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Though the two are separated by only a year, RED HOUSE PAINTERS ups the group's ante considerably from DOWN COLORFUL HILL. Many of the songs are more concisely written, the arrangements are more fully realized, and there's a greater dynamic range. The agenda remains largely the same though; Mark Kozelek still sounds like someone who needs to be watched closely around sharp objects, and bleak, dreamy folk-rock is still the name of the game. Romantic dejection is a favorite topic, unflinchingly documented on "Katy's Song" and several others.
The mix of complex acoustic finger-picking and soft, airy electric guitar provides the perfect latticework for Kozelek's tales of spiritual desolation, though bits of inspired distortion do kick in occasionally. A few songs even boast hooks--"Mistress" is so (relatively) catchy the band decided to present it in two different versions here, both equally effective. Though there are several shorter tunes, the slowly building epic is still the Painters' stock in trade, and a highlight is the creeping, 13-minute psychedelic nightmare of "Mother."
Red House Painters: Mark Kozelek (vocals, guitar); Gordon Mack (guitar); Jerry Vessel (bass); Anthony Koutsos (drums).
Unknown Contributor Role: Red House Painters.
Re-Issue
Rolling Stone (11/25/93, p.120) - 3 Stars - Good - "...Some of the slowest and mopiest self-revelations ever committed to tape....RED HOUSE PAINTERS are quite the rosy crucifixion..."
Spin (6/93, p.18) - Recommended - "...singer-songwriter Mark Kozelek's principal antecedents--folk lovelies Tim Buckley and Nick Drake--overdosed within a year of each other....[Kozelek] and band are breathing some of the same rarified air as those delicate souls. Beauty and sadness abound, coffered in precarious folk settings..."
Alternative Press (8/93, p.85) - "...[RED HOUSE PAINTERS] possess an intimacy that shuts out the rest of the world. The sorrow-absorbing songs here first command your attention and soon after capture your heart..."
Option (9-10/93, p.122) - "...you may not want to listen, but you're compelled to....[Red House Painters'] second release contains more good surprises and genuine emotion than a truckload of other so-called `alternatives'..."
Melody Maker (5/22/93, p.28) - "...[RED HOUSE PAINTERS] is the musical equivalent of letting the dappled, slow-moving surface of some great river carry you where the undercurrents dictate..."
Musician (7/93, p.94) - "...Kozelek writes in a brutally confessional style that makes '70s singer/songwriters seem like wimps....the band plays in a slow, haunting, disquiet that tightens the focus on Kozelek's vulnerable vocals. A harrowing but often transcendent record..."
NME (Magazine) (5/22/93, p.33) - "...What separates [Mark Kozelek] from the spoilt bastard whinings of other pop miserablists is that he never asks what he's done to deserve the grief....RED HOUSE PAINTERS is one long look back in anguish...and how refreshing a good rib-aching weep can be..." Red House Painters Review
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Purchase Red House Painters CD To buy, Click on price to add to cart | Red House Painters Songs For A Blue Guitar CD (1996)
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Throughout the '90s, the Red House Painters established themselves as the bedroom poet princes, a quieter, more retiring take on American Music Club's self-loathing avant-folk-rock. While BLUE GUITAR still bears strong traces of the gentle, acoustic Tim Buckley/Nick Drake style that was the band's early trademark, it's also their most aggressive album. The mood is relentlessly downbeat as usual, and soft acoustic ballads like "Have You Forgotten" are standard Painters fare, but the boys have seemingly been listening to a lot of Crazy Horse-era Neil Young as well. "Make Like Paper" is full of crunchy, distorted guitar, with that desert hallucination feel that's so prevalent in Young's '70s work.
The band continues its tradition of unusual cover tunes, with completely unironic and shockingly effective deconstructions of the Cars's "All Mixed Up," Wings's "Silly Love Songs," and Yes's ...
| | Red House Painters (3rd LP) CD (1993)
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After the relatively concise song structures and expanded sonic palette of the Painters' previous album, Mark Kozelek and his band of un-merry men return to the extended songforms and minimalistic feel of the band's debut. As ever, tempos lurch along at an appropriately ominous pace, and Kozelek examines the dark side of his soul on "Evil" and "Helicopter." A new development that would soon become a trademark is the band's talent for deconstruction ...
| | Red House Painters Ocean Beach CD (1995)
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Like much of the Red House Painters' work, OCEAN BEACH is marked by an overriding sense of despair, but Mark Kozelek, the Painters' founder and guiding force, has a way of transforming his melancholia into seduction. The record begins on the lightest of notes with "Cabezon," a languid instrumental that would sound appropriate as the opening theme for a kids' TV show. The spare, tender "Summer Dress" follows, with Kozelek's resonant voice, accompanied only by guitar and violin, conveying an almost palpable sense of longing.
An electric guitar finally kicks in on "San Geronimo," a moody, minor key meditation on the love and loss of both a person and a place. Marrying a simple riff with a precise and crafty arrangement, this is perhaps the record's most powerful track. After the stark "Shadows," the pastoral vibe that begins the record returns on "Over My Head," a light acoustic workout that gradually breaks up in an improvised ending. Things get a bit murky toward the end, but Kozelek's voice, in all its velvety fragility, cuts through the fog. "Drop," the final song, is Kozelek at his most confessional, and definitely not a closing theme for a kids' ...
| | Red House Painters Retrospective CDs (1999)
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Mark Kozelek has a knack for writing songs that capture the fading, sepia-tinted hope of adolescence with so much insight that they can be physically painful to hear. Originally recording for the ultra-hip English 4AD label, his Red House Painters were often too introspective for mainstream commercial acceptance. But the songs collected on RETROSPECTIVE, a two-disc collection of LP tracks, demos, live versions, and outtakes dating from the band's tenure with the label, more than make the case for Kozelek as one of the great singer/songwriters of his generation.
The first disc covers LP tracks and includes such jaw-droppers as "Grace Cathedral Park," "New Jersey," "Medicine Bottle," Kozelek's painful ode to dying love, and "Michael," a gorgeous song about the memory of an old friend. The second disc consists of rarities. Standouts include the sinewy and uneasy "Waterkill," an in-studio radio ...
| | Red House Painters Old Ramon CD (2001)
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After years on the shelf due to Mark Kozelek's drawn-out problems with Supreme and Island, the Red House Painters' long-awaited Old Ramon finally sees the light of day, thanks to Sub Pop. As it stands, the label needs Kozelek as much as he needs them -- after a few years' worth of disappointing releases from garage rock revivalists, Old Ramon breaks Sub Pop's losing streak. Ironically, the album's long-delayed release only makes its joyous sound that much more refreshing; its inviting mix of gentle and fuzzy guitars and Kozelek's empathetic vocals make it the Painters' most hopeful, accessible work. Though one of Old Ramon's finest songs, "Find Me, Reuben Olivares," ended up on the Shanti Project Collection, the remaining ten songs are first-rate expressions of Kozelek's thoughtful songcraft and guitar work. Beginning with "Wop-A-Din-Din," a chiming, charming tribute to Kozelek's cat, the album signals a lighter, freer approach than one might expect from the often-brooding Painters. Even slow, wistful numbers like "Smokey," "Cruiser," and "Void" -- whose title suggests a harrowing, soul-searching song like Down Colorful Hill's "24" -- sound downright sunny in comparison to Kozelek's early work. Though Old Ramon keeps the polish of later Red House Painters albums like Songs for a Blue Guitar, the album has an added immediacy and vitality, particularly on surprisingly poppy tracks like "Byrd Joel," ...
| | Cocteau Twins Treasure CD (1984) Remastered
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With their third album, TREASURE, the Cocteau Twins settled on what would, from then on, be their primary lineup--vocalist Elizabeth Fraser, guitarist Robin Guthrie, and bassist Simon Raymonde. One of the band's most impressionistic records, it abandons the "phrase" titles of previous records in favor of mythological-sounding one word names, encouraging listeners to make up their own interpretations of the songs. Sound-wise, ...
| | Comanche Hymns From Prairie CD (1996)
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| | Bards Moses Lake Recordings CD (2002)
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It took over 30 years to shake loose The Moses Lake Recordings, yet another Curt Boettcher-Keith Olsen production, from the befuddled chaos of 1960s rock. The album is obscure even by the producers' normal standards. It is also atypical of almost everything else for which the pair was responsible. The main reason for the anomaly is, of course, the Bards, a band not only drastically different from any other combo out of the Pacific Northwest but staggeringly unique in the genre. Boettcher and Olsen, in turn, responded with an equally idiosyncratic production, experimenting with buoyant horn charts and early synthesizer washes. Their characteristic touch is most evident in the harmony arrangements, but the music is considerably more aggressive than any of their other work. That is partly attributable to the Bards' garage roots, which shine through in the ragged fuzz guitars, the barrelhouse keyboard runs, and the unstinting toughness of the quartet's playing. On the other hand, this is not garage in any normal sense of the word. The album, in fact, doesn't come within miles of colliding with normal. It is one of the most off-the-wall relics of the era, a convergence of garage rock, boogie grooves, weird bubblegum, and seriously funky pop/rock. Chief among its oddities are the songs themselves, which tend to defy any, let alone easy, classification. The fabulous "Laredo" flows from a spoken word segment into a flirtatious battle between the lead guitar and collective group scatting. "Oobleck" somehow squeezes black magic, Seussian wordplay, seriously bad mojo, and jubilant harmonies into a deranged, two-and-a-half-minute psychedelic singalong. "Reluctantly and Slow" segues from jazzy beatnik rhythms into discordant, gothic gospel and back to finger-snapping cool. And it's impossible to know what to even consider, much less call, the album's centerpiece, the 14-minute, seven-part "The Creation." A mini-rock opera? ...
| | Heart Love Alive CD (2005)
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| | Balboa & Rosetta Project Mercury CD (2007)
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| | Shauli Einav Home Seek CD (2008)
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“Shauli is extremely talented and has tremendous instinctive love for every aspect of jazz. His tenor playing is authentic and rooted. He is extremely imaginative and has the ability to truly improvise at the highest level and most sophisticated level in the jazz idiom. At the same time, [he] has the utmost respect for the tradition in jazz and it is this sincerity that makes his playing so compelling” - Saxophonist Walt WeiskopfShauli Einav is a young emerging Jazz saxophonist. He has already performed with various ensembles on prestigious stages such as the Israel Festival in Jerusalem and The Rochester ...
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