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S. CAREY

John Dwyer + Heather Lockie, Thomas Dolas, Kyp Malone, Andres Renteria, Brad Caulkins & Archie Carey

Ritual / Habit / Ceremony

    The band is John Dwyer (synths, vocals), Heather Lockie (viola), Thomas Dolas (synths), Andres Renteria (hand percussion), Brad Caulkins (tenor saxophone), Kyp Malone (synths) and Archie Carey (bassoon). The singers are YoshimiO (Boredoms, OOIOO), Albert Wolski (EXEK), Gracie Jackson (GracieHorse), Ciriza (Artist Extraordinaire), Kyp Malone (Bent Arcana, TV On The Radio, Rain Machine etc.), Brigid Dawson (Thee Oh Sees, The Mothers Network), AZITA (Scissor Girls, Bride of NONO, AZITA).

    For fans of Steve Roach, Eno, Syrinx, Howard Shore, Current 93, Terry Riley, Tangerine Dream and a proper sage scrub.

    “An experiment in symphonic improvisation paired with synthesizerscapes. Strings, reeds, synths and hand percussion all blend sweetly into an odd landscape indeed. The final touch was to bring aboard some singers I have loved over the years. I’m so pleased they were all willing to participate and I’m very tickled by the plane we navigate. Once YoshimiO agreed to be on board I knew we were going to be OK. Recorded and mixed at my home studio (Stu-Stu-Studio in Los Angeles) and remotely, this one was a slow burn to see the light of day. And here it is in its final crystal form. Celebrating the spaces between ritual, habit and ceremony. And all the parallels between. The line is blurred. This is occult adjacent strain of sound. At home in daily ritual, contemplation and meditation.” - John Dwyer.

    TRACK LISTING

    1. What Do (YoshimiO)
    2. Ruths Mouth (Albert Wolski)
    3. For Those Who Don’t Get Anything (Gracie Jackson)
    4. Memory Mirror Floweth Over (Ciriza)
    5. Sound The Unknown (Kyp Malone)
    6. Azazel (Brigid Dawson)
    7. Debris In The Sky (Azita)

    S. Carey

    Break Me Open

      S. Carey is the moniker of Eau Claire, Wisconsin-based multiinstrumentalist, songwriter, and producer Sean Carey. Over the past decade, Carey has fostered his flourishing solo career via themes of nature and sustainability, songwriting built from jazz beginnings, and heartfelt, emotive lyricism. His latest and fourth album, Break Me Open, is best described in his own words:

      In Break Me Open, I confronted darkness, I wrote about fear, I looked at love from different angles, I left it all out on the field. These past couple years have been the hardest of my life: full of grief, loss, and change. I feel like I had two choices. I could run from life, turn away, grow cold, resort to drugs, run and keep running. Or, I could give myself a deep look within. I could dig deep where the pain lives, where fear is festering, to try shed a new skin and come back a better person.Everyone is so far from perfect.This is not a “divorce” album. And while going through that has shook me to my core, leaving me at times, wondering who I am, and where to go, this record is bigger. It’s about love - past, present, and future. It’s about fatherhood - the overwhelming feeling of deep love for my kids and the melancholy of watching them grow up right before my eyes. It’s about accepting my faults and wrongdoings, exposing myself, and trying to know myself better than I did the day before. But above the darkness, it’s a message of hope, honesty, and growth. It’s a call to be vulnerable: Break Me Open.

      STAFF COMMENTS

      Barry says: 'Break Me Open' is rich with Carey's faultless mastery of melody and tender instrumentation, it is both melancholic and hopeful in equal measure. With perfectly pitched vocals reminiscent of Bon Iver and grand instrumentation that wouldn't sound out of place on Sigur Ros' Takk, What's not to love?

      TRACK LISTING

      SIDE A:
      1. Dark
      2. Starless
      3. Sunshower
      4. Island
      5. Waking Up

      SIDE B:
      6. Desolate
      7. Paralyzed
      8. Where I Was
      9. Break Me Open
      10. Crestfallen

      At its heart, Hundred Acres -- the third full-length album from Wisconsin singer/songwriter S. Carey -- finds him grounded comfortably in his skin, but still with one foot in the stream. More direct than ever, there is a wellspring of confidence in this new batch of songs that lays bare the intricacies of life while keeping its ideas uncomplicated.

      Trained in jazz, Carey’s astute musicianship has never been in question nor taken for granted, and the execution of Hundred Acres’ new ideas is seamless. He intentionally unburdened himself from a more complicated instrumentation palate for these ten songs, and, in effect, this modification to his approach brings the content of the work much closer to a living reality. By giving equal status to the indifference of nature and the concerns of a material world -- while employing more pop-oriented structures instead of the Steve Reich- or Talk Talk-ian repetitions of his past work -- a new balance is struck that creates something unique. This in turn provides equal status for the feeling that created each song, and the feeling each song creates. Almost impossibly, there is more air between the bars; Carey and his contributors sway like treetops in the wind, remaining flexible enough that they never threaten to break.

      TRACK LISTING

      1. Rose Petals
      2. Hideout
      3. Yellowstone
      4. True North
      5. Emery
      6. Hundred Acres
      7. More I See
      8. Fool’s Gold
      9. Have You Stopped To Notice
      10. Meadow Song

      S. Carey

      Supermoon

        Recorded primarily during the perigee-syzygy (also known as the super moon) of August 2014, the ‘Supermoon’ EP from S. Carey is a study in scale, space, and proximity. These songs are a new and closer look into existing works from both S. Carey’s renowned fulllengths - 2010’s ‘All We Grow’ and 2014’s ‘Range Of Light’.

        With ‘Supermoon’, Carey has broken these songs down to their essential, acoustic parts with his forever humming vocals laid over top, lilting yet percussive piano and a subtle swath of harmonic strings. You can hear Carey's breath between words and the pat of his fingers on the keys; you can hear the living room in which his family’s baby grand piano sits. These songs are beautiful, intimate and so potently personal. This collection is a stark presentation of S. Carey laid bare, an open invitation for the listener to climb into his world.

        One particularly poignant piece is the re-imagined ‘Range Of Light’ closer, ‘Neverending Fountain’, perhaps an apt metaphor for the life of the songs themselves. Says Carey, “The longer you spend with a song, the more you can see it in its pure form.”

        ‘Supermoon’ also features a heartrending cover of ‘Bullet Proof.. I Wish I Was’ from Radiohead’s classic album ‘The Bends’ and a new song, the EP’s namesake, ‘Supermoon’, which takes its inspiration, like much of Carey’s work, from the natural world around him.

        Another source of inspiration quoted by Carey is the excitement of working out arrangements for pre-existing songs on the spot, for various sessions on tour. He brought that spirit to the recording of ‘Supermoon’, which took place over the course of a single weekend.

        Already known as an artist of impeccable craft, S. Carey worked with longtime friends and collaborators (Mike Noyce played viola, Zach Hanson engineered, mixed and mastered) to add a chapter to the still unfolding story of Sean Carey as an artist. We can hear the songwriting, singing and performance for what it truly is; understated, true and pure beauty.

        S. Carey is the project of Sean Carey of Bon Iver.

        ‘Supermoon’ is available exclusively to independent retailers and is limited to 200 copies for the UK and Eire.

        Sean Carey is the drummer of Bon Iver and an acclaimed solo musician in his own right. ‘Range Of Light’ is the follow up to his well received ‘All We Grow’. Like its predecessor, ‘Range Of Light’ deals in hugely beatific, restorative panoramas of beauty. An array of musical light and shade, drawn from Carey’s love of jazz, modern classical and Americana.

        TRACK LISTING

        Glass/Film
        Creaking
        Crown The Pines
        Fire-Scene
        Radiant
        Alpenglow
        Fleeting Light
        The Dome
        Neverending Fountain

        "This 6 song symphony of sound juxtaposed with chaos and long stills of almost nothing starts the only way I’d expect it to. The first track “Ballast” comes in with murderous hits, cracks, and drills. It’s hard to put into words exactly what you are listening to. And, that’s what I love about Mr. Cary’s tracks. But, somehow Jeff has forged a signature sound. I have been listening to noise for awhile now. I haven’t hear anything quite like it.

        [3:30] as a full body of work is not just a digitally distorted camero with the gas pedal to the floor going through a time warp. It is dynamic and almost peaceful at times. With tracks like “Phosphor” and “Node” where you find yourself lost in an ambient sound scape of breathed gesters and things off in the distance. I admire Jeff’s way of knowing when to hold back or be minimal in his approach while yet still having some sort of rage you can’t quite pinpoint but you know it’s there and you can feel it and it’s about to burst and you like it.

        I have seen Jeff live countless times. I got a chance to see him at one of his most recent performances at Club K where he performed a few of these new tracks live. Being a drummer for over 15 years I tend to latch onto the rhythm of any song I hear. Even in noise I somehow subconsciously makeup a beat I bop my head up and down to. I noticed that I didn’t have to magically make an esoteric drum section for Jeff’s performance. It was already there. Tracks like “1001″ make you feel as a drummer or drum machine is being forced through a grinder with a distortion pedal in the chain.

        It’s a very purifying experience listening to Jeff Carey‘s works on [3:30]. It’s not for everyone.. But, it sure is hell for noise enthusiasts like me. But, hey.. If you’ve never listened to a “noise” artist before or haven’t gotten down with that scene. Try it out. You might just like this one." - Gutter Magazine.

        S. Carey

        Hoyas

          ‘Hoyas’ by S. Carey is a hospitable statement about love, longing and the celebration of knowing it well.

          You will find the familiar S. Carey modern classical repetition pushed into the vernacular of electronic music and beat making. This is the warmest electronic music you'll ever know. The beats swing, stutter and pulse while each instrument retains a heightened awareness of its form and function within the larger family of voices.

          Each of Hoyas’ songs has its own personality, each part inseparable from the body, and while the results might be surprising to some, they shouldn't be.

          S. Carey has historically illustrated a very rare breadth as an artist, not only as a member of Bon Iver, but on recordings of his own, whether from his debut full-length, ‘All We Grow’, performing cover songs, or in remix work.

          With Hoyas, Carey's uncontainable talent is hard at work exhibiting some of the deeper colour palettes that music can offer. But most impressively, Carey's talent can now be seen to be growing by leaps and bounds. His range as a singer is progressing into much bolder territories, as evidenced not only on Hoyas’ albums but on the Bon Iver at AIR Studios recordings, where just his voice, Justin Vernon's voice and two pianos mesh perfectly to create an unforgettable performance for the ages.

          S. Carey

          All We Grow

            The debut album from S. Carey, "All We Grow", is the result of a young lifetime spent immersed in music. As a band member of Bon Iver from the very beginning, Sean Carey witnessed a flip of his formal training to step firmly into a worldwide-touring rock band. His performance degree in classical percussion from the University of Wisconsin - Eau Claire and his love for jazz drumming prepared him for a central role in the inspiring force of the Bon Iver live show.

            "All We Grow" is a convergence of Carey's Waltz For Debby-era Bill Evans inflected jazz tendencies, and traditional rock band experience, taking leads from Mark Hollis' Talk Talk. It also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich. In his downtime on tour with Bon Iver, Sean would spend time pining for his soul-mate's arms, and in that context, dreaming and composing. During infrequent tour breaks at home he would patiently record these pieces, adding layers each time. Two years later, the parts converged to make an album.

            For as much room to breathe as Carey allows his compositions, there are incredibly dynamic moments of bombast held right next to moments of subtle depth and texture. Engineered by Jaime Hansen and Brian Joseph, intermittently at home and at April Base (Justin Vernon's studio outside Eau Claire), "All We Grow" is an all-encompassing headphone experience as intimate as chamber music and as ambitious as a symphony. A classic album born without expectation and met with adoration - a cathartic result of Carey's extraordinary and vibrant life experiences that resonates loss, dreams and heart in a manner so instantly relatable, you feel as though you can touch it.

            STAFF COMMENTS

            Darryl says: Being a band member of Bon Iver has clearly rubbed off on S. Carey. A subtly stunning and beautifully lush debut album, total ear candy for the headphone listener.


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