s got another impeccable release, although he’s mostly involved behind the scenes.
Clint’s grandmother, Jane Heidorn, died a few years ago. There’s a beautiful story about the making of this record that you should absolutely read, I won’t bother summarizing because it’s short enough to begin with and I don’t want to butcher Clint’s words. Clint recorded Jane singing Stephen Foster’s 1854 “Hard Times Come Again No More” while she was in a nursing home and Clint put together the music for it. It’s a deeply personal recording whose origin is important, but the song stands on its own as a somber elegy full of emotion and it’s every bit as beautiful as it deserves to be.
Clint memorialized Jane by releasing this song as a single-sided 10″ packaged in a plain unadorned sleeve, like an old 78. It’s perfect in every way. Only 250 copies that I’m sure won’t last long.
Owlfood – Drift Towards Her (Behind The Door)
An excellent Boston trio that’s been hiding in the shadows for too long, hopefully this killer new LP will get them the attention they deserve. Destroyers Of The Moon is some dark moody shit, twisting doom drone and neo-folk gloom into sprawling blackened pagan jams, shamanistic chants à la Charalambides spoken over haunted strings and buzzing guitars, a pitch black night spent in the desert, opening the gates to the underworld and conjuring spirits to rain death, acoustic whispers in the smoke with the thrum of fear lurking beneath, dreams interchanged with reality in the throws of hypnosis, a delicate melancholic record of harrowing black folk, beautiful & exceptionally original, only 250 pressed up on the band’s newly minted label, you definitely don’t want to miss out on this.
Andrew Weathers Ensemble – O/OU (Ensemble) (Full Spectrum)
Another incredible album from my favoritest fucking guy. What Happens When We Stop is a cross country album, started in North Carolina with Weathers’ buds, elaborated on the road headed out west, and finished up with his pals in California. This one’s just as wonderful as the last, Guilford County Songs, but still not quite as masterful as the debut, We’re Not Cautious. There’s a notable lack of prominent banjo, and I fucking love the banjo, but a big focus on the guitar, more so than before, which is awesome because the guitar work just gets better with each release. Everything is just as warm and incomparably serene as ever, old American folk perfectly melded with contemporary drone & neo-classical, subtle electronics peaking through the twinkling piano, harmoniums humming beneath hypnotic acoustic strumming, but Weathers’ voice has changed a bit, a lower tone and letting his drawl shine through, a little disorienting at first, but it still works beautifully, and honestly, the guitar, just so fucking sweet with those drones, I could listen to Weathers pick away all day with the strings & brass & reeds & everything else droning in the backseat, it’s the most heavenly sound you can get. This dude is unstoppably awesome and I will devour everything he throws at us. You should probably join me in my devouring and pick this up, it comes with a sexy photo book with the work of Aaron Canipe, so you’re definitely getting your money’s worth.