Destroyer - City Of Daughters - VINYL LP

Jacob Aranda is a Mexican American Bay Area singer-songwriter, multi-instrumentalist, luthier and member of Bay Area psych-folk group Tarnation. His new album War Planes is his second solo album. Aranda's first solo full-length album, Great Highway (2018), was described by critics as InchtimelessInch (KWMR), Inchfull of beautiful, mellow countryscapesInch (Bay Bridged), and Inchcharming, warm and melancholic, with elements and influences that range from classic country to Southwestern-influenced folkInch (Sound Thread). Born and raised in a Latino household in rural Illinois, the culture of Aranda's upbringing and the necessary resourcefulness of rural living birthed in him an artistic desire to express himself through music. While his first album was an expression of hopelessness and longing, War Planes is fundamentally an album about healing intergenerational trauma and doing so through art. The album feels like a next chapter with elements of rebirth and reflection. Songs of hope, such as InchSing A Song, Say A PrayerInch and InchGlass BuildingInch demonstrate movement forward, while tracks such as InchDream Of MexicoInch and the title track InchWar PlanesInch represent a way to look back into underlying issues and the inherited trauma that had once made Aranda feel so alone. Produced and engineered by Desmond Shea (Tarnation, The Court And Spark) at SF's legendary Hyde Street Studios, War Planes features the talents of friends and Tarnation bandmates, Paula Frazer (bass, vocals), David Cuetter (pedal steel), Sam Berman (drums), Patrick Main (piano, vocals), and Meryl Theo Press (vocals). Also joining the sessions were musicians Alisa Rose (violins), Jason Loeks (upright bass), and singers Karina Denike (Dance Hall Crashers), Michael James Tapscott, Lydia Walker, and Sara Gallagher (banjo, vocals). Aranda went into the studio listening to a lot of early Waylon Jenn

Vinyl LP pressing. More than an arcane puzzle for the listener, Labyrinthitis warps and winds through unfamiliar territory for Bejar as well. Written largely in 2020 and recorded the following spring, the album most often finds Bejar and frequent collaborator John Collins seeking the mythic artifacts buried somewhere under the dance floor, from the glitzy spiral of InchIt Takes a ThiefInch to the Books-ian collage bliss of the title track. Initial song ideas ventured forth from disco, Art of Noise, and New Order, Bejar and Collins championing the over-the-top madcappery. InchJohn is in his 50s, and I'm almost there, but we used to go to clubs,Inch Bejar laughs. InchOur version may have been punk clubs, but our touchstones for the album were more true to disco.Inch

Vinyl LP pressing, includes . Of his 12th studio album and it's enigmatic title, Destroyer's Dan Bejar offers the following Sometime last year, I discovered that the original name for InchThe Wild OnesInch (one of the great English-language ballads of the last 100 years or so) was InchKen.Inch I had an epiphany, I was physically struck by this information. In an attempt to hold on to this feeling, I decided to lift the original title of that song and use it for my own purposes. It's unclear to me what that purpose is, or what the connection is. I was not thinking about Suede when making this record. I was thinking about the last few years of the Thatcher era. Those were the years when music first really came at me like a sickness, I had it bad. Maybe InchThe Wild OnesInch speaks to that feeling, probably why Suede made no sense in America. I think InchkenInch also means Inchto know.Inch ken was produced by Josh Wells of Black Mountain, who has been the drummer in Destroyer since 2012. The album was recorded in it's entirety in the jam space/studio space that the group calls The Balloon Factory. However, unlike Poison Season, ken was not recorded as a InchbandInch record, though everyone in the band does make an appearance.