a r t i s t : Dead Western
t i t l e : suckle at the supple teats of time
d a t e : 2010
l a b e l : Discorporate
c a t : n/a
s o u r c e : CDDA
g e n r e : Folk
r l s. d a t e : Mar/2010
t r a c k s : 10
b i t r a t e : VBRkbps
s i z e : 49,8 MB
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These lines shall speak about DEAD WESTERN, about music, and
this with the precious quill which shall not scratch the
deepness, nor betray too much, yet live up to the spoken-of.
Lets just say, you will read a caterpillar and you will hear
a butterfly eventually.
DEAD WESTERN is TROY MIGHTY, who demands to live. DEAD
WESTERN reaches out from the Psych-Folk happening of the US
Westcoast.
SUCKLE AT THE SUPPLE TEATS OF TIME reaches out with the
familiarity of the dark and saddened guitar-based Folk, it
surprises with the momentum of life, the comprehension of the
beauty in life, confusion and self - it reaches straight to
the heart.
Troy's voice is like sound from the earth, a whole warm
ground. The deepest and most dazing timbre you can imagine -
his unique voice is the instrument that makes DEAD WESTERN
even more special. He sings and shivers, soothes like a
lullaby.
The second full-length album of the wandering troubadour from
Sacramento SUCKLE AT THE SUPPLE TEATS OF TIME opens already
with enchanting sadness but the sorrowfulness of the
sensitive mind. A mind that wants to suck in the world but
struggles to find its place in it. Rising up on Not Really
Here At All, a song of love, a children choir declaring "We
will fill the air content in calm and grace, as we sing to
those who complicate: Please keep your weapons out of space!
Please throw your weapons in the garbage can!". Later on A
Father Ain't A Man, it cuts your heart right in two, baring
the struggle of paternity and a father disconnected from his
child. The frankness of these songs is loose and free,
expresses fear, joy and even directed critique. What makes
these songs so universal is the reappearing thought they are
holding, of other places, people and time. A longing for and
awareness of things far from sight.
The carrying instrument in DEAD WESTERN is the acoustic
guitar, one that is patient with the mind singing to it. The
gently picked guitar weaves a subtle net, in which playful
sounds like violin (played by Extra Lifes Caley
Monahon-Ward), bass (Jesse Phillips), percussion (Kevin
Corcoran), chord organ, kazoo and a singing saw appear here
and there and exist comfortably. These and other instruments
played by Troy build a family and its members tell each
song's story in their own way, their own sound.
DEAD WESTERN is a subtle child, but one with the backbone of
an old man. It is intuition, feel and nature that sings the
songs of Troy. Dark and creepy, but longing for a brighter
world, for love and space. Peace and understanding. Whats so
funny about?
SUCKLE AT THE SUPPLE TEATS OF TIME is the soundtrack to your
fever dreams. Songs that sound like they have been here for
hundred years, music you can hide within and brave the world
outside.
The ten songs on SUCKLE AT THE SUPPLE TEATS OF TIME are for
those who have an ear and a heart that swings with
dissonance. And you might need to climb in a wooden horse to
get to the heart of this DEAD WESTERN...
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01-So Many Signs [06:15]
02-Not Really Here At All [03:55]
03-The Farthest Sea [04:44]
04-A Father Ain't A Man [02:13]
05-The Old Men Go [03:35]
06-Courageous Eyes [02:42]
07-A Song To Calm The Minds [07:16]
08-The Killers [04:13]
09-The Mockery [04:10]
10-Where The Wind Will Blow [08:03]
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47:06 min
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