Danish band Late Night Venture brings post-rock and shoegaze music from Copenhagen. The five piece first appeared in 2006 with their self-titled debut so it has been awhile since their last full length, but they return with a vengeance on their second album Pioneers Of Spaceflight. Recorded over the course of a year and a half, the new album delves into various styles within the rock genre and is another solid release in the post-rock field.
Pioneers Of Spaceflight was recorded live in studio by the band and the music benefits from this approach. The ten track album has its share of instrumental music, but there are also a number of vocal tracks as well. This helps Late Night Venture avoid the trap some post-rock outfits fall in where too much of the album starts to sound the same and pushes your limits of engagement and interest.
I do have to admit that my favorite tracks here are of the purely instrumental variety. Things get off to a rolling start with "Kaleidoscopes", the longest song on the album at 7:35. Guitar heavy, while retaining a melody, it's a smashing start to the album. "The Empty Forest" has very minimal vocals, a repeated line of 'You wake me up to set the fire', interrupted by bursts of the band's guitar attack. It's a song both menacing and beautiful at the same time. The album's highlight is "Birmingham", which boasts the loveliest melody on Pioneers Of Spaceflight. Things start off kind of soft with a restrained keyboard, drum and guitar foundation, but the song builds into a thunderous wall of sound, never losing that gorgeous melody. It's simply a great track.
I also like the impact the keyboards have on such tracks as album closer "Carisma" and "Ready No". It keeps things from getting too guitar heavy and the additional instrumentation prevalent throughout is an asset. "Glitterpony" is a downbeat attention getter as well, proof of a band not afraid to explore different sounds within an album and still succeed at creating a coherent piece. Pioneers Of Spaceflight is a must have if you're a fan of the post-rock genre.
Pioneers Of Spaceflight was released October 15, 2012 via Target Distribution/Dunk! Records.
It makes perfect sense that the first release on Emancipator's new Loci Records label is this one from Canadian producer Tor. The Vancouver based artist was also the first signed to the new label and all it takes is one listen to Drum Therapy to understand why.
The debut album from Tor, Drum Therapy lives very much in the same territory as Emancipator's music. This is downtempo electronic with heavy beats, a mix of live instrumentation and plenty of vocal samples. This brand of electronic is among my favorite right now as I move further away from some of the cheesier dance stuff that gets far too much attention. This is a rather moody album, perfect for winter listening in fact. In addition to the samples, which draw on everything from Eastern music to old gospel and even 60's Italian film scores, Tor also plays most of the non-sampled instrumentation.
Things start off with one of the album's best, "Glass & Stone". Acoustic guitars, violins, a tribal drum beat and sampled female vocals are cut-up and looped, making for an entrancing opening. The snaps of "Nomad" are enhanced by gorgeous violin work while "Aperture" has sped up vocal samples over its warmly inviting musical bed.
As you'd expect by the album title, drums play a major role throughout. Tor's beats are a little harder than label head Emancipator's, but his music has that same, mystical feel, at times almost menacing, but always touched by beauty. The album closes with two of its most impressive tracks starting with "Paper Rain", a percussive wonder with guitar and keyboards prominently featured. I can't help but hear the influence of Play or 18 era Moby on album closer "Let Me Down". The first song that came to my mind once it started was "I'm Not Worried At All" from 18 with its sampled gospel vocals. It's a deeply affecting track, my favorite on the album.
Drum Therapy came out at the tail end of 2012, but after living it with for the last few days, I would have been remiss had I skipped calling some attention to it. Definitely a must have if you're into downtempo electronic. A fantastic debut album.
Favorite Tracks: "Let Me Down", "Glass & Stone", "Aperture", "Nomad"
Drum Therapy was released as a digital download December 11, 2012 on Loci Records. A physical CD will be available in 2013.
I knew from my first listen it was going to be hard for any album to top this one for my best of 2012. I called it back in March when it came out and nothing came close to topping it the rest of the year. Ari Picker's beautifully moving tribute to his mother is a shining example of the power of great music. A Church That Fits Our Needs by Lost In The Trees is unquestionably my Best Album of 2012. My original review is below.
Favorite tracks: "Villain (I'll Stick Around)", "Neither Here Nor There", "Golden Eyelids", "An Artist's Song"
Based out of North Carolina, Lost In The Trees create what group
founder Ari Picker calls 'Orchestral Folk Music'. This makes perfect
sense as Picker is a classically trained composer, but he has enough of a
pop sense to his songwriting that he is able to craft memorable
melodies to these wonderfully orchestrated songs. Their second album, A
Church That Fits Our Needs, is a deeply personal record for Picker,
but through his loss and subsequent healing, he and the band have
created a masterpiece.
Picker's mother took her own life in the summer of 2009, and this
album is his tribute to her, from the songs and lyrics contained on it
to her picture that graces its cover, the same picture that sat above
his desk as he wrote the album. In the promotional video for the album,
Picker explains the concept as trying to "create a space for my mother's
soul I guess to go because I can't really satisfy myself with just
thinking that she just went to heaven? So it creates a space for her to
kind of become everything that I thought she wanted or needed to become
in life." Do not let the heaviness of the concept put you off, this
album is undoubtedly one of 2012's best, showered in beauty, mournful
yet uplifting.
A Church That Fits Our Needs is one of those albums that needs to
be experienced as a whole. Individual songs, of course, stand out but as
a song cycle through loss, trying to process it, accepting it and
giving his mother's memory a place to live again through the music, only
a listen from start to finish will give the full effect of this work.
Percussive album opener "Neither Here Nor There" boasts a charming
melody and fits the definition of chamber-pop as much as anything here.
Picker's falsetto dazzlingly intertwines with the vocal work of Emma
Nadeau who contributes throughout the album, including on the album's
lead single, the swirling "Red".
"Golden Eyelids" has doo-wop vocals backing its majestic chorus, the
elegance of the melody on this track cannot be overstated. Simply
swooning and sublime. In "Icy River", Picker sings 'Don't you ever dare
think she was weak hearted', a sentiment expressed in other places on
the album, as he goes to lengths to explain the hardships his mother
faced in her life. Music that is this brutally honest and personal tends
to connect with me on a level throwaway radio trash just can't.
The absolute heart wrencher here is "Villain(I'll Stick Around)",
which will have a tough time being supplanted as the most gorgeous song
I'll hear in 2012. The vulnerability and emotion present in his voice
during this performance cannot be faked, it's an incredibly moving piece
of music. The song alternates between moments of sparseness with just
Picker's falsetto vocals and acoustic guitar, and lush strings with
piano accompaniment. Picker observes his mother's spirit as he sings
'There's something here, a golden angel is floating past, past my
mirror. She's neither here nor there. It messed me up, it messed me up. I
could never leave, now that I've seen your face.' It is as arresting as
it sounds, this song absolutely moves me to tears.
As sad as this may all sound, do not let that detract you from A
Church that Fits Our Needs. This is Album of the Year caliber stuff,
lyrically and musically brilliant and to be blunt, music as a work of
art. We all need a mindless pop or dance song every so often, but albums
like this are what make me so passionate about music. When a deeply
painful personal experience can be shared with the world as something
this beautiful, even causing you to reflect on loved ones no longer with
you in your life, there's no other art form that comes close to that
kind of connection. Exquisite and immaculate.
A Church That Fits Our Needs was released March 20, 2012 on Anti- Records.
The first thing I heard in 2012 that left an impact on me was The Maccabee's Given To The Wild. Originally released in the UK in early January, the album saw a U.S. release in April and never relinquished its hold on me the entire year. Given To The Wild places at #2 on my Best Albums of 2012. My original review is below.
Favorite tracks: "Feel To Follow", "Forever I've Known", "Unknow", "Grew Up At Midnight"
I have been living with this album for a week now, playing it at home
and in the car non-stop. Not only does it get better with every listen,
it's clear that The Maccabees have made the first great album of 2012
with Given To The Wild. The English rock band's third album marks
their biggest commercial breakthrough to date, debuting at #4 in the UK.
No word yet if this will see a U.S. release, but it would be a crime if
this is not the album to break them in the States.
Self described as cinematic in nature, Given To The Wild tantalizes
both with its moments of shimmering beauty, and there are many, and its
grandiose walls of sound. The Maccabees never miss a beat, knowing when
to exhibit restraint and when to turn on the jets and go full bore
without going over the top. It's dramatic, orchestral, melodic rock at
its finest.
After a brief intro, the album kicks into gear with the somber guitar
lines of "Child". What starts out sounding as a standard medium tempo
ballad is given life with a horn section joining in throughout the song
which bursts into a joyous final 90 seconds. This leads into one of the
album's top tracks, "Feel To Follow" which exemplifies the mastery at
work here. There's a swooning chorus of "oohs" and a quiet breakdown
before a soaring post-rock conclusion. It's the first of many stunning
tracks.
Producer Tim Goldsworthy, best known for his work with UNKLE,
definitely makes his mark on the album as electronic flourishes are
added to The Maccabees guitar based rock sound. "Ayla" has fluttering
piano and keyboard lines running underneath the song, "Went Away" relies
heavy on keyboards and "Go" has a stuttering beat behind it's bursts of
guitars and keys. "Heave" is awash with ethereal harmonics.
At the center of the album is another of its highlights, "Forever
I've Known". Starting out slow and simmering, the song alternates
between picking up steam and soft moments but when it kicks back in
after lead singer Orlando Weeks pleads "Can we still try" repeatedly, it
punches you in the gut with an urgent guitar line by Hugo White made to
plant itself in your skull and live there. It's a monumentally grand
rock song.
Given To The Wild is unstoppable all the way to the end and closes
with a trio of its most beautiful songs. "Unknow" is a dark, icy rocker
with angelic vocals that offset the driving moodiness of the music.
"Slowly One" is a gentle acoustic number for its first half before
heading into an electrified conclusion. Album closer "Grew Up At
Midnight" is a tender ballad that culminates with a majestic explosion
of chanted vocals, pounding drums, flourishing piano and guitars. It is
truly as I described earlier a wall of sound and then suddenly, just
when you think it is about to reach over the top proportions, it all
just drops out, closing the song with simple, echoed guitar notes just
as it started. It's a jaw dropping conclusion to a magnificent album.
I can only hope Given To The Wild will eventually see a U.S.
release. There has been talk of American tour dates later in the year,
so there is reason to be optimistic. But with an album this impeccably
good, it's worth every penny to import and get in your hands right away.
The Maccabees have produced a masterpiece. I can't recommend this
highly enough.
Given To The Wild was first released in the U.K. January 9, 2012 on Fiction Records, then released in the U.S. January 24, 2012.
Jason Lytle has been my favorite songwriter since the back to back brilliance of Grandaddy's The Sophtware Slump and Sumday, two of my favorite albums of all time. I've enjoyed the material since then, both as Grandaddy and recording now solo, but this year's Dept. Of Disappearance is my favorite work of his since Sumday. In fact, it's so good it places at #3 on my Best Albums of 2012.
Favorite Tracks: "Last Problem Of The Alps", "Somewhere There's A Someone", "Dept. Of Disappearance", "Your Final Setting Sun"
2012 was a busy year for Jason Lytle. He reunited with his Grandaddy band-mates for a series of live shows, the first time the band was active since he announced their split in 2006. He also played some solo shows, put out a very limited run EP on his Australian tour and finished work on his second solo album.
So that brings us to said album, Dept. Of Disappearance, the follow-up to his 'solo debut', 2009's Yours Truly, The Commuter. As much as I enjoyed the last album, it had the sound of a man refreshed and rejuvenated after leaving the baggage of Grandaddy and his hometown of Modesto, California behind, Dept. of Disappearance is the album I have been waiting for since Grandaddy's 2003 masterpiece Sumday. Yes, I know 2000's The Sophtware Slump is the one that put the band on the map and the critics still fawn over, and I consider that another masterpiece, but I love Sumday equally and it holds an especially strong place in my heart as a lot of the lyrics hit close to home personally. It's no secret Lytle was the brains behind Grandaddy, writing, producing and recording the majority of their studio material, so I have no problem looking at his work seamlessly, regardless of the name on the record.
And that is what I love so much about Dept. of Disappearance. So much of the sound that made me fall in love with Grandaddy's work is back. The fuzzed out guitars of the title track and "Your Final Setting Sun", the strange electronic effects, blips and bloops that just make sense wherever they are placed, the achingly gorgeous melodies and harmonies, the mixture of the standard and the weird. It is all here and Lytle has returned to the absolute top of his craft.
The title track is textbook Lytle, opening with an audio test pattern, then ominous keyboards before the rocking guitar starts in and he makes his threats to disappear, invoking imagery he has utilized his whole career. "You'll never get away with this, you'll never get away with me. I'll crawl into the mountains, I'll fall into obscurity" he sings. He has long wrestled with his love of the studio and the outdoors interfering with the 'game' of the music industry, the tours, the lifestyle that drags him away from what makes him happy and it's crystallized in this track. The other heavier rock track, "Your Final Setting Sun" is a tale of a man facing his mortality. Lytle is back in fine story telling form, one of the many reasons he stands as my favorite songwriter. Of course both songs are drenched in melodic 'oohs' and 'ahhs' as is another standout, "Young Saints".
"Willow Wand Willow Wand" and album closer "Gimme Click Gimme Grid" are more keyboard and electronic heavy, the former essentially a sweet little pop tune, the latter an over eight minute experimentation where Lytle throws everything he can at the track, drum machines, keyboard effects, and vocoder mesh with the standard piano/guitar/bass/drums instrumentation. It's a song that would make Jeff Lynne proud as Lytle has declared often what an admirer of Lynne and his Electric Light Orchestra he is. It's an obvious influence on his music, and makes perfect sense as to why I connected with his music so easily as I loved ELO as a child and still do.
Of course no Jason Lytle project would be complete without at least a couple epic ballads and he truly tops himself this time. There are three brilliant new ones contained here starting with "Matterhorn", the album's second track. Mountain imagery is obviously huge on this album as it also plays a key role in my personal favorite track, "Last Problem Of The Alps". A track that starts as a standard piano rock ballad suddenly deteriorates into heavenly keyboard washes and wind effects before Lytle returns with just his voice, piano and some ambient noises (is that a bird chirp?), now describing his isolation and loneliness at an obvious relationship that has fallen apart. For those that worried the now married Lytle would be incapable of still writing this kind of material, fear no more. It's an absolutely mesmerizing song, filled with instrumentation when recalling the good times and stripped barren and cold when faced with his current loss.
"Somewhere There's A Someone" closes the trio of amazing ballads. The song is based on a piano piece called, ironically enough, "Good Chord Song For LP Two" that appeared on a download only release of improvisational piano music by Lytle called Merry X-Mas 2009. Now fully fleshed out, it's a sad but stunningly beautiful song of lost love now in the arms of another.
Lytle has stated he has an interest in recording another album under the Grandaddy name, it intrigues him and I'm sure his fans would love to see it. But Dept. Of Disappearance, though not topping them, sits right up there with The Sophtware Slump and Sumday as his best work and reaffirms my belief in his songwriting and production genius.
Dept. Of Disappearance was released October 16, 2012 on Anti- Records.
It should be no surprise that two of my top four albums of the year are British indie rock bands. There has been a steady stream of excellent melodic rock coming from the UK for a few years now. Dry The River's debut Shallow Bed was one of the best and it comes in at #4 in my Best Albums of 2012 list.My original review is below.
Let's throw another name in the ring of great albums to come out of
England this year. 2012 has turned out to be a massive year for solid
pop and rock releases coming from the U.K. and Dry The River's debut Shallow Bed continues that run. The London based five-piece formed in
2009 and released a couple EP's prior to this first full length which
does draw on a number of songs from those EP's, as well as new
material.
The music on Shallow Bed is unmistakably English folk rock.
Mandolins, violins and assorted horns show up often, but the band is
just as adept at making melodic rock fit for stadium crowds. There is a
lot of gloominess here, it would be easy to fall into the trap of being
overly maudlin, but the sing-along chorus of "Animal Skins" and tracks
like the infectious "New Ceremony" keep things from getting too bleak.
Peter Liddle's vocal work is a key driver here. He is able to handle
both the quiet emotional moments and outbursts such as the shouted
bombast of the second half of the fantastic "Lion's Den" equally well.
Will Harvey's work on strings also helps hold everything together as
they play a prominent role on the album. From the ballads "Demons" and
"Bible Belt" that run together, to the heavily orchestrated "Shield Your
Eyes", there is not a track worth skipping. Just listen to the chorus
on "Weights & Measures", it alone should have you coming back to Shallow Bed often. Destined for my Best of 2012 list.
Shallow Bed was released April 17, 2012 on the RCA label.
This was my first exposure to Alex Brown Church's Sea Wolf project and I came on board at the perfect time as he released his finest album so far with Old World Romance. It takes the #5 spot in my Best Albums of 2012 list. My original review is below.
The brain child of Alex Brown Church, Sea Wolf is a Los Angeles based
band who have seen a number of members come and go in their short time.
Church originally used a number of backing musicians to help tour the
project, but Sea Wolf has somewhat settled into its current six member
line-up. It is still Church's project in the studio first and foremost
as he sings and writes all the material as well as handling multiple
instruments.
Old World Romance is the third Sea Wolf full length and it
couldn't have been released at a better time. Talk about a perfect album
for the fall. Awash in gorgeous melodies and harmonies, it is 37
minutes of bliss. Sure, you wish something this good was longer, but
there is still something to be said for an album that is concise, with
no filler, perfection from start to finish. Church's music is
essentially indie rock which touches on elements of pop and folk, laden
with lovely strings.
"Old Friend" starts things off with a lone drum beat before the acoustic
guitar comes in and Church's vocal mixes the somber with the uplifting.
"In Nothing" has rumbling drum beats and is one of the more rollicking
tracks here, but every song has its own moments of beauty, here it is
the cello work of Joyce Lee. There are simply too many 'to die for'
harmonies and choruses on this album, "Priscilla" being a shining
example, as is the stunning album closer "Whirlpool". "Dear Fellow
Traveler" is another personal favorite, the cadence of the verses offset
by the dreamy chorus.
Anytime I start to feel overwhelmed about maintaining this blog, an
album like this comes along that makes the time and effort to search out
new music worth it. Albums like Old World Romance are why I
sift through each week's new releases, to find the gems buried within
the incredible amount of music that gets released. Sea Wolf are headed
for my Best of 2012 list easily. A fantastic album.
Old World Romance was released September 11, 2012 on Dangerbird Records.
The second album that made my Top Ten at the last minute. I'm incredibly grateful I had time in December to go back and check out some earlier releases I missed out on or I would have passed by the debut from Bootstraps. Their self titled album places at #6 in my Best of 2012. My original review is below.
Originally from Portland, Oregon, Jordan Beckett formed the band
Bootstraps in Los Angeles along with Nathan Warkentin and David Quon.
Friends from college, the trio started tracking their material live and
those sessions have led to their self-titled debut album. Although I am a
few months late getting to this one, it's another case of better late
than never as Bootstraps demands a place on my Best of 2012 list.
Beckett claims he set out to make a 'road trip record' and that is a
perfect summation of this album. Imagine driving amongst the most
astounding visual landscapes you've ever seen, surrounded by natural
beauty, then put this perfect soundtrack to those visuals on and let the
music do the rest. There are elements of folk, rock and country on Bootstraps,
all held together with soaring harmonies and melodies that will not be
denied or forgotten. This is a band making music that they believe in,
without giving in to any current trends, and it is a gorgeous listen.
Bootstraps clocks in at just under 34 minutes in length but
it is a seamless production, everything flows perfectly. I'd much rather
have a flawless, concise album than one bloated with filler material
anyday and the band deliver just that. But if I am forced to single out
individual tracks, I must start with the majestic "OH CA", one of six
Bootstraps songs used in the 2011 movie Take Me Home. Beckett's
voice is often compared to Ray LaMontagne, and I hear the resemblance,
but he also reminds me a bit of Ben Ottewell of Gomez.
Other highlights include the haunting acoustic based "Haywire", the
whispers and echoes of ballad "Nothin On You Kid", the powerful
"Guiltfree" and the tender harmonies of "Fortyfive". There is a
cinematic quality to everything here and it is an album that grabs you
and won't let go. The band's music is starting to become a mainstay on
television as well with placement on a number of network shows which
hopefully will give Bootstraps a higher profile as we enter 2013. This
is an album that deserves to be heard and, once it is, will not be
forgotten.
Bootstraps was released September 18, 2012 via Extension Music/Redeye Distribution.
I came across this album very late in the year, so late I never got around to writing an original review but it completely blew me away to the point it forced its way into my Top Ten. The Dandelion War's We Were Always Loyal To Lost Causes is the #7 album in my Best of 2012.
Favorite Tracks: "Drifters", A Different Heav'n", "A Mi Alrededor", "Stone Castles"
Blending a number of influences they proudly wear on their sleeves,
Oakland's The Dandelion War create beautifully melodic, vocal post-rock
music. Also drawing from ambient, shoegaze and even various electronic
genres, the band's music is filled with swooning, rich harmonies and
shimmering guitars. The genuinely gorgeous music this five piece creates
is fully realized on their latest release, We Were Always Loyal To Lost Causes, an album that has catapulted its way onto my year-end Best Of list.
This marks the band's second album, following up 2010's Geometrics And Orchids.
They list Explosions In The Sky, Mogwai, Sigur Ros and This Will
Destroy You, amongst others, as influences and all of those bands are
easy to hear within the music of The Dandelion War. But they manage to
do something that is becoming less common in the post-rock realm, carve
out their own sound within those influences.
After the orchestral "Strange Ghosts" gets things started, complete with harmonious howls, the sparseness of the beginning of "Drifters" takes you aback. Just an organ and lead vocalist Larry Fernandez with his angelic falsetto soaring and echoing above, before the guitars and drums take the song to the next level. Fernandez delivers an epic performance throughout the album, that voice is a thing of beauty, perhaps best exemplified on "A Mi Alrededor". The journey he takes you on vocally on this track, sung entirely in Spanish, is a natural wonder.
Other highlights include "A Different Heav'n", a quiet ballad for its first half before percussion joins in and ethereal vocal harmonies close the song out. "Bloom" is a relaxing, instrumental ambient rock piece planted in the middle, a brief respite from the powerfully emotional music on display here. Things come to a close with the massive "Stone Castles", the album's longest track at over eight and a half minutes. It's one of those epic building songs, that when it bursts to life makes the hair on the back of your neck stand up.
We Were Always Loyal To Lost Causes is the type of album you finish listening to and are just thankful you came across. You can hear the care that was taken in assembling this record, as a whole from beginning to end it is a journey of musical excellence. If music that touches the soul is as important to you as it is to me, this is a band you need to familiarize yourself with and quick. A ten track piece of perfection.
We Were Always Loyal To Lost Causes was released September 12, 2012 on Deep Elm Records.
Having Bon Iver's Justin Vernon heavily involved with her new album certainly didn't hurt, but his contributions weren't the main reason Voyageur turned out so impressive. Edwards shines throughout on easily her best album and the #8 release on my Best of 2012. My original review is below.
Favorite tracks: "Going To Hell", "A Soft Place To Land", "Chameleon/Comedian", "For The Record"
Canadian singer/songwriter Kathleen Edwards is back with her fourth
studio album and Voyageur has received its fair share of attention for
her main collaborator on the project. Bon Iver front-man Justin Vernon
not only co-produced the album, he can be heard throughout on various
instruments, as well as providing prominent backing vocals. It marks a
change in direction from Edwards folksier past, but results in one of
the best releases in this early part of 2012.
That is not to say there are no elements of folk and country in the
songs on Voyageur. There is some twang in album opener "Empty Threat"
and the short but sweet "Sidecar" to name a few. But there is a much
more focused pop mentality to a good portion of these songs. First
single "Change The Sheets" is as radio friendly as you'll hear Edwards,
keyboards boiling underneath this summery pop/rock track.
The mid-tempo acoustic rock jangle of "Chameleon/Comedian" is another
highlight, Vernon's influence can certainly be heard on this one, as can
his vocal howls towards the end. The ballads are mostly saved for the
end of the album, but there's not a bad one amongst the five included
here. From the soft rock of "For The Record" to the atmospheric piano
based "Pink Champagne", these songs are drenched in loveliness. None
more than "A Soft Place To Land", a duet with Vernon, co-written by John
Roderick. It's quickly entered the running for most beautiful song of
2012 with Edwards displaying her skills on the violin as well.
The darker, but no less gorgeous "Going To Hell" is another track not
to be missed. 'I'm going to Hell in a basket I've made/woven from the
letters and it spells your name', Edwards sings in the heart wrenching
chorus. After a quiet start the song bursts into a sea of electric
guitar and drums, never losing its stunning allure.
It's still early in the year, but Voyageur is destined for a spot
in my rotation of albums I revisit time and again throughout 2012. I'm
sure it will be there at year's end when it comes time to make my Best
of the Year list as well. Norah Jones, Sean Carey (also from Bon Iver)
and Francis and The Lights also guest on the album, but it is Vernon who
leaves his biggest mark on Voyageur. He's helped Kathleen Edwards
craft what should stand as one of 2012's finest.
Voyageur was released January 17, 2012 on Zoe Records.
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