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┌────────┐ ██▀▀
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Bill Callahan
Title | Sometimes I Wish We Were An Eagle
Genre | Indie Format | Album
Source | CD Time | 48:10
Label | Drag City Store | 2009
Catalog | DC385CD Rip | 2019
Bitrate | 781 kbps Size | 286.09 MB
Freq | 44.1 kHz Encoder | FLAC 1.3.1
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Jim Cain 4:39
02. Eid Ma Clack Shaw 4:19
03. The Wind And The Dove 4:34
04. Rococo Zephyr 5:42
05. Too Many Birds 5:27
06. My Friend 5:12
07. All Thoughts Are Prey To Some Beast 5:52
08. Invocation Of Ratiocination 2:41
09. Faith / Void 9:44
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
After releasing a string of critically acclaimed albums as Smog,
singer/songwriter Bill Callahan began making music under his own name in
2007. The switch reflected how much richer and deeper his music had become
over the years, both literally and figuratively: His songwriting, which
used the imagery of the American West in thoughtful yet rugged ways that
spoke to the present as well as the past, had become increasingly
contemplative, while the drawl he used to deliver them had grown lower and
slower over the years.
When Callahan left behind his long held Smog moniker, he gave longtime fans
of his lo-fi, mopey, sometimes angry aesthetic some real cause for worry:
there was not only the name change, but the reliance on more technology
that began with the "Diamond Dancer" EP and the outright lush production
(compared to his past work) on "Woke On A Whaleheart". "Sometimes I Wish We
Were An Eagle" should give them some cause for relief, though the growth on
the previous two offerings cannot be erased.
There is no grand statement on Eagle; it's merely the record that comes
after "Woke On A Whaleheart", but it feels more like a Smog record though
it doesn't sound like one. This is the darkest, moodiest set he's issued
since "Supper" in 2003, but it's also easily his most accessible musically
and sonically. We don't hear much more than Callahan's idiosyncratic
misanthropy offering itself speaking and breathing room on most of these
tunes; his baritone is right up front and rarely gets stretched. His themes
seem to center on flight and return, and are no better illustrated than on
the opening cut, "Jim Cain," where, along a gently shuffling snare and kick
drum, his nylon-string acoustic and electric guitars, and a cheap but
effective keyboard, his ruminations are guided.
They caress that voice out of its hiding place: '...Well I used to be
darker/Then I got lighter, then I got dark again/Somethin' to be seen, was
passing over/And over me/Well it seemed like a routine case at first/With
the death of the shadow, came the lightness of births/In the darkest of
nights, the truth still dazzled/And I work myself, until I'm frazzled/I
ended up in search of ordinary things...'. It's a cause celebre for the
album.
So much here is written, scored for, and sung from, the place Callahan
knows all too well, the outsider with the richest of interior lives with
numerous motivations. Tracks like "My Friend" express, gently at first then
more aggressively, sentiments that may be wholesome in their intent, but in
their expression become more aggressive and even slightly sinister. While
Callahan's songs are characteristically simple: the way they are recorded
is relatively more complex. Things are not so shambolic; they are carefully
measured, tempered, and sequenced.
Songs such as "All Thoughts Are Prey to Some Beast," are based on two-chord
vamps, and Callahan's voice does nothing to disguise itself as his lines
are short, clipped, and shorn of unnecessary verbiage. But the sense of
dynamic tension that gathers as violins, lithe, airy electric guitars
playing single string leads, syncopated tom-toms, and synth lines that
mimic French horns, offer a wider dimensions. Ultimately, this sense of
circular motion, whether it's flight and return, the human breath, birth,
death, rebirth, loss, and love is the elemental construction of everyday
life, and hence a lyrical cornerstone on "Sometimes I Wish We Were An
Eagle".
It is perhaps a seminal new more accessible chapter in Callahan's oeuvre of
heretofore lo-fi, strictly outsider music.
┌────────┐
────┤░░░░░░░░├─────────────────────────────────────────────────────────────────
└────────┘