very limited indies only blue lp the redwood and pine-surrounded cabin studio where banhart was “constantly listening to the grateful dead” somehow birthed something slick, modernist, city pop-adjacent and enoesque. banhart's eleventh record, it's the actualisation of a “precious friendship” with the acclaimed solo artist, multi-instrumentalist, producer and mexican summer stable-mate cate le bon — a coming together prophesied by the mirror-image titles of their early solo albums (banhart’s 2002 'oh me oh my' to le bon’s 2009 'me oh my') and a tenderness built on crude haircuts (“we finally met, soon after she was cutting my hair with a fork and that was that”) and home-made tattoos — but never previously translated into the recording studio.“it’s about transmuting despair into gratitude, wounds into forgiveness, and grief into praise,” - the product of a ritualistic creative practice that melts down and re-casts as it mulls, the stuff of sadness beautified as it changes shape — culminating in a record that “sounds like getting a very melancholic massage, or weeping, but in a really nice outfit… if i’m going to cry, i wanna do it in my best dress.”
very limited indies only blue lp the redwood and pine-surrounded cabin studio where banhart was “constantly listening to the grateful dead” somehow birthed something slick, modernist, city pop-adjacent and enoesque. banhart's eleventh record, it's the actualisation of a “precious friendship” with the acclaimed solo artist, multi-instrumentalist, producer and mexican summer stable-mate cate le bon — a coming together prophesied by the mirror-image titles of their early solo albums (banhart’s 2002 'oh me oh my' to le bon’s 2009 'me oh my') and a tenderness built on crude haircuts (“we finally met, soon after she was cutting my hair with a fork and that was that”) and home-made tattoos — but never previously translated into the recording studio.“it’s about transmuting despair into gratitude, wounds into forgiveness, and grief into praise,” - the product of a ritualistic creative practice that melts down and re-casts as it mulls, the stuff of sadness beautified as it changes shape — culminating in a record that “sounds like getting a very melancholic massage, or weeping, but in a really nice outfit… if i’m going to cry, i wanna do it in my best dress.”
very limited indies only blue lp the redwood and pine-surrounded cabin studio where banhart was “constantly listening to the grateful dead” somehow birthed something slick, modernist, city pop-adjacent and enoesque. banhart's eleventh record, it's the actualisation of a “precious friendship” with the acclaimed solo artist, multi-instrumentalist, producer and mexican summer stable-mate cate le bon — a coming together prophesied by the mirror-image titles of their early solo albums (banhart’s 2002 'oh me oh my' to le bon’s 2009 'me oh my') and a tenderness built on crude haircuts (“we finally met, soon after she was cutting my hair with a fork and that was that”) and home-made tattoos — but never previously translated into the recording studio.“it’s about transmuting despair into gratitude, wounds into forgiveness, and grief into praise,” - the product of a ritualistic creative practice that melts down and re-casts as it mulls, the stuff of sadness beautified as it changes shape — culminating in a record that “sounds like getting a very melancholic massage, or weeping, but in a really nice outfit… if i’m going to cry, i wanna do it in my best dress.”
