Following the many intensities of The Letting Go and its three singles and EP, Bonnie Prince Billy went to Philadelphia to cool
out with a record of covers versions. With a basic alignment of Bonny and Meg Baird on acoustics and vocals and Greg Weeks on electric guitar, aided and abetted by Maggie Wienk on cello at times, the colors begin shifting and flashing right away, with acoustics glinting and a bit of electric guitar tone, running clean to resonant to Leslie and back; a light touch on the faders bringing vocals and guitars to and fro in perfect time. Covering a handful of diverse songwriters (Newbury, Guðmundsdóttir, Anzalone, Ochs, Billy, Haggard, Caldwell and Kelly), Bonny makes each one of their songs his own simply, through the process of having taken it within and loving it - and then singing it out again, in good company.
Following the many intensities of The Letting Go and its three singles and EP, Bonnie Prince Billy went to Philadelphia to cool
out with a record of covers versions. With a basic alignment of Bonny and Meg Baird on acoustics and vocals and Greg Weeks on electric guitar, aided and abetted by Maggie Wienk on cello at times, the colors begin shifting and flashing right away, with acoustics glinting and a bit of electric guitar tone, running clean to resonant to Leslie and back; a light touch on the faders bringing vocals and guitars to and fro in perfect time. Covering a handful of diverse songwriters (Newbury, Guðmundsdóttir, Anzalone, Ochs, Billy, Haggard, Caldwell and Kelly), Bonny makes each one of their songs his own simply, through the process of having taken it within and loving it - and then singing it out again, in good company.
Bristling with guitar strings and laced with harmonies, Lie Down In The Light is the brightest album to date from the Bonnie Prince. Brisk tempos skip among his signature slower numbers and ballads. Bonny’s vocals are among his most expressive: carefully nuanced, singing all up and down his range, showing him at a judiciously dynamic and tuneful apex. Coloring the
sound is a subtle backdrop of percussive slaps and shakes, touches of keys and steel, delicate harmony-vocal arrangements
and other sweet surprises that might send some sad-sack fans back to their auto-erotic dungeons, fresh toys in hand. The gamesome nature of the sound is not at all at odds with his lyrical cornerstones of contemplation and scrutiny; instead the fusion invites listeners to consider the life plight in a lithe and forgiving manner that may not occur to our younger, former (future)
selves. The light that shines from this revelation is one we’ll gladly lie down in and serve evermore.
Bristling with guitar strings and laced with harmonies, Lie Down In The Light is the brightest album to date from the Bonnie Prince. Brisk tempos skip among his signature slower numbers and ballads. Bonny’s vocals are among his most expressive: carefully nuanced, singing all up and down his range, showing him at a judiciously dynamic and tuneful apex. Coloring the
sound is a subtle backdrop of percussive slaps and shakes, touches of keys and steel, delicate harmony-vocal arrangements
and other sweet surprises that might send some sad-sack fans back to their auto-erotic dungeons, fresh toys in hand. The gamesome nature of the sound is not at all at odds with his lyrical cornerstones of contemplation and scrutiny; instead the fusion invites listeners to consider the life plight in a lithe and forgiving manner that may not occur to our younger, former (future)
selves. The light that shines from this revelation is one we’ll gladly lie down in and serve evermore.
March 17 street date. Though "Beware" shares spit with its immediate predecessor, "Lie Down In The Light", its reach is
longer, its arches more grandiose. Where fiddle and steel contribute their rustic timbre alongside guitars and voices, a thickeningthud of low tone rolls beneath. This indensifies the air and heralds "Beware" as Bonny’s most ambidextrous record to date. A listen or two through and you too may conclude that this could also be the great Bonnie ‘Prince’ Billy contempo-country record - though, as always, the ‘Prince’ goes his own special way. "Beware" is a much more measured exploration of the soul’s frailty and the sorry state of human relationships than your typical, everyday, bleaked-out, all-and-nothing roots rock platter.
March 17 street date. Though "Beware" shares spit with its immediate predecessor, "Lie Down In The Light", its reach is
longer, its arches more grandiose. Where fiddle and steel contribute their rustic timbre alongside guitars and voices, a thickeningthud of low tone rolls beneath. This indensifies the air and heralds "Beware" as Bonny’s most ambidextrous record to date. A listen or two through and you too may conclude that this could also be the great Bonnie ‘Prince’ Billy contempo-country record - though, as always, the ‘Prince’ goes his own special way. "Beware" is a much more measured exploration of the soul’s frailty and the sorry state of human relationships than your typical, everyday, bleaked-out, all-and-nothing roots rock platter.
March 17 street date. Though "Beware" shares spit with its immediate predecessor, "Lie Down In The Light", its reach is
longer, its arches more grandiose. Where fiddle and steel contribute their rustic timbre alongside guitars and voices, a thickeningthud of low tone rolls beneath. This indensifies the air and heralds "Beware" as Bonny’s most ambidextrous record to date. A listen or two through and you too may conclude that this could also be the great Bonnie ‘Prince’ Billy contempo-country record - though, as always, the ‘Prince’ goes his own special way. "Beware" is a much more measured exploration of the soul’s frailty and the sorry state of human relationships than your typical, everyday, bleaked-out, all-and-nothing roots rock platter.
Oct. 20 street date. 'Stay' is one of four songs covered by Bonnie ‘Prince’ Billy and the Beware band (Josh Abrams, Emmett Kelly, Jennifer Hutt and Michael Zerang) during the Beware recording sessions. The B-side is live. 'People Living,' was recorded in December 2008, bathing in a deep and natural reverb at a church outside of old Milano. Bonny had been invited to participate in a sacred music festival, and this recording is from one of those sets. The band is a trio here: Bonny, Emmett Kelly and Louisville-based fiddler Cheyenne Mize.
April 24 street date. Back in print on vinyl for the first time since around 2005! In this wake of Bonnie's soul-affirming (shattering?)
'Master And Everyone', the "Prince" took a year or so to gather himself before 'The Letting Go'. Stock was taken and a bunch of "greatest" Palace songs were re-recorded in best classic style, with a crew of Nashville studio wreckers smoothing down the edges. The result: another 15-song journey through the past, this time squeezing through the present as well. Four songs from the 'Lost Blues' lineup confirms them as all-time greats.
June 21 street date. "There Is No God" b/w "God Is Love" is another fund raising action in the tradition of February’s Bonny &
The Cairo Gang single. Attractive and deluxe in presentation, this record’s profits will be donated to Save Our Gulf and The Turtle Hospital, to support efforts to clean up and maintain waterways and the lives dependent upon them.
Oct. 4 street date. Wolfroy Goes to Town is the latest album from BONNIE PRINCE BILLY, recorded in Kentucky and mixed by Shahzad Ismaily, Emmett Kelly and Will Oldham. In addition to Bonnie Prince Billy, the players on this record are: Ben Boye (keyboards and extra singing), Van Campbell (drums and percussion), Shahzad Ismaily (percussion, guitar, extra singing), Emmett Kelly (guitars, mandolin, harmony singing), Danny Kiely (basses) and Angel Olson (singing). Prior to the recording, the ten songs on 'Wolfroy Goes To Town' were played by the whole band in performance at Chicago's Millennium Park in May of 2011. Some of the songs were played and sung by Bonny, Emmett Kelly and Angel Olson on the Free Florida tour that immediately followed. This is the first time any Bonny album has been previewed in public before it was made in the studio!
Oct. 4 street date. Wolfroy Goes to Town is the latest album from BONNIE PRINCE BILLY, recorded in Kentucky and mixed by Shahzad Ismaily, Emmett Kelly and Will Oldham. In addition to Bonnie Prince Billy, the players on this record are: Ben Boye (keyboards and extra singing), Van Campbell (drums and percussion), Shahzad Ismaily (percussion, guitar, extra singing), Emmett Kelly (guitars, mandolin, harmony singing), Danny Kiely (basses) and Angel Olson (singing). Prior to the recording, the ten songs on 'Wolfroy Goes To Town' were played by the whole band in performance at Chicago's Millennium Park in May of 2011. Some of the songs were played and sung by Bonny, Emmett Kelly and Angel Olson on the Free Florida tour that immediately followed. This is the first time any Bonny album has been previewed in public before it was made in the studio!
Feb. 28 street date. Rooted in the same dark earth as 'Wolfroy Goes To Town', the two songs that make up the 'The B-Sides For Time To Be Clear' 7" single reach higher peaks, as sides of singles always should. Starting with a familiar weary tone and limping gait-lessness, "Whipped" quickly ascends to heights of emoting vocals not encountered throughout the entire album that preceded it. The comfy bob-and-strut of 21st century honky-tonk gives "Out Of Mind" a sweet jukebox feeling, again creating a safe place for naked expression to occur in short order. Yes, the pleasures are fairly immense here, in the way that only two songs can provide.
September 23 street date. Bonnie Prince Billy has a new album coming out. "At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonny sings for who he was and will be, and for all of us, in time." If you enjoyed some of his other albums, you'll probably enjoy this one too. Ina recent interview, Billy claims it's "music you can spit in your hands to." He supposedly "accidentally swallowed a can of donkey water" and decided to make an album to stop the purple liquids that were leaking from a hole in his foot.
September 23 street date. Bonnie Prince Billy has a new album coming out. "At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonny sings for who he was and will be, and for all of us, in time." If you enjoyed some of his other albums, you'll probably enjoy this one too. Ina recent interview, Billy claims it's "music you can spit in your hands to." He supposedly "accidentally swallowed a can of donkey water" and decided to make an album to stop the purple liquids that were leaking from a hole in his foot.
September 23 street date. (Note: After much mystique, (and a demented promotional interview) Drag City finally gave us a proper description for the upcoming album!.. and it goes - a little something.. like....this.) Singer’s Grave a Sea of Tongues is the 11th new full-length album from the mind, soul and voice of the man that is Bonnie ‘Prince’ Billy. His first solo record on Drag City in nearly three years, it is a rich and roiling time of life that is captured in a myriad of moments throughout all the songs here. There are many roads into Singer’s Grave - and Bonny stands at the crossroads of them all. With every album that he makes, the ‘Prince’ greets an increasing number of visions at the old intersection: possible pasts and futures, each radiating like a mirage in the heat. Today, Bonny stands at the locus of five corners, each bordering roads that bring business both old and new to town, creating two trilogies that overlap and enmesh with their divergent intentions. Singer’s Grave a Sea of Tongues began when Bonny’s old production collaborator Mark Nevers got in touch with unfinished thoughts in his mind. The work that they’d begun with Master and Everyone and Lie Down in the Light was incomplete. A third chapter was needed, traveling further upon their previous path through acoustic sound and the hues of its dark and lightness. Bonny agreed in principle; a new chapter seemed right - but for him, the trilogy that Singer’s Grave a Sea of Tongues would complete wound back through the songs and singing of Master and Everyone and rooted in the murky depths of Palace Brothers’ Days In the Wake! New under the sun, a sea of tongues boils forth from Bonnie’s brow, the tide bolting up and sucking back again, leaving on the shore the spiny remnants of ancient creatures in its foam. From Bonnie’s fingers a young planet grows, with crevasses splitting and mountains spurting forth from the magma. At different altitudes, trees and desolation rise up to the sky. Everywhere, he sees darkness and light. And richness; deep, black richness. Throughout Singer’s Grave a Sea of Tongues, mythos is in the wind, trysting with truth and the joys of song, of singing and playing in open space; harmonies and acoustic instruments spread in bright stereo sound, accosting in the air between the speakers and going deep, without hesitation into our waiting and needing minds and souls. Bonnie ‘Prince’ Billy sings for who he was, is and will be, and for all of us in time. Singer’s Grave a Sea Of Tongues was recorded in Nashville by Mark Nevers and played by Bonny, with Emmett Kelley, Ben Martin and Paul Oldham. Additional instrumental contributions were made by Richard Bailey, Billy Contreras, Tony Crow, Jedd Hughes, Paul Niehaus and Chris Scruggs; additional voices provided by Caroline Peyton and by Alfreda McCrary-Lee, Regina McCrary and Ann McCrary, singing together.
January 22 street date. Rush Release!! There are no Peel sessions anymore — that tradition was buried in the pyramids with John Peel himself upon the great man’s passing. Of the thousands left in the wake, six are ascribed to Bonnie ‘Prince’ Billy — and of those six, three have been combined to form the deeply congruous experience of Pond Scum. A span of eight years is covered, in reverse, and many chestnuts are rolled out, freed of former contexts with sparse arrangements. Bonnie’s lone shadow casts over this lot, accompanied on the first four tracks by David Heumann, but otherwise playing solo through a set of original songs (and two covers) representing a decade of progress in the almost unbearably intimate-yet-unknowable manner that was so often the vibe of those strange and wondrous days.
January 22 street date. Rush Release!! There are no Peel sessions anymore — that tradition was buried in the pyramids with John Peel himself upon the great man’s passing. Of the thousands left in the wake, six are ascribed to Bonnie ‘Prince’ Billy — and of those six, three have been combined to form the deeply congruous experience of Pond Scum. A span of eight years is covered, in reverse, and many chestnuts are rolled out, freed of former contexts with sparse arrangements. Bonnie’s lone shadow casts over this lot, accompanied on the first four tracks by David Heumann, but otherwise playing solo through a set of original songs (and two covers) representing a decade of progress in the almost unbearably intimate-yet-unknowable manner that was so often the vibe of those strange and wondrous days.
May 5 street date. With Best Troubador, Bonnie ‘Prince Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle’s work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009. Merle’s body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however — and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize, and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney. The songs sung on Best Troubador are pulled from all over — from Haggard’s third album in 1967 though to his 47th in 2011 — but this is no simple hits compilation. Capable only of occupying a shared space between himself and Merle Haggard, Bonny chose personal favorites, singing the songs he wanted to sing, to find Merle and himself together in the music. Dedicated to new life and old, Best Troubador is wistful and bittersweet and no lament at all,v but a tribute instead, for the triumph of a life spent in unending pursuit of the goal: new and expressive music, as our inspirations and heroes once sang it.
May 5 street date. With Best Troubador, Bonnie ‘Prince Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle’s work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009. Merle’s body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however — and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize, and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney. The songs sung on Best Troubador are pulled from all over — from Haggard’s third album in 1967 though to his 47th in 2011 — but this is no simple hits compilation. Capable only of occupying a shared space between himself and Merle Haggard, Bonny chose personal favorites, singing the songs he wanted to sing, to find Merle and himself together in the music. Dedicated to new life and old, Best Troubador is wistful and bittersweet and no lament at all,v but a tribute instead, for the triumph of a life spent in unending pursuit of the goal: new and expressive music, as our inspirations and heroes once sang it.
May 5 street date. With Best Troubador, Bonnie ‘Prince Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle’s work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009. Merle’s body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however — and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize, and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney. The songs sung on Best Troubador are pulled from all over — from Haggard’s third album in 1967 though to his 47th in 2011 — but this is no simple hits compilation. Capable only of occupying a shared space between himself and Merle Haggard, Bonny chose personal favorites, singing the songs he wanted to sing, to find Merle and himself together in the music. Dedicated to new life and old, Best Troubador is wistful and bittersweet and no lament at all,v but a tribute instead, for the triumph of a life spent in unending pursuit of the goal: new and expressive music, as our inspirations and heroes once sang it.
June 23 street date. Two tracks culled from the Haggard-tribute Best Troubador sessions save a little for Tommy. Tommy Collins was the stage name for Leonard Sipes, whose presence on the Bakersfield scene and in the country charts during the 1950s was no doubt a major inspiration for Merle Haggard during his early years of apprenticeship. “Carolyn” tells the tale of Tommy’s rise and fall and rise again in deft images; a plain-spoke and loving tribute to a hero of Merle’s. Tommy contributed songs to Merle’s songbook often in the early days. The B-side of this single, “Carolyn”, went to #1 for three weeks in ’72, toward the end of Tommy’s period of getting songs on Merle’s records. Though his career had slowed considerably when Merle came out with his tribute to Tommy in ’82, two more Collins originals would see the country music Top 10 before he was through — and he lived to see his name go into the Nashville Songwriter’s Hall of Fame in ’99, the year before he passed away at the age of 70. On “Leonard,” Bonnie and the band (Van Campbell, Nuala Kennedy, Danny Kiley) are joined by Matt Sweeney who sings along and fingerpicks an acoustic in a fond tribute to Merle and Tommy and all the old boys. “Carolyn” is an outtake from the Ease Down the Road recording.
April 27 street date. Issued late last year but not available to distributors until now, "Wolf Of The Cosmos" covers SUSANNA's 2007 album "Sonata Mix Dwarf Cosmos" in its entirety. According to Mr. Oldham, "this has been a long-imagined project, an attempt to understand or, better yet, experience the mysteries of that record. the lyrics are repetitive, almost like nursery rhymes for undead teenagers. why is it so scary, why is it so sweet, why is it so comforting and disruptive at the same time".
April 27 street date. Issued late last year but not available to distributors until now, "Wolf Of The Cosmos" covers SUSANNA's 2007 album "Sonata Mix Dwarf Cosmos" in its entirety. According to Mr. Oldham, "this has been a long-imagined project, an attempt to understand or, better yet, experience the mysteries of that record. the lyrics are repetitive, almost like nursery rhymes for undead teenagers. why is it so scary, why is it so sweet, why is it so comforting and disruptive at the same time".
November 15 street date. The last time there was a new collection of original Bonnie Prince Billy songs was 2011's "Wolfroy Goes to Town". The released records in the intervening years have been of previously-recorded songs most often written by other people (the Everly Brothers, Susanna Wallumrod, Mekons, Merle Haggard; even Bonnie ‘Prince’ Billy) as well as a collaborative album with Bitchin' Bajas. "I Made A Place" is intensely inspired by the 50th state. In fact, for a while there the working title of the record was "49th State Of Mind", after the mid-20th century Hawaiian music record label optimistically and ultimately erroneously called 49th State Records. The songs likewise are influenced by certain Hawaiian musics, mainly the recordings of Johnny Lum Ho and Edith Kanaka’ole; also by the recordings of Jake Xerxes Fussell; by the songwriting of John Prine, Susanna Wallumrod and Tom T. Hall.
November 15 street date. The last time there was a new collection of original Bonnie Prince Billy songs was 2011's "Wolfroy Goes to Town". The released records in the intervening years have been of previously-recorded songs most often written by other people (the Everly Brothers, Susanna Wallumrod, Mekons, Merle Haggard; even Bonnie ‘Prince’ Billy) as well as a collaborative album with Bitchin' Bajas. "I Made A Place" is intensely inspired by the 50th state. In fact, for a while there the working title of the record was "49th State Of Mind", after the mid-20th century Hawaiian music record label optimistically and ultimately erroneously called 49th State Records. The songs likewise are influenced by certain Hawaiian musics, mainly the recordings of Johnny Lum Ho and Edith Kanaka’ole; also by the recordings of Jake Xerxes Fussell; by the songwriting of John Prine, Susanna Wallumrod and Tom T. Hall.
November 15 street date. The last time there was a new collection of original Bonnie Prince Billy songs was 2011's "Wolfroy Goes to Town". The released records in the intervening years have been of previously-recorded songs most often written by other people (the Everly Brothers, Susanna Wallumrod, Mekons, Merle Haggard; even Bonnie ‘Prince’ Billy) as well as a collaborative album with Bitchin' Bajas. "I Made A Place" is intensely inspired by the 50th state. In fact, for a while there the working title of the record was "49th State Of Mind", after the mid-20th century Hawaiian music record label optimistically and ultimately erroneously called 49th State Records. The songs likewise are influenced by certain Hawaiian musics, mainly the recordings of Johnny Lum Ho and Edith Kanaka’ole; also by the recordings of Jake Xerxes Fussell; by the songwriting of John Prine, Susanna Wallumrod and Tom T. Hall.
July 24 street date. There comes a time in a man’s life where he has to take stock, and it is good that if during the time of stock-taking, he can look back with friends (and his brokers) by his side. This isn’t just true of men, but princes as well. On 'Now Here’s My Plan,' Bonny circles back to six of his tunes, plucked from such notable years as 2009, 2005, 1996, 2001, 2003 and 1998. These new takes were played with Ben Boye, Van Campbell, Emmett Kelly, Danny Kiely, and Angel Olson, all of whom are Wolfroy Goes to Town players and veterans of Bonnie ‘Prince’ tours of recent vintage. What’s more, this EP was
recorded by Steve Albini, the engineer of record on the very first Bonnie ‘Prince’ Billy album back in 1996! The recording was made at Electrical Audio in Chicago. Tracklisting: I Don’t Belong to Anyone / Beast For Thee / No Gold Digger/ After I Made Love to You / Three Questions / I See a Darkness
July 24 street date. There comes a time in a man’s life where he has to take stock, and it is good that if during the time of stock-taking, he can look back with friends (and his brokers) by his side. This isn’t just true of men, but princes as well. On 'Now Here’s My Plan,' Bonny circles back to six of his tunes, plucked from such notable years as 2009, 2005, 1996, 2001, 2003 and 1998. These new takes were played with Ben Boye, Van Campbell, Emmett Kelly, Danny Kiely, and Angel Olson, all of whom are Wolfroy Goes to Town players and veterans of Bonnie ‘Prince’ tours of recent vintage. What’s more, this EP was recorded by Steve Albini, the engineer of record on the very first Bonnie ‘Prince’ Billy album back in 1996! The recording was made at Electrical Audio in Chicago. Tracklisting: I Don’t Belong to Anyone / Beast For Thee / No Gold Digger/ After I Made Love to You / Three Questions / I See a Darkness
August 11 street date. "Keeping Secrets Will Destroy You" presents simply - an album made as it was meant to be heard, in a room. The sound of people together - a sound we'd so recently feared that we'd lost - playing, communing, strings and wood and keys and voices singing. In the starkness of space, the complexities of life and time are unfurled, then refurled again. As strings ebb and flow with voices and their words, careful hands unwrap the gift of paradox in its many forms - and rewrap, for regifting. For giving to everyone. You might could call it a bastard child of "Master And Everyone" and "The Letting Go". But you can't say this ain't a record that sings and dances, repeatedly, through moments of joy and terror and together. "Keeping Secrets Will Destroy You" enables Bonnie to let it all out, to let go again, and suggest to us all that we get while the getting is good.
August 11 street date. "Keeping Secrets Will Destroy You" presents simply - an album made as it was meant to be heard, in a room. The sound of people together - a sound we'd so recently feared that we'd lost - playing, communing, strings and wood and keys and voices singing. In the starkness of space, the complexities of life and time are unfurled, then refurled again. As strings ebb and flow with voices and their words, careful hands unwrap the gift of paradox in its many forms - and rewrap, for regifting. For giving to everyone. You might could call it a bastard child of "Master And Everyone" and "The Letting Go". But you can't say this ain't a record that sings and dances, repeatedly, through moments of joy and terror and together. "Keeping Secrets Will Destroy You" enables Bonnie to let it all out, to let go again, and suggest to us all that we get while the getting is good.
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1999/01/19
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