Edith Frost » rian murphy

Ambient country, or whatever you call it, is where it’s at

edith — Wed, 24 May 2006 04:00:00 +0000

I want to talk about a particular music-related collectomania of mine. Well actually it’s such a deep and narrow subgenre of music that it’s hard to even call myself a collector, seein’ as how I can pretty much count these albums on one hand! Okay. I don’t know of a good term for this music so I just refer to it as "ambient country". Which is a horrible term I admit, but it’s the best I could do. This music, it’s kinda like Brian Eno but with guitars. It has to be instrumental, and it must be sparsely arranged. It should evoke rattlesnakes and desert landscapes that drone on and on. It should incorporate touches of slide guitar, steel guitar or maybe both. So anyway here’s my very short list of albums I love that more or less fall into the category I’m describing. If you can think of other albums along the same lines, post a comment!

Ry Cooder Paris Texas soundtrack (the granddaddy of ‘em all!)
Loren Mazzacane-Connors In Pittsburgh (Rian Murphy turned me on to this back in ’96 when we were recording my first album)
A Small Good Thing Slim Westerns (which I discovered back in the glory days of Napster)
World Standard Country Gazette (same thing)
Bruce Kaphan Slider (which John W. turned me on to)
Bill Frisell Ghost Town (an Eric Z. turnon)

The interesting thing about this list (to me) is that every single one of those albums is being marketed towards a different audience; they’re all supposed to be different genres. Cooder’s a soundtrack guy, Frisell’s a jazzbo. A Small Good Thing is supposed to be ambient or something. World Standard is, I dunno, Japanese folktronica? Bruce Kaphan is more along the New-Agey tip and Loren Mazzacane is supposed to be all experimental and shit. But they don’t fool me. They’re all trying to make different versions of the same record, and it happens to be a record I really love, so I’m cool with that! Whoever they are!

Of course I’ve heard a lot of other individual songs by artists that would totally fit, but not necessarily whole albums… Calexico does that shit pretty well, when they do the instrumental thing and forego the drums and mariachi horns. And the old Ennio Morricone spaghetti-western soundtracks and whatnot… now THAT’s a deep vein of material I’m sure! I just don’t know where to begin with all that shit.

I was talking a bit about this with Eric, and also with Henry, the guy from Lanterna? His music is kinda along those same lines — or rather, he has lots of songs that would totally fall into that same category but there’s no whole album that stays in that vein for very long. So Lanterna’s a little too rockin’ to fit that mold all the way, but it does kinda help explain why I’d have a predisposition towards liking their music.

Alright, this concludes my very unacademic thesis on Ambient Country. Questions? Comments? Suggestions?

At the Brauhaus

edith — Fri, 20 Sep 2002 15:00:06 +0000

The Murphy brothers (Brendan and Rian)

L.A. Weekly preview

edith — Fri, 19 Apr 2002 01:00:18 +0000

A show preview by John Payne which appeared in the April 19-25, 2002 issue of L.A. Weekly. It’s previewing the show at Spaceland on Sunday the 21st.

Edith Frost gives new hope for those seeking that kind of introspective, country-tinged singer-songwriter stuff but who’re bored to tears with the way it sounds. Over the course of a few generally excellent Drag City albums, Frost has taken the form and given it goose, working with your all-stars of the post-rock scene including Royal Trux, Gastr del Sol, Eleventh Dream Day and High Llamas, and with producer* Steve Albini on the recent WONDER WONDER. A singer of subtly ironic affect, Frost skews her downbeatish songs with unusual chord progressions and idiosyncratic instrumental touches like subdued keyboard shards or her favored jaunty clarinets, which lends an inviting ambiguity to the jaded tone she uses to convey her rather personal heartbreak stories.

* Actually, Rian Murphy produced the album; Steve Albini engineered it.

A Drag City Supersession

edith — Tue, 18 Sep 2001 01:00:16 +0000

A Drag City Supersession: TRAMPS, TRAITORS AND LITTLE DEVILS
©2001, Drag City #DC210 (LP / CD)
More info • Lyrics • Purchase at Amazon

Featuring original songs and covers performed by Neil Michael Hagerty (Royal Trux), Bill Callahan (Smog) and Edith Frost.

Produced by Neil Michael Hagerty

Band:
Bill Callahan; Edith Frost; Neil Michael Hagerty; Tara Key; Brendan Murphy; Rian Murphy; Jim O’Rourke

With:
Matt Bauder; Jessica Billey; Mark Greenberg; Azita Youssefi

Songs:
Zero Degrees; Charley’s Girl; Texas Dogleg; The Girl on the Billboard; Leaving the Army; Everyday; Nothing Rises to Meet Me; Old Man; N.I.B.; One-Chord Complaint

I sang and wrote two of the original songs on this record, "Leaving The Army" and "One-Chord Complaint", and sang lead on two cover songs, "Charley’s Girl" (a Lou Reed tune) and "Old Man" (by Randy Newman). I also played acoustic guitar on "The Girl On The Billboard" and "One-Chord Complaint", and did backup vocals on "Texas Dogleg", "Everyday", and "Nothing Rises To Meet Me"

A review by Brian Mock that appeared in the Tucson Weekly on 10/11/2001…

What do you get when you cross the diverse, equally strange musical paths of Drag City recording artists Bill Callahan (Smog), Neil Michael Hagerty (Royal Trux) and Edith Frost, along with Rian and Brendan Murphy and a few other Drag City scenesters? Why, the Drag City Supersession, of course.

That’s right, kids, after three impressive solo releases from each of these stars of the underground, they momentarily join forces for a fun, loose-rockin’ hoe-down. Prolific peeps, these Drag City-ites.

Tramps recalls super collabs of the past by the likes of Crosby, Stills, Nash and Young (a Déjà Vu of the new millenium, if you will). For the record, Callahan, Hagerty and Frost each contributed two original songs, chose four additional covers, and let the tape roll. What came out the other end is a collection of gems that hit you in the head, heart and ass. Ouch!

The gang comes out punching with "Zero Degrees." Callahan takes first blood at lead vocals, armed, as usual, with the low and warm voice that has graced many a Smog album. He’s backed up by the Murphy brothers’ relentless drumming, Hagerty’s boppy bass lines and slide guitar, and strings for good measure. The result is a great opener to this crazy ride.

Frost’s "Leaving the Army," along with the other slower tracks, adds a nice contrast to the upbeat rockers. With the almost psychedelic-sounding strings and reeds and dreamy guitars, she somberly suggests, "I’m thinking about leaving the Army / Turning in my uniform / There’s always a wake up by the big explosions / Just outside of my door." Strangely prophetic, indeed, and indicative of her latest work.

By contrast, Hagerty’s "Texas Dogleg" recalls the guitar-heavy boogie-rock found on previous Royal Trux albums, while the fun and simple "Everyday" gives us a glimpse of where he might be going.

Perhaps the most interesting track here is a cover of Lou Reed’s "Charley’s Girl." It has a boogie swagger that’ll make your bootie swagger while singing along with the band’s backup chorus of "la las" at the top-o-your lungs. Also worth mentioning is the version of Randy Newman’s "Old Man," which could almost be mistaken for those kings of quiet, Low.

And just when you thought it was safe to kick back and sit out the last couple of songs, comes (out of goddamn nowhere, no less) their take on Black Sabbath’s classic "N.I.B." Hagerty belts out his best Ozzie and the band cranks out some serious jams that would have the Ozzman himself fist-pumping in his bedroom (and even biting off a dove’s head or two).

It’s not every day that a group of prolific and stylistically different musicians is able to come together to bring us a great collection of tunes. But I guess that’s what often makes independent labels so special: They’re like families, and families have reunions from time to time. Hmmm — must’ve been something in the potato salad.

WNUR (Evanston, IL)

edith — Sat, 21 Jul 2001 20:00:55 +0000

Radio show on WNUR (Northwestern University), hosted by my producer D.J. Rockin’ Rian Murphy

My band: Ryan Hembrey (electric bass, backing vocals), Adam Vida (drums, guitar, backing vocals)

Wonder Wonder

edith — Tue, 17 Jul 2001 02:00:00 +0000

front cover

back cover

cd inner sleeve

Edith Frost: WONDER WONDER
©2001 Drag City #DC209 (CD and LP)
Reviews • Lyrics
Purchase the CD or LP at Drag City, or get the CD on Amazon
MP3s are available from iTunes and Amazon

My third album, also released in Japan on P-Vine.

Produced by Rian Murphy
Engineered by Steve Albini at Electrical Audio Recording, Chicago, Illinois
All songs by Edith Frost, published by Marfa Music (BMI)
Mastered by John Golden
Cover image by Deborah Moore
Other photos by Mark Nomura
Layout by Dan Osborn

Musicians: Amy Domingues, Steve Dorocke, Edith Frost, Mark Greenberg, Ryan Hembrey, Glenn Kotche, Bill Lowman, Paul Mertens, Rian Murphy, Archer Prewitt, Rick Rizzo, Susan Voelz

Songs: True; Cars and Parties; Who; Wonder Wonder; Hear My Heart; The Fear; Dreamers; Further; Merry Go Round; Easy to Love; Honey Please; You’re Decided

Reviewed by Colin Berry on NPR’s All Things Considered, July 31, 2001

Chestnut Station: In Your Living Room

edith — Wed, 31 Jan 2001 00:00:01 +0000

Chestnut Station: IN YOUR LIVING ROOM
©2001, Drag City (CD & LP)
Purchase at Amazon

I did backup vocals on the songs "Breakout", "For a Friend", "Elephant Candy", and "What Do You Want The Girl To Do". I may be on others as well. The lead singer of Chestnut Station is my old friend Rian Murphy, who also produced my records Calling Over Time, Love is Real and Wonder Wonder.

Rian Murphy and Will Oldham: All Most Heaven

edith — Mon, 28 Aug 2000 01:00:03 +0000

This is a four-song 12" EP / CD-EP. I did backups on all 4 songs, along with a whole bunch of other singers like Bill Callahan (Smog), Kelly Hogan, Archer Prewitt, and Laetitia Sadier (Stereolab).

A review by Jeff DeRoche which appeared in the 9/14/2000 issue of The Stranger (Seattle, WA)…

RIAN MURPHY & WILL OLDHAM: All Most Heaven (Drag City) ***

Fans of Will Oldham will no doubt be very pleased with a four-song EP that features him howling uncharacteristically over layers of well-produced pop music (co-written with Rian Murphy, esteemed producer of Silver Jews and Edith Frost, among others). Hipsters will love that it features Oldham doing a duet with Bill Callahan of Smog, as well as barely audible supporting performances by the likes of Laeticia Sadier of Stereolab, Edith Frost, and Archer Prewitt throughout the EP. Boy-musician types will jerk off to the fact that All Most Heaven was recorded by Steve Albini–in fact, the whole project is in some respects one big indie-rock circle jerk. Fortunately for those involved, the CD came out great: Oldham has never been more vocally adventurous than he is here, reaching ever-throatedly upward to accommodate an uncharacteristically dynamic set of well-written songs. "Song of All" is the final track, a tender, trademark Will Oldham song that makes the EP remarkable. The song rises to a dramatic crescendo toward the end, which could easily make one long for a quieter, more acoustic performance; but this is a different sort of project, and there’s a definite grace to it–which is what makes most of what Will Oldham does so special.

Shopping with Amy cures frustration

edith — Mon, 14 Aug 2000 01:00:46 +0000

Note: This is a journal entry — it was written on paper or on my computer, then transferred to my website, maybe years later.

Rian really fucked up. He failed to book Steve for recording in September, so now if we want to work with him we have to wait until November or December. Bummer!! But I’m still excited to record with Steve. Wait’ll I tell Jodi Shapiro, she’s gonna flip.

Saw more old friends this weekend… Daniel Smith was at Electrical mixing the new Danielson Family record with Albini. I went over there with John on Saturday to hang out and hear a few of the tunes, it sounded really great. That’s when I bumped into Rian and we all had the discussion on when/if we should schedule recording at Electrical. I was so pissed at Rian; I spent the better part of the weekend just seething about it. Hopefully we’ll get it scheduled ASAP and I’ll be able to rest a little easier. Rian feels pretty bad about it too, he even apologized to John for pissing me off!!

Amy Domingues played with Threnody Ensemble at the Bottle last night, and spent the night with us afterward. John had to go to work today of course, but Amy wanted to go thrifting so we went to Roscoe & Damen. She was looking for a skirt and found a cool one at the Sally for only 65 cents!! So she felt okay about spending $5 at Shangri La for a coordinating top. (grin) We had lunch at Costello’s and she took off early this afternoon. They’re playing in St. Louis tonight, on their way to Seattle in a few days.

Love Is Real

edith — Mon, 12 Jul 1999 03:00:00 +0000

Edith Frost: LOVE IS REAL
©1999, Drag City #DC172 (3-song CD-EP)
Lyrics • Reviews
Purchase the CD-EP at Drag City, or get it on Amazon
MP3s are available from iTunes and Amazon
Produced by Rian Murphy
Engineered & mixed by Phil Bonnet at Solid Sound Studios in Hoffman Estates, IL

Cover painting by Sam Prekop
Back cover photography by Alexis Wilson

Musicians:
Edith Frost, Archer Prewitt, Mark Greenberg, Rick Rizzo, Ryan Hembrey

Songs:
Love Is Real; Between Us; The Last One

Calling Over Time

edith — Tue, 22 Apr 1997 04:00:00 +0000

Edith Frost: CALLING OVER TIME
©1997, Drag City #DC89 (CD and LP)
Reviews (page back to ’97) • More Reviews
Purchase the CD or LP at Drag City, or get the CD on Amazon
MP3s are available from iTunes and Amazon
Lyrics are included with the album (CD version only)

Produced by Rian Murphy
Engineered & mixed by Jim O’Rourke
Photography by Chuck Cors

Musicians:
Edith Frost, Jim O’Rourke, David Grubbs, Rick Rizzo, Rian Murphy, Sean O’Hagan

Songs:
Temporary Loan; Follow; Calling Over Time; Denied; Pony Song; Too Happy; Wash of Water; Shadows; Thine Eyes; Give Up Your Love; Albany Blues

About the musicians:
This is Rian Murphy’s handwriting, on a piece of paper that I’ve always kept tucked inside my copy of the CD. It’s the legend of who played what instruments on what songs. I asked Rian to write it all out for me after we recorded the album; I knew I’d forget that stuff.

About the artwork:
The image on the cover of Calling Over Time looks like a painting, but it’s really just an upside-down photograph of a puddle. (If you turn your head a little, you can see the water, the pavement and the melting snow around the edges.) The photographer Chuck Cors is an old pal of mine from the Muze days… he took the picture around 1996 when we were coworkers there doing data-entry in Brooklyn, just across the East River from the always-looming World Trade Center towers in New York. Chuck snapped the photo while walking along the Westside Highway in Manhattan, and the building you see in reflection is the north tower of the WTC, with the south tower hidden behind it due to the angle. This picture has always meant a lot to me — it’s always been my favorite image of the city, and my favorite photo of Chuck’s. It’s a spooky dream-view that somehow perfectly represents the seven years I spent living and working in NYC, where I wrote and demo’ed all the songs that ended up on that first album. And obviously, the picture means even more to me now that that particular view is gone forever. :-(