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Úvodní stránka » ARCHIVE » Woven Hand — Consider the Birds
Woven Hand — Consider the Birds (September 27, 2004)

Woven Hand — Consider the Birds (September 27, 2004)

   Woven Hand — Consider the Birds (September 27, 2004)
°√° Davida Eugene Edwardse mám moc rád a toto album je jedno z nejlepších, přičemž on nemá žádné slabší. Přesto však shledávám, že v oblasti religiozity je chudák. Zváštní, vždyť tímto zaměřením se vlastně proslavil... Neví si však rady a trpí..., toto nahromaděné zoufalství pak vkládá do textů. Nerozumí základním věcem, proč docházelo v minulosti k utrpení celých národů. Alba si přesto cením více než Brandon Stosuy [NOVEMBER 30 2004 / Score: 8.5] Já dávám 9.65. Nejlepší kousky, klenoty scény paradoxně vznikají kvůli uvolněnému a projevenému utrpení bez známky pokrytectví či snahy zapůsobit na vnější svět. Moc si ho vážím. Je to gigant.
°√° Yes, Edwards’ religiosity is hardcore to say the least, and his Old Testament God seems unforgiving and even violent (e.g. “The world will bow/ The knees will be broken for those who don’t know how”).                                                                                          Born: 1968 in Englewood, Colorado

Formed: 2001 in Denver, CO
Location: Denver, Colorado
Genre: Alternative country, Gothic folk, Gothic rock~singer~songwriter
Album release: September 27, 2004 (UK) / November 2, 2004 (US)
Record Label: Glitterhouse Records (UK)/Sounds Familyre (US)/Burnt Toast (vinyl release)
Genre: Neofolk, alternative country, post~rock, punk, industrial music, folk rock, old~time music and native American music
Duration:     41:33
Tracks:
01 Sparrow Falls      4:46
02 Bleary Eyed Duty      4:30
03 To Make A Ring      4:33
04 Off the Cuff      3:32
05 Chest of Drawers      3:53
06 Oil On Panel      5:37
07 The Speaking Hands      4:01
08 Down In Yon Forest      3:08
09 Tin Finger      3:54
10 Into the Piano      3:39
Producer: David Eugene Edwards
Personnel:
°√°   David Eugene Edwards — vocals
°√°   Daniel McMahon — piano
°√°   Ordy Garrison — drums
°√°   Shane Trost — bassLyrics Chest Of Drawers
1. Chest of Drawers
She floats in air
In these three ways
You know
You know
The road does not trust me to keep
Beneath the bushes
The three of us asleep
2. Go into the Lord’s house
And go in a mile
The world will bow
The knees will be broken for those who don’t know how
He delights not in the strength of horses
He takes no pleasure not in the legs of men
3. He’s a working man
And none can stay his hand
His are the three
Faces of time
We keep walking
And thinking things to talk about
Down on our prayers bones in line
4. Go into the Lord’s house
Go in a mile
The world will bow
The knees will be broken for those who don’t know how
He delights not in the strength of horses
He takes no pleasure in the cleverness of menLyrics Down In Yon Forest
1. Down In Yon Forest
Down in yon forest there stands a hall
Bells of paradise I hear them ring
It’s gilded all over with purple and pall
And I love my Lord Jesus above anything
2. Down in that hall there lay a bed
Voices of heaven here in my head
All scarlet the cover that over it spread
And I love my Lord Jesus above anything
3. Down under that bed there runs a flood
Bells of heaven I hear them ring
Half run in water
Half run in blood
And I love my Lord Jesus above anything
4. Down at the bed feet there grows a thorn
Voices of heaven I hear them sing
It blooms its white blossoms the day he was born
And I love my Lord Jesus above anythingReview
By Brandon Stosuy, NOVEMBER 30 2004 / Score: 8.5
°√°   David Eugene Edwards thankfully takes another break from 16 Horsepower to deliver his third and strongest solo effort as Woven Hand.
°√°   Lunging wheat~n~chaff first into a buckling confessional, David Eugene Edwards is a straw~haired Pentecostal prophet with a knack for spinning elegant, atmospheric Southern damnation. As Woven Hand, Edwards has yet to miss a beat. Though it’s still framed as a “side project,” with Consider the Birds, his third and strongest solo effort, Edwards achieves a passionate pitch that eternally eclipses his output with his proper band, 16 Horsepower.
°√°   Begeting a monumental sound hinted at on past efforts, these 10 tracks are denser and more layered than the ethereal path walked by last year’s beautiful Blush Music, a record that more and more reminds me of a cracked and icy music box left to disintegrate back into the damp earth. On Consider the Birds, as though concocted with quicksand, new sounds escape from each composition over subsequent listens ~ little last gasps from a toy piano show up here, a last–minute snare hit there. The works are pocked with these shadowed corners: the dark, oaken sounds of barn~raising banjo, upright bass, and guitar as well as cymbal crashes, cattail taps, possessed howls, and the faint flapping of lark wings. The elegant piano that shuffles beneath “Speaking Hands” is time again punctuated by crackling, splintery percussion. “Down In The Forest” rings ominously with bells of paradise.°√°   Its title referencing the Biblical passage about God providing for our feathered friends, “Consider the Birds” is a compelling cycle of blistering sermons, spare near~spoken ballads, and seesaw tales of faith and earthly toil. Aesthetically, it drifts alongside the Bonnie Prince and the Bad Seed in a starless tar~black stream. But world~weary Edwards is singular is his sustained scowl: Will Oldham saw a darkness then managed to chase that tear~in~his~beer with creaky back~porch jests; Nick Cave has kept an upside~down smile in place longer, but peppers the pulpit with insinuation and romance.
°√°   Yes, Edwards’ religiosity is hardcore to say the least, and his Old Testament God seems unforgiving and even violent (e.g. “The world will bow/ The knees will be broken for those who don’t know how”). In the swampy gypsy bayou of “To Make A Ring” Edwards beseeches nonbelievers to realize that “judgment is not avoided by your unbelief/ Your lack of fear/ Nor by your prayers to any little idol here...The lord will not be mocked/ Not by you or me.” Gathering a gale force, the track ends with a hermetic sing~a~long around a burning maypole: “We will weave our voice, we will weave our voice together and sing forever round the throne.” So, if like me you don’t believe in God, then why listen? Well, because unlike empty teen angst or bitchy navel gazing, Edwards has a certified message and even with the spikes and thorns and judgments his work emerges from a compelling, otherworldly mindset.
°√°   As our country turns further towards the conservative right, it makes sense to some to be suspicious of religiosity but from my atheistic vantage, Consider the Birds is pleasingly scabrous and utterly apocalyptic. Instead of peppering his work with brief/sappy/peachy references, Edwards unleashes a torrent. Accordingly, religion aside, Consider the Birds should please any and all fans of bleak testimonials and Valley~of~Darkness soundscapes. If you really do fear Godly cooties, block out Edwards lyrics (pretend he’s speaking in undecipherable tongues or talking to his girlfriend) and instead take a walk along brittle pine needles with these dark melodies, virtuosic screeches, and that humid overbearingness of his stately vocalizations. :::   http://pitchfork.com/
Bandcamp: https://wovenhand.bandcamp.com/album/consider-the-birdsDiscography:
°  2003 Blush Music     Sounds Familyre 
°  2003 Woven Hand     Sounds Familyre 
°  2004 Consider the Birds     Sounds Familyre 
°  2006 Mosaic     MSI Music Distribution / Glitterhouse Records 
°  2008 Ten Stones     Sounds Familyre 
°  2010 The Threshingfloor     Sounds Familyre 
°  2012 Black of the Ink     Glitter Ro 
°  2012 Live at Roepan     Glitterhouse Records 
°  2012 The Laughing Stalk     Glitterhouse Records 
°  2014 Refractory Obdurate     Deathwish Records
°  2016 Star Treatment       Sargent House
√   In almost every documented encounter with the music of Wovenhand, what is described is an experience so visceral and so universally disorienting, that one has to take note.  From the first measures of music, the taste of desert earth is on the lips; neck–hairs snap to attention as strange and unfamiliar sounds whisper just underneath the surge of guitar and the rumble of bass; clouds loom on the horizon promising either the balm of rain or the threat of judgment — it could be either.   The smell of horses’ breath, like ash, carries with it messages from another place, a place that is at once very very far away and impossibly close...  The music of Wovenhand is its own iconography, its own world, its own universe.
√   Wovenhand is a band from Denver, Colorado led by singer David Eugene Edwards.  The music combines elements of neofolk, alternative country, post–rock, punk, industrial music, folk rock, old–time music and native American music, among other influences.
√   The band began in 2001 as a solo project for Edwards while 16 Horsepower was taking a hiatus.  The first live shows were performed by Edwards and multi–instrumentalist Daniel McMahon and a self–titled debut album was released in 2002.  Later recordings include 2003’s Blush Music, 2004’s Consider the Birds and 2006’s Mosaict.  2008’s Ten Stones was the first record from the group written and performed collaboratively – the project had thus evolved into a proper band, albeit with Edwards firmly at its head.  Their fifth studio album, The Threshingfloor was released in June 2010.
√   September 2012 saw the release of Wovenhand’s sixth studio album, The Laughing Stalk, described as featuring, “the most heavy incarnation that ever existed of Wovenhand.”
√   The Laughing Stalk mines the bottomless chasm of a desperate man at the mercy of an inscrutable God; of one standing at the foot of a great mountain, the top of which is shrouded in cloud and mystery.  What is there but power and terror?  The urgency to reckon is palpable, is unavoidable.  The rhythms are insistent, the guitars unyielding, and melodies are potent and unrestrained.  David Eugene Edwards is as much a force of nature as ever, pulling the entire band forward with the strength of his voice, as if it had its own gravitational field.  One can’t quite grab a hold of a singular style — each note is informed by the royal heritage’s and traditions of punk, of country, of rock & roll, industrial, and Native American music.  The hues and colors in the music are rich and deep.
√   But newer and unfamiliar elements are percolating and rising to the surface; there is rest; there’s hope, even joy.  The Impenetrable becomes penetrable, and the inscrutable countenance of the Other becomes recognizable as an attentive look of compassion and tenderness.  An insistent rhythm section that once heralded danger now provides the bedrock for dances of celebration, and turns of light shift minor melodies to major.
√   The depths and the heights of this land, the scale of it all, comes into view as the contrasts of light and dark, of terror and joy, stand in clearer relief.  This is a big place.  Perhaps Wovenhand’s finest record to date, The Laughing Stalk is the testament of a restless artist seeking to document his findings in a wild, untamed, and impossibly beautiful land.
√√√°√√√°√√√°√√√°√√√°√√√°√√√°√√√°√√√°√√√°√√√°√√√°√√√

Woven Hand — Consider the Birds (September 27, 2004)

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