Sham Wedding / Hoax Funeral
Sham Wedding/Hoax Funeral is a split CD featuring Austin, Texas "brother bands" Okkervil River and Shearwater. It was first available only at North American tour dates in the spring and summer of 2004, but fans were able to purchase it online; the tracks include unreleased songs and old standards. Mark Pedini, former drummer of Okkervil River, provided the artwork for the album cover; the song "Murderess" was released in different form as "Piratess" on Okkervil River's 2011 album I Am Very Far. Sham Wedding by Okkervil River "See See Rider" – 4:56 "Murderess" – 5:02 "Moonshiner" – 1:59 "Willow Tree" – 3:53 "Unravel" – 4:42Hoax Funeral by Shearwater "All the Pretty Horses" – 4:26 "Happy Song for My Friends" – 2:47 "Cool My Blood" – 4:46 "Mountain Laurel" – 2:22 "Trouble in Mind" – 3:47 "Never Come Again" – 3:44 Album Summary from Okkervil River
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
The Stage Names
The Stage Names is the fourth full-length studio album by American indie rock band Okkervil River, released on August 7, 2007. The album was recorded in Austin, with longtime Okkervil producer Brian Beattie, with mixing from Spoon drummer and producer Jim Eno. Like other Okkervil River albums, the accompanying artwork is the work of artist William Schaff; the cover refers to a line from "Unless It's Kicks". The record was released as a limited-edition 2-CD set that included a second disc of solo acoustic demos. A newly recorded version of "Love to a Monster", which appeared in rough demo form on the band's tour EP, Overboard and Down, was intended to appear on the album, but didn't make it on, appears as a bonus track when the album is purchased through eMusic. "Shannon Wilsey on the Starry Stairs", described by lead singer and songwriter Will Sheff as "kind of a sequel to'Savannah Smiles' and kind of a sister song to "John Allyn Smith Sails'", is included as a bonus track when the album is purchased through iTunes.
The Stage Names was conceived as a double album. Sheff said about the inspiration for the album, An official music video was created for "Our Life Is Not a Movie or Maybe" directed by Margaret Brown."A Hand to Take Hold of the Scene" describes the television shows in which Okkervil River's music has been featured. These include a 2006 episode of Cold Case and an episode of Breaking Bonaduce."Savannah Smiles" is a song that deals with the life and death of Shannon Wilsey, a pornographic actress known by her stage name, taken from the 1982 film, Savannah Smiles. The bonus track, " Starry Stairs," is intended to be a sequel to "Savannah Smiles.""Plus Ones" references several other songs with numerical titles by adding 1 to them. These include? and the Mysterians' "96 Tears," Nena's" 99 Luftballons," Paul Simon's "50 Ways to Leave Your Lover," The Byrds' "Eight Miles High," R. E. M.'s "Seven Chinese Brothers," David Bowie's "TVC15," The Zombies' "Care of Cell 44," Commodore's "Three Times a Lady," and The Crests' "Sixteen Candles."
The term is used in reference to guest-lists at rock concerts. "You Can't Hold the Hand of a Rock and Roll Man" makes a passing reference to The Bride Stripped Bare By Her Bachelors, Even by Marcel Duchamp. The title itself is taken from a line in the Joni Mitchell song, "Blonde in the Bleachers." The song name "Title Track" is an self-reflexive gesture. The song references Kenneth Anger's book Hollywood Babylon. "John Allyn Smith Sails" concerns the suicide of confessional poet John Berryman. The song ends by reworking the traditional folk song "Sloop John B", likening death to a journey back home. In addition to these specific allusions, several songs on the album have subjects like television and the experience of being in a rock band. Will Sheff has stated that he intended the album to be a double album and that he wrote twice as many songs for it than were used, many of which were completed or nearly completed, he had stated that the band intended to release an EP of the unused material similar to Black Sheep Boy's companion EP Black Sheep Boy Appendix.
Reviews have been positive with Pitchfork labeling The Stage Names "Okkervil River's most devastating record yet, without doubt one of the year's best" and placing it at #22 in their list of the best albums of 2007. The Stage Names has a Metacritic rating of 82; the album debuted at number 62 on the Billboard 200 with 10,000 copies sold. Harp Magazine listed the CD as the best of 2007 and the UK's now-defunct Teletext music magazine Planet Sound listed the album at #6 in their best albums of 2007. "Our Life is not a Movie or Maybe" was #81 on Rolling Stone's list of the 100 Best Songs of 2007. All tracks written by Will Sheff. " Starry Stairs" – 3:54Bonus track available on iTunes"Love to a Monster" – 4:54Bonus track available on eMusic Will Sheff - Vocals, Acoustic Guitar, Electric Guitar, Piano Scott Brackett - Coronet, Hammond Organ, Mellotron, Percussion Brian Cassidy - Vocals, Electric Guitar, Pedal Steel, Xylophone Jonathan Meiburg - Vocals, Wurloutzer, Pump Organ, Electric Guitar Travis Nelsen - Drums, Tambourine, Shells Patrick Pestorius - Bass, Woodblocks Zachary Thomas - Mandolin Caitlin Bailey - Cello Scott Jackson - Violin Katie Nott - Viola Kathleen Pittman - Violin Sarah Pizzicheni - Violin Frances Smith - French Horn, Clarinet Will Thothong - Viola Tammy Vo - Violin Official site with lyrics
Jonathan Meiburg is an American musician and writer, best known as the lead singer and songwriter for Shearwater. Meiburg was born in Baltimore, Maryland on March 1, 1976, he grew up in spending years in Raleigh, North Carolina. Meiburg earned his bachelor's degree in English with a minor in Religion from the University of the South in Sewanee and received a Thomas J. Watson Fellowship to study daily life in remote human communities. After a year spent in such diverse places as the Falkland Islands, Tierra del Fuego, the Aboriginal settlement of Kowanyama in Australia, the Chatham Islands of New Zealand, the Inuit settlement of Kimmirut in Baffin Island, Canada, he enrolled at the University of Texas at Austin, where he earned a master's degree in geography with a thesis titled "The Biogeography of Striated Caracaras", he is an avid birder, the Shearwater name and various song and album titles reference birds. Meiburg first started his public musical career with Whu Gnu in 1993 in Texas, he first came to national prominence collaborating with Will Sheff on multiple projects: Meiburg played keyboards in a band led by Sheff called Okkervil River, both men wrote songs for a new project Meiburg named Shearwater.
Due to the increased popularity of Shearwater and touring conflicts between the two acts, Meiburg left Okkervil River in May 2008. Meiburg has recorded as a solo artist. Buteo Buteo is a collection of early acoustic guitar and bass songs, self-published through Shearwater's Bandcamp site. Why I Love My Home was a collaboration with Andy Stack of Wye Oak for the Whitney Museum of Art, but was recorded solo in the studio and self-released in 2011. In 2010, he collaborated with Jamie Stewart of Xiu Xiu on a recording project named Blue Water White Death, their debut album was released in October 2010 on Graveface Records. Since 2017, Meiburg has been collaborating with Cross Record's Emily Cross and Dan Duszynski as the group Loma, their self-titled debut album came out in February 2018 on the Sub Pop label, home to Shearwater. He has played live and recorded with Bill Callahan, Sharon Van Etten, Wye Oak, others. In November 2014, Meiburg announced via the Shearwater Facebook page that he had signed a contract to write his first book, which describes the evolutionary history of South America through the eyes of a family of falcons known as caracaras, for US publisher Knopf and UK publisher Bodley Head.
He has published articles in various national and international publications on a wide range of topics: interviews with producer and musician Brian Reitzell for Tape Op, with author and human rights activist Zainab Salbi in The Believer. His interview with author Peter Matthiessen for The Believer, was one of the last before Matthiessen's death in 2014. 2004: Buteo Buteo by Jonathan Meiburg 2010: Blue Water White Death by Blue Water White Death 2011: Why I Love My Home by Jonathan Meiburg ShearwaterMusic.com Okkervil River Blue Water White Death
Shearwater is an American indie rock band from Austin, led by multi-instrumentalist and lead singer Jonathan Meiburg, a singer-songwriter. The band's music is notable for its imagery based in nature, cerebral yet intimate melodic songs, as well as Meiburg's vocals. In 1999, Okkervil River band members Jonathan Meiburg and Will Sheff founded Shearwater as an outlet for quieter songs on which they were collaborating; the band's name comes from a tribe of seabirds related to petrels and albatrosses. Meiburg, who holds a master's degree in geography with a focus on ornithology, picked the name for the sound of the word. Shearwater's debut, The Dissolving Room, introduced Kim Burke on upright bass; the addition of multi-instrumentalist Howard Draper plus tours and support dates with The Mountain Goats, Akron/Family and Blonde Redhead brought them exposure. Shearwater continued to produce music under this lineup in Everybody Makes Mistakes and Winged Life, as well as the Thieves EP. In May 2006, Shearwater released Palo Santo, their fourth full-length album and last to be released on Misra Records, to much acclaim from critics and fans.
The song "Red Sea, Black Sea," was featured as an NPR Song of the Day. NPR's Stephen Thompson subsequently named Palo Santo as the best album of 2006. Although Sheff appeared as an instrumentalist for the recording of Palo Santo, the album's songs were composed and sung by Meiburg, as the band felt that the songs that Meiburg had written were best suited for the project. Sheff left the band to concentrate on other projects. Midway through the tour for Palo Santo, the band was notified by Misra Records that they would be unable to continue to distribute Shearwater's music. Meiburg emailed the owner of Matador Records, Gerard Cosloy, who subsequently signed Shearwater to a multi-album deal. On April 10, 2007, Shearwater released a two-disc edition of Palo Santo which featured five re-recorded tracks, remastered versions of the other six tracks, as well as a bonus disc of outtakes from the original sessions. Meiburg had felt that the original Palo Santo suffered from "murkiness", could be improved upon in the studio.
Matador Records released the album Rook on June 3, 2008. On the tour that followed, Shearwater opened for Clinic and Coldplay. Additional touring accompanists were added at that time: Jordan Geiger of Hospital Ships and Minus Story and Kevin Schneider of Black Before Red replaced Howard Draper. On February 23, 2010, Shearwater released their sixth album, The Golden Archipelago, which the band produced with John Congleton; the band toured extensively behind the record in 2010, with an international tours in the spring and additional U. S. dates in the fall. The Golden Archipelago concluded the band's Island Arc trilogy, a project encompassing Palo Santo and Rook. On November 6, 2010, the band released an instrumental album, Shearwater is Enron, via Bandcamp; the album was recorded in the spring of 2010 and includes live material recorded at a performance under the pseudonym "Enron." It introduces some textures not traditionally associated with the band, such as electronic drum tracks and squalling guitar rock.
Members of Wye Oak and Hospital Ships assist on the live tracks. In February 2012, a new full-length album called, it was Shearwater's first record with Sub Pop Records. The record signaled a new chapter for the band after the conclusion of the Island trilogy, as the album included more rock elements. Following the release of the album, the band opened for the North American tour of Sharon Van Etten. In 2013, Fellow Travelers was released on Sub Pop, a Shearwater album consisting of cover songs by bands that Shearwater had toured with; each band, covered on the album was invited to play on the album, under the condition that they could not play on their own song. The band's last record Jet Plane and Oxbow was released on Sub Pop January 22, 2016. Frequent collaborator, producer Danny Reisch, worked on the album, as did composer Brian Reitzell, Wye Oak's Jenn Wasner, drummer Cully Symington, Howard Draper, regular band members Jesca Hoop, Lucas Oswald, Abram Shook. 2001: The Dissolving Room 2002: Everybody Makes Mistakes 2004: Winged Life 2006: Palo Santo 2007: Palo Santo: Expanded Edition 2008: Rook 2010: The Golden Archipelago 2010: Shearwater Is Enron 2011: Excerpts from The Island Arc Live 2012: Animal Joy 2013: Fellow Travelers 2014: Missing Islands: Demos and Outtakes 2007–2012 2016: Jet Plane and Oxbow 2016: Shearwater Plays Lodger 2016: Rook: Live at Florence Gould Hall 2016: Live in St. Malo 2010 2017: Sky Is a Blank Screen: Live Recordings 2016 2004: Sham Wedding/Hoax Funeral by Shearwater/Okkervil River 2013: Stop Draggin' My Heart Around/A Wake for the Minotaur by Shearwater & Sharon Van Etten 2014: Stay/Novacane by Low/Shearwater 2005: Thieves 2008: The Snow Leopard EP Official website
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro