Iron & Wine - Light Verse - Clear w/ Blue swirl - VINYL LP

Vinyl LP pressing including . 2017 . Beast Epic, Iron & Wine's fourth album of new material for Sub Pop and it's sixth overall, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Sam Beam has called Beast Epic his Inchmost personalInch album to date. It is the first Iron & Wine album that he's produced since The Creek Drank The Cradle, though the results are vastly different. This album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like InchCall It Dreaming.Inch After a decade and a half of prodigious expression and exploration, recording as both Iron & Wine and eponymously, Sam Beam confessed that he has finally figured out how to make records. Iron & Wine's Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, Tennessee.

Loser Edition on transparent white vinyl. InchI've always wanted to use that title,Inch Sam Beam says of Hen's Teeth, his eighth full-length album and his sixth for Sub Pop Records. InchI just love it. To me it suggests the impossible. Hen's teeth do not exist. And that's what this record felt like a gift that shouldn't be there but it is.Inch Hen's Teeth and his previous album, Light Verse, are siblings of a sort. They were recorded during the same sessions after a year-long dry spell, with the same band, at Waystation studio in Laurel Canyon. InchI'm at a point in my life where spontaneity is a lot more important to me. I'm a lot freer and I love making music more than ever. There are no right or wrong answers. You just pray for your luck and try your best.Inch In this case prayers were answered and luck struck hard. The musicians cohered so quickly that they were often getting songs recorded in just a few takes, sometimes at the rate of two or three per day. The two albums might therefore be thought of as fraternal twins they share DNA and complement each other, but are defined as much by their differences as their similarities. Light Verse (2024) took it's name from a form of poetry that makes heavy use of wordplay, humor, and nonsense. It's a sweet and airy album, impressionistic, at times even flirting with abstraction, a hearty shaking off of the doom and gloom of the Covid era. The world of Hen's Teeth is earthier, darker, more robust and more tactile than that of Light Verse. The songs have titles like InchRoses,Inch InchRobin's Egg,Inch InchDates and Dead People,Inch InchSinging Saw.Inch The cover is a portrait of Beam surrounded on all sides by flourishing ferns and other tropical plant life - a surreal scene that contrasts starkly with the cool blue-white palette of Light Verse. As for the music, Beam says InchThe experiments in this one were more with

Rocamadour, composed by Pablo Ortiz (1956) opens up an aesthetical enigma for the listener the letter from La Maga (Rayuela, 1963) inspires an orchestral fantasy, abstract and virtuosic, stylistically akin to minimal music but strongly anchored in a disquieting, dark rhythmic obstinacy, close to Uruguayan candombe. La noche boca arriba, by Julio Viera (1943) is technically a melodrama an orchestral composition that includes a narrative, meticulously rendered in the score. In our production, the text materializes in the voice of Lisandro Abadie, and Marcelo Nisinman is in charge of the subtle bandoneon part. The piece includes almost the totality of the original story. Viera's colorful palette projects itself on every scene the motorcycle on the damp Paris pavement, the accident, the repeated losses of consciousness at the hospital, the violent moves in the rainforest. Every instant is subtly and vividly described in an almost film-like language. Tercera Generación, by Marcelo Nisinman (1970) was inspired by a brief and powerful text, published in Último Round (1969). The piece is marked by a powerful rhythmic force. Nisinman writes without prejudice one can sense Mahler's stare hiding behind a dense tango-smoke.