The curtain is thrown wide open this week with Paste sharing a stream of Family Trees due out next Tuesday:
Carlos Forster and M. Ward are old college friends. Like many friends who go their separate ways after graduation, they often look for ways to fit in old acquaintances into their busy lives. For the past several years, the two have kept up by spending weekends together in the Pacific Northwest—partaking in everything from hiking in The Columbia Gorge to swimming in the Sandy River to recording some of Forster’s solo works.
Eight years after beginning what would become his solo debut Family Trees, Forster’s impressive folk collection quietly strikes in similar fashion to the laid back environment it was created in. In addition to Ward’s assistance, the former for Stars frontman also recruited the help of Rachel Blumberg (M. Ward, Bright Eyes, The Decemberists, Mirah, Jolie Holland), Johnathan Richman and Tim Mooney (American Music Club). Listen to Carlos Forster’s new record Family Trees a week before it comes out in stores in the player HERE.
Today Paste premiered the lead track from Carlos Forster’s Family Trees. They said:
“The album’s opener “I Walk I Talk” is a blend of groovy ambiance and reverberant harmonies. Ward’s laidback production approach is heard in the whimsical movement of the track.”
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Today’s edition of All Songs Considered features “Campfire Songs” off the Carlos Forster solo debut Family Trees. Host Bob Boilen enthusiastically declared, “I think that’s as sweet as can be.” Adding, “It’s a growing favorite in just one day.” Co-host Robin Hilton agreed, “Really sweet, loved it, very lovely…”
You can preorder the album, to ship very soon, in the HUSHshop.
We told you about Carlos Forster’s album last week, produced by friend M Ward. Now we’re parting the curtain just a little bit.
Listen to the Family Trees Album Sampler Mix.
And consider a pre-ordering now for a first listen. The album hits streets July 19th.
Nick Jaina is at the top of his game.
In this reader’s opinion, Jaina’s produced some of the most compelling writing the Willamette Week music section (or any metro weekly paper or affiliated blog) has printed with his column Nick Jaina’s Little Box Of Lies. The title is a miscue, as the writing is neither little, or the work of a liar. Each installment is a full blown essay, and is brimming with the rare honesty of one who has calculated there’s really nothing to loose for not keeping up appearances, or probing prevailing notions.
There are a lot of words on the internet, but if you have any interest in the topic of making a career in music, you’ll likely find Jaina’s writing touching, funny, insightful, well organized and occasionally contentious:
While you’re reading, do yourself the favor of cuing up Jaina’s latest long-player The Beanstalks That Have Brought Us Here Are Gone. It’s an edifying listen and noteworthy for Jaina’s decision to let an impressive and well-curated selection of women to sing on his behalf. Get your own digital copy from bandcamp or wait a few weeks for a more tangible version.
Lastly, for the Portlanders that may be reading this, Nick is going to premiere his latest undertaking, music for The New York City Ballet this Thursday July 30th at The Alberta Rose Theatre. (No dancing, just music.) It’s safe to expect something great.
Peter Broderick-produced debut from Dutch Singer-songwriter shows the promise of a new voice.
It was late March in Paris when Peter Broderick was standing by the stage selling his music after an afternoon performance at an arts center. This is when Laura Arkana met Peter Broderick for the first time.
They became fast friends, strolling through the streets of Paris sharing stories and later, passing a guitar back and forth, sharing songs. Broderick recounted: ” I was blown away by her songs. She sings in Dutch, these beautifully crafted haunting melodies, over the most steady and gorgeously fingerpicked guitar. I was in love with the music, but she was so shy about it, saying she’d hardly played the songs for anyone and had never recorded anything before.”
A fortnight later, Arkana flew to Berlin. They rode bikes, ate and cooked amazing food, watched movies, and in a very casual way, recorded eight of Arkana’s songs, six with guitar and voice, two for solo piano. Later, Broderick added his touch: “Since she left i have fallen in love with the songs more and more, listening to them on repeat all day and working on different arrangements with instruments around the house.” This is when Laura Arkana met Peter Broderick for the second time. In music.