Ghost Wire Writing?

One of my favorite songs, from one of my all-time favorite albums (Blacklisted) and one of my all-time favorite artists (Neko Case), is called Ghost Wiring. When you listen to the track, I suggest a late night and low light and the tension of strange memories to enhance the experience.

One of the song’s enduring aspects is the short, whispered sentence that precedes the opening bars of music. I had listened to the track dozens of times before I heard it, and now it’s something that I love to bend in close to hear – especially when traveling late at night on empty roads, or ensconced in my dark studio trying to suss out glory from paint. Below is the section in question, pulled out and enhanced. What do you think is going on here?

Ghost Wiring Intro Whisper (mp3 format)

Music for Reading A Mnemonic of Longing

Music for reading A Mnemonic of Longing,

an unpublished essay, 2002-2009.

THE OCEAN

by u2

FIRESUITE

by doves

FOX CONFESSOR BRINGS THE FLOOD

by neko case

BLACK MILK

by massive attack

HISTORY SONG

by the good the bad and the queen

MARY OF SILENCE

by mazzy star

PYRAMID SONG

by radiohead

WAITING IN THE KOUNTRY

by gram rabbit

HARES DON’T HAVE TEA, SILLY

by gram rabbit

OAHU

by menomena

M62 SONG

by doves

SHE’S GOT CHANEL NO. 5

by calexico

WILLOW SONG

by doves

SO TONIGHT THAT I MIGHT SEE

by mazzy star

KATMANDU

by cat stevens

Hope Sandoval

Hope Sandoval and the Warm Inventions just released their second, long-awaited collection of music, titled Through the Devil Softly.

The new music stands in some dusty, murky ground between the previous HS&tWI CD, 2001’s Bavarian Fruit Bread (BFB), and the legendary body of work created by Sandoval’s other (long dormant) band, Mazzy Star. Through the Devil Softly (TtDS) is neither as downbeat-shoe-gazing as BFB was, nor is it as deathly otherworldly as the Mazzy Star work was. TtDS finds a glowing haze that the others forego in their overcast evenings and midnight reveries.

The sonic textures of old (glinting, rain-like guitar work; fleeting harmonicas; noir-ish, understated drums) are back and certainly reference the previous HS&tWI recording. But in TtDS they feel not so much quoted as rethought, reconstructed; there really is a different feeling to this new group of songs. Bavarian Fruit Bread’s sound was nested largely in an acoustic feel and this inflected every aspect of the production – even the layered use of keyboards and other ambient soundscapes present in the work. In TtDS, layered instrumentation and vocals signal the constructed, incremental product that it is.

I’m pleased with the confidence in Sandoval’s voice on TtDS and find the syncopation of delivery that she’s using really lovely. Yes, the trademark lilting languidness is there – it’s something fundamental to how she uses her instrument – but on TtDS her intonation touches a clarity and closeness not felt on previous tracks. The music stays pushed off in fade and reverb, yet Sandoval’s breathy voice is near and concise when compared to her past work.

Overall, TtDS feels more varied and staged than BFB… and that’s good. It’s a body of music that feels like it is referencing a greater range of feeling than past tracks were while retaining the trademark sound and mood for which Sandoval is known.

It’s nice to have more Hope out there.

Key tracks from Through the Devil Softly:

Blanchard
For the Rest of Your Life
Sets the Blaze

ttds