Size 221.975 MB 7 seeders Added 2013-04-23 12:47:34
Artist: Release: Departure & Farewell MusicBrainz: e2ff65d8-3458-429b-9ba6-809ab4f46637 Released: 2013-04-02 Label: Nettwerk Country: US Packaging: Cardboard/Paper Sleeve Tracklisting: 01. Departure and Farewell (03:25) 02. Walking Past The Graveyard, Not Breathing (02:50) 03. Things Are Not Perfect In Our Yard (02:20) 04. The Seed (01:39) 05. The Jack Pine (03:10) 06. Tourniquet (03:56) 07. Seven Angels (02:25) 08. Gently Down The Stream (03:28) 09. Bird Song (01:35) 10. Traveler's Song (01:59) 11. The Tides At The Narrows (02:27) 12. Last Call (04:59) 13. So Long (02:59) Hem have taken a long road to reach their destination. Their discography winds haphazardly through rough terrains, trying out different outlets, and occasionally diverting attentionΓÇömuch like the travelers and woodland animals that inhabit scenes of their songs. Listening to Hem is a lot like reading Robert FrostΓÇÖs entire canon; there are moments of utter clarity and pastoral beauty, there are some odd experimental passages that work, and there are some that simply fall flat without touching any nerves. ItΓÇÖs all worthwhile, itΓÇÖs just hard to sustain greatness. And Hem is nothing if not a nerve-touching band. At times it sounds as if their entire foundation is built upon a tremulous whisper that makes grown men hug like affectionate children. But, theyΓÇÖve had the specter of an impossible debut LP to live up to, as well. 2002ΓÇÖs sublime Rabbit Songs was a stark image of what a band could create with simple songwriting, acoustic stringed instruments, and the affective quality of Sally EllysonΓÇÖs golden voice. So strong is their pull and so delicate their songs that I donΓÇÖt mind admitting that ΓÇ£SailorΓÇ¥ from Rabbit Songs is still tough for me to listen to without something unnameable welling up inside of me. There are tracks that ascend to that type of elegance on Departure and Farewell, thankfully. Immediately, the juxtaposed beauty and pain of ΓÇ£TourniquetΓÇ¥ is the first noticeable track with immediate resonance, not only because of its mid-tempo melody, but also because of its lyrical and physical setting. The lyric ΓÇ£Brooklyn your war was just won by the SouthΓÇ¥ begins the songΓÇÖs mapping of the Brooklyn regions where the band resides. And, in one line, thatΓÇÖs what Hem does. TheyΓÇÖre a Brooklyn band dreaming of other, more pastoral locales: the folkist regions of Appalachia, the countrypolitan halls of Nashville, the brass band marches of New Orleans, and anywhere along the East Coast where an acoustic guitar and songwriter might have met. Influences from these regions donΓÇÖt define Hem, but they do color the outer edges of their songs, sometimes to brilliant effect, other times detrimentally. ΓÇ£Walking Past the Graveyard, Not BreathingΓÇ¥ sets up a whimsical piano dirge from the outset (not to mention a great song title) and then begins a New Orleans funeral band march interlude, breaking down into syncopated piano and brass band. The same fate befalls album closer, ΓÇ£So LongΓÇ¥. The song turns into an unnecessarily rollicking tune that is polished to a Nashville glow, complete with full-on gospel choir when a simple, brief coda might have sufficed in its place. ΓÇ£Last CallΓÇ¥, the precursor to ΓÇ£So LongΓÇ¥, is a more natural ending point, if only because it hails lyrically back to one of HemΓÇÖs finest tracks off Rabbit Songs: ΓÇ£When I Was DrinkingΓÇ¥. Thematically, it may as well be an unannounced sequel to ΓÇ£When I Was DrinkingΓÇ¥: both tracks delve into profound pleasures of inebriation and are presented as tender love songs that just happen to involve enough alcohol to ΓÇ£get so highΓÇ¥ that you blow all your money when the rent is due. In the realm of the humanistic, Hem have a sharp eye for the ways we get by day-to-day. Departure and Farewell fits naturally beside Rabbit Songs, although driving the comparison home is unnecessary when tracks like ΓÇ£The Jack PineΓÇ¥, ΓÇ£The SeedΓÇ¥, and ΓÇ£TourniquetΓÇ¥ all tread the same weightless, acoustic water. Hem have colored from the same palette since day one. But there are always hidden gems on their albums that only unfold after a few turns: the glockenspiel and double-tracked vocals of ΓÇ£Things Are Not Perfect In Our YardΓÇ¥, and fullness of ΓÇ£The Tides At the NarrowsΓÇ¥. Those are the hidden rooms where Hem work best; in the quiet, sunlit wooden floors of a still house, abandoned years ago. And the band membersΓÇöDan Messe and Gary Mauer, especially, who have designed much of HemΓÇÖs shoestring-orchestra soundΓÇödeserve extra credit for the attention to subtle detail on Departure and Farewell. Horn flourishes here, a series of piano notes there, give the album its steadiness, even when some tracks are overwhelmed by over extension. Departure and Farewell isnΓÇÖt made of what its title implies as much as it is imbued with a natural inclination to expect an ending to all things. The album was almost the bandΓÇÖs last after personal crises and other projects separated them from their music. By the end of the album, Hem donΓÇÖt feel like theyΓÇÖre headed for a departure; rather, the momentum on the album is straight as the highways that litter the albumΓÇÖs cover. Hem may have taken a few secluded routes to arrive at their departure, but, like Frost suggested, sometimes its the road less traveled thatΓÇÖs more rewarding. Departure and Farewell is where Hem have come to rest and it may be their brand new beginning.
|Departure & Farewell (FLAC)/01 - Departure and Farewell.flac||19.972 MB|
|Departure & Farewell (FLAC)/02 - Walking Past the Graveyard, Not Breathing.flac||16.714 MB|
|Departure & Farewell (FLAC)/03 - Things Are Not Perfect In Our Yard.flac||14.423 MB|