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Heard Somebody Say - EP
Released: Dec 20, 2005
Label: N\A

{&"Heard Somebody Say"} is a track from {$Devendra Banhart}'s fine {^Cripple Crow} full-length issued on {@XL}. The other two cuts here are clawhammer banjo tunes. There's the very short -- and... Continue[+]

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I Feel Just Like a Child
Released: Sep 27, 2005
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Cripple Crow
Released: Sep 13, 2005
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{^Cripple Crow} marks a departure for {$Devendra Banhart}. It's obvious from the faux {^Sgt. Pepper}-meets-{$Incredible String Band} freak scene cover photo that something is afoot. The disc... Continue[+]

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{^Cripple Crow} marks a departure for {$Devendra Banhart}. It's obvious from the faux {^Sgt. Pepper}-meets-{$Incredible String Band} freak scene cover photo that <i>something</i> is afoot. The disc is {$Banhart}'s first foray from {$Michael Gira}'s {@Young God} label, and it's more adventurous than anything he's done before. This is not to imply that the set is a slick, over-produced affair, but it is a significant change. The instrumental, stylistic, and textural range on this 23-song set is considerably wider than it's been in the past. Working with {$Noah Georgeson} and {$Thom Monahan}, a backing band of friends known as "{$the Hairy Fairies}", {$Banhart}'s crafted something expansive, colorful, and perhaps even accessible to a wider array of listeners. There are layered vocals and choruses of backing singers, as well as piano and flutes on the gorgeous {&"I Heard Somebody Say,"} while the electric guitar and drums fuelling {&"Long Haired Child,"} with its reverb-drenched backing vocals, is primitive, percussive, and dark. There is also the 21st century {\psychedelic} {\jug band} stomp of the second single, {&"I Feel Just Like a Child,"} that crosses the {\nursery rhyme} melodics of {$Mississippi John Hurt} with the naughty boy swagger of {$Marc Bolan}. There are also five songs in Spanish, {$Banhart}'s native tongue, in a style that's a cross between {\flamenco} and {\son}. The title cut, {&"Cripple Crow,"} is one of the most haunting anti-war songs around. In it, {$Banhart} places a new generation in the firing line, and urges them to resist not with violence, but with pacifistic refusal. A lone acoustic guitar, hand drums, a backing chorus, and a lilting, muted flute all sift in with one another to weave a song that feels more like a prayer. The lone cover here, of {$Simon Diaz}'s {&"Luna de Margaerita,"} drips with the rawest kind of emotion. Ultimately, {^Cripple Crow} is a roughly stitched tapestry; it is rich, varied, wild, irreverent, simple, and utterly joyous to listen to. ~ Thom Jurek, All Music Guide

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Devendra Banhart/Jana Hunter
Released: May 24, 2005
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Rejoicing in the Hands/Ni�o Rojo
Released: Feb 15, 2005
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Ni�o Rojo
Released: Sep 13, 2004
Label: N\A

As was promised upon the release of {^Rejoicing in the Hands} in the spring of 2004, {^Ni�o Rojo} is a companion piece. It was assembled from the same recording sessions at {$Lynn Bridges}' Atlanta... Continue[+]

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As was promised upon the release of {^Rejoicing in the Hands} in the spring of 2004, {^Ni�o Rojo} is a companion piece. It was assembled from the same recording sessions at {$Lynn Bridges}' Atlanta home that produced 57 tracks. Thirty-two were chosen for the two albums. Some were overdubbed minimally in New York by {@Young God} label boss {$Michael Gira} and {$Devendra Banhart} adding a nip of keyboard or harmonica here, and tucked in horn, backing vocal, or electric guitar there. What these songs showcase is that {$Banhart} is a songwriter of guileless vision. His unaffected aesthetic is etched in the ether of mysterious {\traditional} and {\psychedelic} {\folk} musics from the British Isle and in an America that disappeared the first time in the '30s with the Dust Bowl and for the second time in the grimness of mid-'70s determinism in the shadows of post-Vietnam shame and malaise. {$Banhart}'s songs don't hearken back so much as remind us of what we no longer possess as a culture. His songs are spiritual, terminally unhip, with labyrinthine grown-up melodies and the keen unsullied wisdom of children. These 16 songs include the mysterious minor key cipher that is {&"A Ribbon,"} with its eerie guitars, a beautifully etched chorus, and an all but hidden keyboard underscoring the quietly insistent vocal. His cover of {$Ella Jenkins}' {&"Little Sparrow,"} opens the album; accompanied only by his acoustic guitar, {$Banhart} transfers the song from the universe of its origin as childhood {\ballad} to a bluesy exhortation to spiritual awakening. A slow, easy major chord stroll, {&"We All Know,"} with its delightfully ridiculous lyric ("...we belong to the floating hand that was made by animals/we dance so, we let go/we'll remove clothes and we'll trade lobes...."). Seamlessly it shifts and walks the edge of a {\vaudeville} rag that comes complete with accompanying trombones in the chorus at the end. And speaking of rags, there's the nocturnal spiritual guitar {\blues} of {&"My Ships"} that recalls the {$Rev. Gary Davis} illustrating the point that {$Banhart} confines himself to no one terrain, no single point of origin or destination. For {$Banhart}, writing a song is one discovery -- give a listen to {&"At the Hop"} written with {$Andy Cabic} with its bright, canny, gorgeously impure love {\poetry} -- and recording is another. Combining them is yet a third for both performer and listener. Like its companion recording, {^Ni�o Rojo} is about the shared delight of new encounters with music and language and is an adventure in the hearing. ~ Thom Jurek, All Music Guide

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Rejoicing in the Hands
Released: Apr 26, 2004
Label: N\A

When {$Michael Gira}'s {@Young God} label issued {$Devendra Banhart}'s glorious home-recorded debut, {^Oh Me Oh My}, on an unsuspecting world, its gorgeous yet sparse primitivism, complete outsider... Continue[+]

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When {$Michael Gira}'s {@Young God} label issued {$Devendra Banhart}'s glorious home-recorded debut, {^Oh Me Oh My}, on an unsuspecting world, its gorgeous yet sparse primitivism, complete outsider lyric sensibilities, and infectious melodies grabbed hold of listeners all over the world. It offered them a bona fide fissure between popular and underground American culture. {$Banhart}'s aesthetic is no pose; his iconoclastic songwriting could not be farther away from officially sanctioned "alternative" music. However, given the unanticipated coverage and success of the album (by modest {\indie} standards, folks, not those dictated by the biz), a quandary was presented in how to follow it up. Should his new songs -- and there were many -- be recorded in exactly the same way to preserve the notion of "authenticity?" Or should he not be penalized by having to adhere to the same economic realities, and be nurtured as the developing artist he is? Wisely, {$Gira} and {$Banhart} saw through the smokescreen what a word like "authentic" implies. {$Banhart}'s songs are the authentic outsider article even if he were to record them in {$Barry White}'s studio, so why punish for the sake of a media construct? {$Gira} and {$Banhart} chose a simple but very effective recording studio in engineer {$Lynn Bridges}' house on the Georgia/Alabama border as their location, getting down 57 songs(!) and choosing 32 for two different albums from the treasure trove. {^Rejoicing in the Hands} is the first of these albums -- another will be issued in the fall of 2004. Simply stated, it is a stunner, form start to finish. {$Banhart}'s Muse may be furiously active, but she is tender all the same. The sonic ambience on this disc is breathtaking. {$Gira} and {$Banhart} brought the master tapes back to Brooklyn for some minimal and tasteful overdubbing -- a guitar track here, a cello or trumpet there, a piano ghosting through the mix in another place, some spare drumming, hand percussion or vibes somewhere else. Over it all, though, is {$Banhart}'s reedy tenor and edgy, angular guitar playing with its hypnotic insistence carrying the tunes from deep in the interior of his image and sound world to the fore, where listeners can encounter and engage with them. Elements of {\blues}, {\ragtime}, Appalachian rural styles, {\country} music, European and {\Celtic folk} songs: all weave in and out of one another in a seamless yet crackling whole, each of them serving their role in articulating {$Banhart}'s sublimely prismatic, loopy vision. Singling out tracks or quoting from his words would amount to nothing more than sacrilege. This music is simply rendered, to be sure, but unspeakably profound and mercurial; it's funny, warm, heartbreaking, and evocative of another place and time. There are glimpses here of {$Greil Marcus}' "old weird America," the all-but-visible inner terrain that informed certain spiritual, social, and aesthetic elements in our culture. {$Banhart}'s music is utterly unselfconscious and poetic. {^Rejoicing in the Hands} is a whole -- each song an inseparable part of an offering for listeners to be, quite literally, enchanted and even awed by. ~ Thom Jurek, All Music Guide

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The Black Babies
Released: May 27, 2003
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Oh Me Oh My...
Released: Oct 28, 2002
Label: N\A

The first thing that strikes you about {$Devendra Banhart} is his utterly unique and soft voice, which seems a mix of {$Nick Drake} and {$Marc Bolan}. {&"Roots (If the Sky Were a Stone)"} is a... Continue[+]

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The first thing that strikes you about {$Devendra Banhart} is his utterly unique and soft voice, which seems a mix of {$Nick Drake} and {$Marc Bolan}. {&"Roots (If the Sky Were a Stone)"} is a perfect example of this, as {$Banhart} uses his vocals and an acoustic guitar to get his brief yet often memorable points across. Originally recorded on shoddy and broken four-track recorders, the songs have a definitive roughness and audible hiss on nearly all of them, giving them a certain authenticity rarely found. Cars can be heard driving past in {&"The Charles C. Leary,"} but that performance is only one of the many highlights here. A number of the tracks are less than or just over one minute in length, often stream-of-conscious {\poetry} put to music. The fragility heard in {&"Nice People"} resembles {$Victoria Williams} but evolves into a {$Syd Barrett} song structure, speaking of "wide ass suits and lion tattoos." {$Barrett} can be discerned throughout the record, especially during {&"Gentle Soul."} {&"Cosmos and Demos"} lends itself more toward {$Pink Floyd} performing something from {^Echoes}, perhaps the acoustic-oriented {&"Fearless."} Lyrically the songs are quite odd and occasionally nonsensical, particularly {&"Michigan State."} Here {$Banhart} speaks of a friend who has his favorite teeth and ears. Perhaps comparisons could be drawn to {$Hawksley Workman} and {$Hayden} to a lesser extent, but {$Banhart} makes both artists sound bland in comparison. {&"Lend Me Your Teeth"} is the most mainstream-structured arrangement, with {$Banhart} showing a bit more intensity. The standout track would have to be {&"Miss Cain,"} which has a pretty harmony vocal to it as {$Banhart} picks his guitar in a rather intricate fashion. {&"Soon Is Good"} is the most promising track, but the sound levels tend to fluctuate from verse to verse. An almost ethereal and angelic performance compensates for its shortcomings, though. A lot of the songs appear to be not fully realized, but perhaps that's the beauty of them. When tracks like {&"Pumpkin Seeds"} are entirely flushed out, it's pure magic as the acoustic {\folk} angle is played out to near perfection. {&"Legless Love"} has a handclap tempo to it that resembles a {\flamenco} style as {$Banhart} describes burying songs in snails. Throughout the record, {$Banhart} is never guilty of being artistic just for the sake of being artistic. Each track rings true and can't be deemed contrived. {&"Donal and Colter"} is the most up-tempo song, but even then it's still mid-tempo at best. ~ Jason MacNeil, All Music Guide

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Devendra Banhart

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