BILL CALLAHAN-Dream River 2013-a perfect album

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jamestkirk
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BILL CALLAHAN-Dream River 2013-a perfect album

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BILL CALLAHAN

Appears on the Judee Sill tribute album, Crayon Angel.

RADIO SESSIONS...43 mintes of genius, live on radio
http://www.youtube.com/watch?v=4JLKYnQHfDU

listen and read on...



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Bill Callahan (born June 3, 1966), is an American singer-songwriter and guitarist, who has also recorded and performed under the band name Smog. Callahan began working in the lo-fi genre of underground rock, with home-made tape-albums recorded on four track tape recorders. Later he began releasing albums with the label Drag City, to which he remains signed today.

Though he was born in Maryland, Callahan's family spent a total of eight years living in Knaresborough in England's North Riding of Yorkshire, with a four year return to Maryland from 1969 to 1973. His parents worked as language analysts for the National Security Agency.

Career

Callahan started out as a highly experimental artist, using substandard instruments and recording equipment. His early songs often nearly lacked melodic structure and were clumsily played on poorly tuned guitars (possibly influenced by Jandek), resulting in the dissonant sounds on his self-released cassettes and debut album Sewn to the Sky. Much of his early output was instrumental, a stark contrast to the lyrical focus of his later work. Apparently, he used lo-fi techniques not primarily because of an aesthetic preference but because he didn't have any other possibility to make music. Once he signed a contract with Drag City, he also started to use recording studios and a greater variety of instruments for his records.

From 1993 to 2000, Callahan's recordings grew more and more "professional" sounding, with more instruments, and a higher sound quality. In this period he recorded two albums with the influential producer Jim O'Rourke and Tortoise's John McEntire, and collaborated with Neil Hagerty. Callahan also worked closely with his then-girlfriend Cynthia Dall in his early career, and they contributed vocals to each other's albums. After 2000's Dongs of Sevotion, Callahan began moving back to a slightly simpler instrumentation and recording style, while retaining the more consistent songwriting style he had developed over the years. This shift is apparent in albums such as Rain on Lens, Supper, and A River Ain't Too Much to Love.

Smog's songs are often based on simple, repetitive structures, consisting of a simple chord progression repeated for the duration of the entire song. His singing is characterized by his baritone voice and unemotional style of delivery. Melodically and lyrically he tends to eschew the verse-chorus approach favoured by many contemporary songwriters, preferring instead a more free-form approach relying less on melodic and lyrical repetition. Themes in Callahan's lyrics include relationships, animals, relocation, nature, and more recently, politics. On the subject of voice in his albums, Callahan has said, "It’s usually one character per record. So, the character appears in all or most of the songs on one record and then is gone. Though it makes me feel weird to talk about. Because I don’t really think in clear terms of characters. My albums as a whole could be seen as one character with many voices." His generally dispassionate delivery of lyrics and dark irony often obfuscate complex emotional and lyrical twists and turns. Critics have generally characterized his music as depressing and intensely introverted, with one critic describing it as "a peep-show view into an insular world of alienation."

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Cat Power (Chan Marshall) recorded Callahan's song "Bathysphere" on her 1996 album What Would the Community Think and also covered another Callahan song, "Red Apples", on her Covers Record, released in 2000.

In 2007, Callahan released Woke on a Whaleheart, his first solo album released under his own name. Sometimes I Wish We Were an Eagle followed in April, 2009. Both recordings were released through Drag City, worldwide. In 2009, Callahan contributed cover songs on four separate tribute albums to Judee Sill, Kath Bloom, Chris Knox, and Merge Records. Apocalypse, was released in April 2011 to favorable reviews. Critic Sasha Frere-Jones called it "my favorite of Callahan’s albums, not because it has better songs—those are scattered among at least five others — but because it does exactly what he wants it to do: it conveys an album’s coherence." A tour film chronicling Callahan's 2011 Apocalypse tour was released in 2012. His latest album, Dream River, was released in September 2013.

Personal life

He is currently engaged to photographer and documentary-maker Hanly Banks.

Works in films

Smog's "Cold Blooded Old Times" appears on the High Fidelity soundtrack.
In 2000, Smog's "Hit the Ground Running" (from Knock Knock) was featured over the ending credits of the film Swimming.
The song "Vessel in Vain" (from Supper) was used on the soundtrack of the independent British film Dead Man's Shoes in 2004.
In 2005, the track "A Guiding Light" (from Supper) appeared on the soundtrack of Winter Passing.
In 2008, the Bill Callahan song "Night" (from Woke on a Whaleheart) was featured in the teen buddy comedy College.
The 2012 film Smashed features the track "Our Anniversary" on its soundtrack and during the closing
credits.

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Books

In July 2010 Drag City published Callahan's Letters to Emma Bowlcut, an epistolary novel.

Discography

Main article: Bill Callahan discography
As Smog[edit]
Sewn to the Sky (1990)
Forgotten Foundation (1992)
Julius Caesar (1993)
Burning Kingdom (1994)
Wild Love (1995)
The Doctor Came at Dawn (1996)
Red Apple Falls (1997)
Knock Knock (1999)
Dongs of Sevotion (2000)
Rain on Lens (2001)
Accumulation: None (2002)
Supper (2003)
A River Ain't Too Much to Love (2005)
As Bill Callahan[edit]
Woke on a Whaleheart (2007)
Sometimes I Wish We Were an Eagle (2009)
Apocalypse (2011)
Rough Travel for a Rare Thing (2010)
Dream River (2013)

Filmography

Pola X (1999)
Apocalypse: A Bill Callahan Tour Film (2012)[12]
Last edited by jamestkirk on Fri Nov 15, 2013 3:41 am, edited 1 time in total.
"After silence, that which comes nearest to expressing the inexpressible is music".

-Aldous Huxley
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Post by jamestkirk »

Sometimes I Wish We Were an Eagle
is the second solo album by Bill Callahan under his own name, released on April 14, 2009 via Drag City. It was recorded by John Congleton and arranged by Brian Beattie. In an interview with Uncut, Callahan described the recording of the album:

“ I recorded the basic tracks with a band, in August I think. Then gave the tracks to the arranger Brian Beattie to write some string and horn parts while I was on tour in South America and North America. When I got back we put the overdubs on, in an old fashioned way - four or five string players gathered around one microphone. The basic band is a couple fellers who I'd been touring with a bit lately, Jaime Zuverza on fine and pretty guitar - Brian described his playing style as "unmacho" which I thought was great. And Luis Martinez on special drums. The bassist was Bobby Weaver who was a friend of the engineer John Congleton. I could go on but this is supposed to be a short blurby interview, right?



The album received very positive reviews and made many best of year lists, notably 2nd best album of 2009 in Mojo Magazine.

In 2013, NME listed the album at 443 in their list of the 500 greatest albums of all time.
"After silence, that which comes nearest to expressing the inexpressible is music".

-Aldous Huxley
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jamestkirk
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Post by jamestkirk »

Such fine music...from his DREAM RIVER lp.

The Sing
http://www.youtube.com/watch?v=96xpXS3hbec

Seagull
http://www.youtube.com/watch?v=dJL-kmywsws

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Pitchfork review:

The first thing you notice is that Bill Callahan is in no hurry. On "The Sing", the ballad that opens his warm, weary new album, Dream River, words roll by like cloud formations on a calm day: "Drinking…while sleeping…strangers…unknowingly…keep me company." And afterwards there's a pause as the line hovers there, like something hanging above the doorway into the record's peculiar, intimate universe. In the past, Callahan has compared songwriting to an act of carpentry ("There's this huge block of silence and you carve little bits out of it by making sound"), but never before has one of his records embodied that feeling so richly. Each line on Dream River forms so slowly and deliberately it's like we're watching him whittle it out of oak.
Call it naturalism, polluted with the occasional puff of bleak humor. From his earliest days recording as Smog, Callahan has always been consumed by the natural world. To him, nature is often a taunt, a provocation, a reminder of the smallness of human life. Although he is among music's most astute observers of human truth and absurdity, in a Bill Callahan song, being a person is often a wry, cosmic joke. The sky can broadcast all the violently beautiful hues of, oh, say, a late-summer sunset, and what's the best we can do? "Late Night With David Letterman" (on Apocalypse's "America!") and radio interviews with Donald Sutherland (on Dream River's "Winter Road") and-- it's always implied, with a meta-chuckle-- Bill Callahan records.
Since 2007's Woke on a Whaleheart, the first record released under his own name, Callahan has moved counterclockwise to the rest of the world's spin. As life has become crowded with text, Callahan has, with each record, become more laconic. As people have grown (ostensibly) more connected, Callahan's records have increasingly embraced feelings of isolation. Those early Smog records, with their aggressive textures and anarchic sneers, thrashed in opposition to the outside world. Now Callahan sings like someone blissfully oblivious to its churn. "I set my watch against the city clock," he sang on the opening track of his stunning 2011 record Apocalypse, chuckling with faint surprise. "It was way off."
A quiet masterpiece, Apocalypse seemed like a culmination of Callahan's career so far, but it also had a feeling of finality to it. On Dream River, though, the aesthetically restless Callahan has found a few new mountains to climb. He challenged himself to make a more subdued record where the only percussion comes from hand drums and brushes, but he’s challenging himself thematically, too. Dream River finds Callahan tackling a question that has haunted his music for decades: What happens if the guy who once declared, "Alone in my room I feel like such a part of the community" makes a moving, occasionally honest-to-god romantic record about the power of human connection?
That line comes from "Ex-Con", a song found on Smog's 1997 album Red Apple Falls, and it's striking to consider how much has changed in the years since. Callahan's baritone has lowered about an octave; he used to sing through his nose but now his voice (a much richer and more resonant instrument) seems to come direct from the murkiest depths of his lungs. His arrangements have also grown more sparse, and on all fronts he’s learned how to say more with less. It’s one of many paradoxes in Callahan’s music, that in abandoning a method of singing more traditionally considered “expressive,” he's actually learned how to express more. His delivery is animated by the subtlety of tiny gestures, which is why although there are maybe a total of three words on Dream River that a third-grader would stumble over, its musings still feel profound. “The Sing” boasts one of the album’s most undeniably quotable lines-- “The only words I’ve said today are ‘beer’/ And ‘thank you’”-- but the real joy comes from hearing him mutter, “Beer” and “Thank you” a couple of times afterwards, each time intoning it with an almost imperceptible change in tone. Somehow, each “beer” contains multitudes.
Callahan's learned to use negative space so well that there's even poetry in the pauses. Take "Summer Painter", an instant addition to his canon of great songs; for what else can be said of a song that begins, “I painted names on boats…/ For a summer” and then unfurls, glacially, like an elliptical yarn spun by a leathery old shanty-dweller who has, without question, seen some shit. Callahan’s learned how to use his voice like a camera ("When the hurricane hit some found it suspicious/ That I’d just since left the frame"), and here he’s shooting a wryly funny mock-epic. “Rich man’s folly and poor man’s dream,” he sings, and then pauses for effect, “I painted these.” It’s a masterful little zoom-out, and it only heightens the sense that Callahan’s playing director here, a feeling furthered by guitarist Matt Kinsey’s torrential freak-out when a storm rolls in.
The grandeur, though, is short-lived, and that’s the most profound and affecting thing about Dream River. At its core, this is a record about accepting and even embracing the smallness of human life, and how difficult that can be, given our damnably innate sense of adventure, ambition, and restlessness. For at least four minutes, though, Callahan finds peace and stillness in the form of “Small Plane”. The song is a quiet miracle; an afternoon epiphany told in dream logic and simple language to no one, because his only companion is taking a nap. And yet, what a perfect moment to take stock of things: “I really am a lucky man/ Flying this small plane.” It’s a testament to simplicity, or maybe just the power of his wistful, prismatic delivery, that a songwriter once known for his delight in intricate wordplay has never sung more stirring words than these.
To call Dream River “content” or “serene” feels wrong, because there’s still a pang of longing to it. But in all of this album's searching, it does bring back one hopeful find: that maybe the closest we can come to the thrill of wilderness is the adventure of being with another person. “I see the true spring is in you,” he sings at one point, and it might just be the happiest moment on the record. For once he’s not wishing he were an eagle or a tempest or a sunset. He is just Bill Callahan, flying his small plane with a co-pilot by his side, and for the moment at least, that is enough.

Bill Callahan
Dream River
Drag City; 2013
By Lindsay Zoladz; September 17, 2013




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from his Apocalypse LP

One Fine Morning
http://www.youtube.com/watch?v=2A6CoUfSjQc

Drover
http://www.youtube.com/watch?v=bfEkegI3ySI

The Elusive Art Of Bill Callahan
Another fine read.....
http://pitchfork.com/features/articles/ ... -callahan/


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"After silence, that which comes nearest to expressing the inexpressible is music".

-Aldous Huxley
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