Texas-bred singer/songwriter and Big Thief guitarist Buck Meek announces his new album, Haunted Mountain, his first release for 4AD.

Following his beloved 2021 album, Two Saviors, Haunted Mountain marks Meek’s third solo album. Haunted Mountain is about love and… something other. Something bigger than love, something that doesn’t challenge love exactly but stands in contrast to it. A soulfulness, or a soul-seeking fullness. Meek says that loves songs are the hardest write. “Not break-up songs, but an actual love song written in earnest? That is taboo now,” he says. “Sometimes it can feel like all the great love songs have already been written.”

Lead single ‘Haunted Mountain’ is anchored by sweet lyrics penned by Meek and Holland, who is also from Texas and shares co-writing credits on five of Haunted Mountain’s 11 songs. The first two verses and chorus of ‘Haunted Mountain’ were written by Holland as a love song to Mount Shasta in northern California, with the final verse written by Meek, together seeking reciprocity with nature. “It’s about being humbled by the thing you’re drawing power from only at which point an actual, fair relationship begins,” he says. Propelled by the pristine chemistry of his band, ‘Haunted Mountain’ is presented alongside a Riley Engemoen-directed video that captures the group’s in-studio magic.

560 miles from Meek’s hometown of Wimberly, TX, the Franklin Mountains – or more reverently named, Sierras de los Mansos – rise over the tops of the endless acres of pecan trees that surround Sonic Round in the border of Tornillo, where Haunted Mountain was recorded. The songs were written in mountains: by sold springs in the Serra de Estela of Portugal, on the submerged volcano of Milos in the Cyclades, Valle Onsernone in the Swiss Alps (where Haunted Mountain’s cover photo was taken), and the Santa Monica range where Meek now calls home – all where his new love was born.

On Haunted Mountain, love often assumes a natural form – crystal ball dew-drops, green rivers and grasses, tears bottled. Sometimes it becomes artificial – mood rings, earrings, a pair of jeans, motorcycles and spacecraft. Sometimes cosmic – “I fell into a black hole with the hot flux of hazel” (from ‘Paradise’). Love is a consciousness here, interacting with the lovers, greeting them, watching them sometimes, becoming them sometimes. It extends beyond romance, examining the inexhaustible bond between mother and sun, and asks – is love a form of magic? “When you are in love, it inhabits your environment, animates the inanimate, charging everything around you with a sense of meaning,” he says. “and not just new love; also love of many years.”

Since Buck’s self-titled full-length album, his band has remained consistent – Adam Brisbin (guitar), Austin Vaughn (drums), and Mat Davidson (pedal steel, bass on Buck Meek and Two Saviors). In the year or so leading up to recording Haunted Mountain, they were joined by Ken Woodward (bass) as well as Meek’s brother, Dylan, who joined them for the session on piano and synths. Produced by the band’s own Davidson, Haunted Mountain was recorded and mixed in two weeks by Adrian Olsen, who also performed the sound manipulation via modular synthesizer that can be heard throughout the album.

One intention was to make a hi-fi album that contrasted with the intentionally lo-fi approach of Two Saviors, while preserving the intimacy. Recorded live to two-inch tape, the group played together in one big room, with no headphones. In Davidson’s words, “the music here is an expression of a group. I asked for the job because I felt strongly that we shouldn’t bring in someone from outside the band. Otherwise, the only personal desire I had was that we be able to explore space, that we let the music open up and slow down in contrast to previous records – not in terms of tempo but rather overall movement, information between the beats.”

Meek believes that all of the great love songs have not been written yet. In between the lines of Haunted Mountain, we hear that love, in every form, is the creation of home, from within – forever leaving one to find another.

TRACK LISTING

1. Mood Ring
2. Haunted Mountain
3. Paradise
4. Cyclades
5. Secret Side
6. Didn’t Know You Then
7. Undae Dunes
8. Where You’re Coming From
9. Lullabies
10. Lagrimas
11. The Rainbow

Big Thief’s Buck Meek announces his new solo album, Two Saviors, out January 15th on Keeled Scales. While his last album, 2018’s Buck Meek, is a yarn of blue-collar fairy tales and character driven narratives, Two Saviors emerges as a cathartic, naked confession of heartbreak, resiliency, and enchantment. The first word on Two Saviors is “pareidolia.” It is a word about recognising shapes where none were intended to exist - like searching for images in the clouds. It’s an uncommon word, with a beautiful sound, and serves as an apt guide through these new songs of Buck’s, which are themselves uncommon and beautiful, and which invite a deep, cloud-gaze state of attention.

Two Saviors was recorded by producer and engineer Andrew Sarlo (who produced the first four Big Thief LPs), under his specific conditions: they make the album in New Orleans, during the hottest part of the year, spend no more than 7 days tracking, all live, on an 8-track tape machine with only dynamic microphones, and no headphones, not allowing the players to hear back any takes until the final day. The band, featuring Adam Brisbin (guitar), Mat Davidson (bass, pedal steel, fiddle), Austin Vaughn (drums), and Buck’s brother Dylan Meek (piano, organ), set up in a Victorian house one block from the Mississippi River and worked within these limitations, encouraging every recording to be imbued with the living, intuitive, and human energy of a first take.

The rituals that led towards these songs are ones of pain and healing; the power felt through the songs lies in the fact that the pain is never plainly stated, never a note of anguish or resentment, no complaints about the feeling of pain. Pain is not weaponised on this record, but cared for, nurtured, and the songs become meditations on the reality of pain, conducted without resistance.

Although the song’s narrator runs into several roadblocks in 'Second Sight' - like a pool spiked with turpentine - the chorus is uplifting, with sprightly guitar and upbeat lyrics: “I work for free // because love is all I need // yes I work for free // and love is all I need.” “The value in our world is built by the labour of love - a currency that accrues no debt, enriching both the giver and receiver,” says Buck. “This wealth provides the vitality needed to lift a hammer, to raise a roof, and to lay upon the eaves in silent awe of nature and civilization and the culmination of universal effort. Magic (the left hand of love?) arises from attention, and is accessible to all without prejudice. A creation from nothing, from some uncaused cause, some eternal unmoved mover."

The songs on this album shine with this wisdom and are not ostentatious about it. This is true to Buck’s nature. He is recording life, consciously and unconsciously on a broad spectrum of planes. A new album from him is a gift, a chance to wonder about ways we could be seeing, recording.

“At its core, Buck Meek feels like a country record, and not just because Meek’s native Texan twang stands at the forefront of every tune. The album has a mischievous spirit like the celebrated self-titled LP from cult-hit country star Willis Alan Ramsey.” Pitchfork // “Writing these songs was a process of creating talismans - little prayers and visions from within the constant flux of pain, healing, and discovery - that I could return to for perspective, and share with those in need.” Buck Meek.

STAFF COMMENTS

Barry says: A collection of beautifully brittle ballads and Americana-tinged anthems beautifully conceived and delivered with the assured confidence of an artist at the peak of their skills. A beautiful outing for the increasingly essential Keeled Scales.

TRACK LISTING

Pareidolia
Candle
Second Sight
Two Saviors
Two Moons
Dream Daughter
Ham On White
Cannonball! Pt. 2
Two Moons (morning)
Pocketknife
Halo Light