From Okkervil River :: Okkervil River's Down the River of Golden Dreams takes the band's hallmarks - lush, eclectic orchestration that evokes chamber pop and soul, lapel-gripping emotional urgency, and the lyrical, direct songwriting of frontman Will Sheff - and expands and elevates them in service of a stunningly ambitious set of new songs. If last year's Don't Fall in Love with Everyone You See was the middle of the darkest night of the year, Down the River of Golden Dreams is the earliest light of a morning that could either bring the first breeze of spring or a battalion of tornadoes. On it the band stretches their wings. They shake off the fear and trepidation of the last record and try to look life in the face, emboldened by distorted blasts of Wurlitzer, guttural stabs of Hammond organ, urbane strings and jaunty horns that could be the work of a shitfaced Canadian Brass. Down the River of Golden Dreams combines with Okkervil's trademark melancholy a sense of drama and play at which the last album only hinted. It oozes the band's signature string-destroying folk-rock attack and umbilical chamber-pop swoon, but it also echoes the venomous cabaret of Jacques Brel, the off-kilter swagger of the Faces and Bob Dylan's Blonde On Blonde, and the dusky balladry of Nick Cave. In addition, it displays a new confidence in frontman Will Sheff, whose concise, literary lyrics and emotionally direct delivery are rapidly distinguishing him as one of rock music's best new songwriters. Will Sheff, Zachary Thomas and Seth Warren first met in the tiny town of Meriden, New Hampshire (population 500) and then relocated a few years later to Austin, Texas to dedicate themselves to playing music. They called the group they formed Okkervil River, after a short story by the Russian writer Tatyana Tolstaya. Keyboardist Jonathan Meiburg (also of Shearwater) joined the band during the sessions for their second full-length, Don't Fall In Love With Everyone You See, a record which subsequently won the group a rabid fanbase. (Critical raves from the likes of Rolling Stone, MOJO, Alternative Press, and No Depression variously compared the band to Neutral Milk Hotel, Wilco, Bright Eyes, Tindersticks and Will Oldham). This, their third full-length album, was recorded in San Francisco, California, in early 2003-at John Vanderslice's Tiny Telephone studio-with engineer Scott Solter (The Mountain Goats, John Vanderslice, the Court and Spark, Tarentel) at the board.
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