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Come Quietly
Culled from the archive of unreleased songs by Zachary Cale comes two unearthed gems, available for the first time through All Hands Electric. Recorded during the interim of his second LP Walking Papers and his band Illuminationsā See-Saw LP, these two songs were originally cut as demos, but the fresh sound and spontaneity of the recordings warranted a release of their own.
āCome Quietlyā is a field recording from the modern age, complete with chirping birds and the groan of passing cars. The song is a sort of noir narrative with lyrics that illustrate a dialogue between a captor and his captive. Taking cues from the pre-war folk tradition, Cale adopts the voice of both characters. Featuring mournful mandolins and tortured harmonicas over a countrified mariachi stomp, itās as ragged and tuneful as folk music gets, and the inflections in Caleās glass-breaking yowl recall some of Kurt Cobainās acoustic demos from the Sup Pop heyday.
āThe Wedding Partyā is a stream of consciousness ode to love with lyrical images floating by like faces in train windows. The vocal melody is undeniably catchy, sitting perfectly in the space between hypnotic fingerpicked guitar rhythms and ghost-like backing harmonies courtesy of Prudence Teacup. With itās rapid-fire couplets and unabashed pop-minded melody it sounds kind of like Bob Dylan covering the Beach Boys in a dimly lit basement. The rush of images and the giddy, pulse-like rhythm makes āThe Wedding Partyā another classic in Zachary Caleās growing canon of songs. āAll Hands Electric
āCome Quietlyā is a field recording from the modern age, complete with chirping birds and the groan of passing cars. The song is a sort of noir narrative with lyrics that illustrate a dialogue between a captor and his captive. Taking cues from the pre-war folk tradition, Cale adopts the voice of both characters. Featuring mournful mandolins and tortured harmonicas over a countrified mariachi stomp, itās as ragged and tuneful as folk music gets, and the inflections in Caleās glass-breaking yowl recall some of Kurt Cobainās acoustic demos from the Sup Pop heyday.
āThe Wedding Partyā is a stream of consciousness ode to love with lyrical images floating by like faces in train windows. The vocal melody is undeniably catchy, sitting perfectly in the space between hypnotic fingerpicked guitar rhythms and ghost-like backing harmonies courtesy of Prudence Teacup. With itās rapid-fire couplets and unabashed pop-minded melody it sounds kind of like Bob Dylan covering the Beach Boys in a dimly lit basement. The rush of images and the giddy, pulse-like rhythm makes āThe Wedding Partyā another classic in Zachary Caleās growing canon of songs. āAll Hands Electric
$28,500.00
Original: $95,000.00
-70%Come Quietlyā
$95,000.00
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Description
Culled from the archive of unreleased songs by Zachary Cale comes two unearthed gems, available for the first time through All Hands Electric. Recorded during the interim of his second LP Walking Papers and his band Illuminationsā See-Saw LP, these two songs were originally cut as demos, but the fresh sound and spontaneity of the recordings warranted a release of their own.
āCome Quietlyā is a field recording from the modern age, complete with chirping birds and the groan of passing cars. The song is a sort of noir narrative with lyrics that illustrate a dialogue between a captor and his captive. Taking cues from the pre-war folk tradition, Cale adopts the voice of both characters. Featuring mournful mandolins and tortured harmonicas over a countrified mariachi stomp, itās as ragged and tuneful as folk music gets, and the inflections in Caleās glass-breaking yowl recall some of Kurt Cobainās acoustic demos from the Sup Pop heyday.
āThe Wedding Partyā is a stream of consciousness ode to love with lyrical images floating by like faces in train windows. The vocal melody is undeniably catchy, sitting perfectly in the space between hypnotic fingerpicked guitar rhythms and ghost-like backing harmonies courtesy of Prudence Teacup. With itās rapid-fire couplets and unabashed pop-minded melody it sounds kind of like Bob Dylan covering the Beach Boys in a dimly lit basement. The rush of images and the giddy, pulse-like rhythm makes āThe Wedding Partyā another classic in Zachary Caleās growing canon of songs. āAll Hands Electric
āCome Quietlyā is a field recording from the modern age, complete with chirping birds and the groan of passing cars. The song is a sort of noir narrative with lyrics that illustrate a dialogue between a captor and his captive. Taking cues from the pre-war folk tradition, Cale adopts the voice of both characters. Featuring mournful mandolins and tortured harmonicas over a countrified mariachi stomp, itās as ragged and tuneful as folk music gets, and the inflections in Caleās glass-breaking yowl recall some of Kurt Cobainās acoustic demos from the Sup Pop heyday.
āThe Wedding Partyā is a stream of consciousness ode to love with lyrical images floating by like faces in train windows. The vocal melody is undeniably catchy, sitting perfectly in the space between hypnotic fingerpicked guitar rhythms and ghost-like backing harmonies courtesy of Prudence Teacup. With itās rapid-fire couplets and unabashed pop-minded melody it sounds kind of like Bob Dylan covering the Beach Boys in a dimly lit basement. The rush of images and the giddy, pulse-like rhythm makes āThe Wedding Partyā another classic in Zachary Caleās growing canon of songs. āAll Hands Electric
