But the Horses rough things up on Mirage Rock, from the “Brown Sugar” bounce of “Electric Music” to the crackling “Knock Knock,” where Ben Bridwell sings of “a ramshackle crew with something to. A certain irony is at work with Mirage Rock as well. When Band of Horses released said debut in 2006, knee-jerk comparisons with My Morning Jacket were made. The bands shared hirsute appearances. Stream Mirage Rock, a playlist by Band Of Horses from desktop or your mobile device. Mirage Rock by Band Of Horses published on 2012-09-07T22:26:01Z. Contains tracks. Knock Knock by Band Of Horses published on 2012-07-06T15:40:34Z. How to Live by Band Of. On Mirage Rock- the follow-up to the Ben Bridwell-fronted act's Grammy-nominated, game-changing 2010 release, Infinite Arms- Band of Horses keep a safe distance from the ditch with the help of producer Glyn Johns. As it happens, he's the very man who helped the 1972-1973 period Eagles lineup hone their saccharine, radio-friendly and harmony. Mirage Rock is the fourth studio album by Band of Horses and was released on September 18, 2012 on Columbia Records. Produced by Glyn Johns, the album was preceded by the single, 'Knock Knock'. While the album was initially met with generally favorable reviews, the band and fans alike have since become quite critical of it, with Bridwell admitting Mirage Rock to be stilted and insincere.
Biography
Band of Horses is a band from Seattle, formed in 2004 by the vocalist Ben Bridwell. He decided to start a new band after the break-up of his previous group. There were no problems with finding new musicians, and soon Band of Horses began to play in Seattle. During one joint show with Iron & Wine Ben and the musicians of his band attracted attention of Sub Pop. Later the contract was signed and Band of Horses started to work in the studio. In 2005 they released their first EP titled Tour EP. First records were sold exclusively during the shows only and on Sub Pop's official website.
In 2005 the band started recording their first full-length album, and by 2006 everything was ready. The debut album was titled Everything All the Time and it received fair reviews. However, there were some changes within the group: soon after Everything All the Time was ready, Band of Horses got the new drummer: Creighton Barrett. The first single from the debut album The Funeral was used in many TV shows, computer games and advertisements. The band was gaining popularity, and in 2006 the musicians were invited to Late Show with David Letterman, where they performed The Funeral. By that time Mat Brooke had already quitted the band. He noted that he had never been a formal member. It all started when during one show Ben invited him to play couple of songs. Mat agreed, and later he even participated in the album recording. Brooke said that Band of Horses was first of all Ben’s project, and Mat wanted to see what he could do by himself. Thereby he started the band Grand Archives. They signed to Sub Pop and released two records.
The group’s second studio work Cease To Begin was released in 2007. At that moment the trio of Ben Bridwell, Creighton Barrett and Rob Hampton was the core of the band. Ryan Monroe played the keyboards. The album Cease To Begin turned out to be very successful: it was named 47th best album of 2007 by Rolling Stone. Also in 2007 Tyler Ramsey and Bill Reynolds joined the Band of Horses. In 2010 the band released their third studio work titled Infinite Arms. It was produced by the members of Band of Horses, with additional help from Phil Ek. Many musical magazines already gave the album good reviews, and the original sound of Seattle band will be enjoyed both by the old fans and by those who have not listened to Band of Horses yet.
Studio Albums
Infinite Arms
Band Of Horses Mirage Rock Zip Codes
Lives
‘The Funeral’, from Band Of Horses’ debut album Everything All the Time, remains the band’s biggest hit and most well-known song to date, and is a good yardstick by which to measure their progress over a six-year career. Lead singer Ben Bridwell announced his arrival on that song with the line “I’m coming up only to hold you under”, a lyric outlining the intentions of an emotionally suffocating album on which even the hokeyest of sentiments (“I like to think I’m a mess that you’d wear with pride”) sounded painstakingly genuine. ‘The Funeral’ demonstrates the tightrope that Everything All the Time dared to walk, between the mass-appeal of its soaring, effects-laden chorus sounding like it came from (before ending up on) countless Top Gear montages, and its dense and deeply personal lyrical content which actively shunned attempts toward objectivity or universality. This intense intimacy was the perfect counter-weight to the wide-screen stadium rock being peddled by the rest of the Horses.
The story of Band of Horses since then has been the story of that balance being lost. By 2007’s Cease to Begin, Bridwell was only just getting away with the kind of mawkish sentimentality that pocked that album (“no-one is ever gonna love you like I do”), and the grandiosity of Everything was starting to be exchanged for pomposity. Despite the “reboot” ahead of 2010’s Infinite Arms — Bridwell was the only remaining player from Everything by then — not much was done to arrest the slide. Carried away on the success of ‘The Funeral’, Band of Horses seemed desperate to write songs that soundtracked your life, but by losing that personal element, they discarded the thing that made ‘The Funeral’ so compelling in the first place.
That Mirage Rock takes a turn towards the low-key, then, should perhaps come as a relief. The record sees veteran producer/engineer Glyn Johns (most famous for recording Who’s Next) take up the reins behind the desk, and it needs to be said that he performs admirably. Mirage Rock is the most elegant sounding Band of Horses album yet, and Johns oversees them play the most assured and varied music of their career so far. Taking most of their cues from ’70s AOR soft rock, the band sound a world apart from the one that was constantly straining to shoot for the stars on Infinite Arms. Taking the band away from the overkill of effects and reverb that have coloured their weakest moments in the past, Johns gives Mirage Rock a genuine depth of sound and allows Bridwell’s voice — sounding here as strong as it ever has — to take centre-stage for most of the running time.
Sadly, it still sounds like the person least interested in what Ben Bridwell has to say is Ben Bridwell himself. Lyrically he is painting with broader strokes than ever, and entire sections sometimes seem like they’ve been written because he felt a song needed another verse. So often he falls back onto clichés, and the album is riddled with country-rock buzzwords about open roads, sheriffs’ departments, and probably a dead dog or two. Opening track and first single ‘Knock Knock’ is one of the worst offenders — “Knocking on the doorway, look what’s coming your way/It’s every I want, it’s everything I need,” goes the chorus which Bridwell repeats ad nauseum — and regrettably so, as musically it’s one of the record’s more enjoyable moments. A song like that deserves a memorable lyric, especially when its vocal is made so prominent in the mix, but instead we’re given little more than a sedate placeholder.
Wurth wow 5.00.8 download. ‘Slow Cruel Hands’ shows at least some imagination, but its narrative somehow comes off as both distant and self-indulgent. “This big city man/I used to rumble with him back in high school”, sings Bridwell, flirting with an interesting tale, but instead just resorting to stock nostalgia with the same effect as, say, taking a sepia-filtered photograph. The sense of disingenuousness permeates the record. Last year’s Decemberists record, The King Is Dead, drove at a similar level of country and ’70s soft-rock pastiche, but managed to do so with both a wry smile and a genuine sense of tribute, a love for the material they were aping. Mirage Rock finds most of the constituent elements in place, but lacks the final push of inspiration to make it anything but a thoroughly unengaging listen.
Band Of Horses Mirage Rock Zip Code
But the Horses rough things up on Mirage Rock, from the “Brown Sugar” bounce of “Electric Music” to the crackling “Knock Knock,” where Ben Bridwell sings of “a ramshackle crew with something to. A certain irony is at work with Mirage Rock as well. When Band of Horses released said debut in 2006, knee-jerk comparisons with My Morning Jacket were made. The bands shared hirsute appearances. Stream Mirage Rock, a playlist by Band Of Horses from desktop or your mobile device. Mirage Rock by Band Of Horses published on 2012-09-07T22:26:01Z. Contains tracks. Knock Knock by Band Of Horses published on 2012-07-06T15:40:34Z. How to Live by Band Of. On Mirage Rock- the follow-up to the Ben Bridwell-fronted act's Grammy-nominated, game-changing 2010 release, Infinite Arms- Band of Horses keep a safe distance from the ditch with the help of producer Glyn Johns. As it happens, he's the very man who helped the 1972-1973 period Eagles lineup hone their saccharine, radio-friendly and harmony. Mirage Rock is the fourth studio album by Band of Horses and was released on September 18, 2012 on Columbia Records. Produced by Glyn Johns, the album was preceded by the single, 'Knock Knock'. While the album was initially met with generally favorable reviews, the band and fans alike have since become quite critical of it, with Bridwell admitting Mirage Rock to be stilted and insincere.
Biography
Band of Horses is a band from Seattle, formed in 2004 by the vocalist Ben Bridwell. He decided to start a new band after the break-up of his previous group. There were no problems with finding new musicians, and soon Band of Horses began to play in Seattle. During one joint show with Iron & Wine Ben and the musicians of his band attracted attention of Sub Pop. Later the contract was signed and Band of Horses started to work in the studio. In 2005 they released their first EP titled Tour EP. First records were sold exclusively during the shows only and on Sub Pop's official website.
In 2005 the band started recording their first full-length album, and by 2006 everything was ready. The debut album was titled Everything All the Time and it received fair reviews. However, there were some changes within the group: soon after Everything All the Time was ready, Band of Horses got the new drummer: Creighton Barrett. The first single from the debut album The Funeral was used in many TV shows, computer games and advertisements. The band was gaining popularity, and in 2006 the musicians were invited to Late Show with David Letterman, where they performed The Funeral. By that time Mat Brooke had already quitted the band. He noted that he had never been a formal member. It all started when during one show Ben invited him to play couple of songs. Mat agreed, and later he even participated in the album recording. Brooke said that Band of Horses was first of all Ben’s project, and Mat wanted to see what he could do by himself. Thereby he started the band Grand Archives. They signed to Sub Pop and released two records.
The group’s second studio work Cease To Begin was released in 2007. At that moment the trio of Ben Bridwell, Creighton Barrett and Rob Hampton was the core of the band. Ryan Monroe played the keyboards. The album Cease To Begin turned out to be very successful: it was named 47th best album of 2007 by Rolling Stone. Also in 2007 Tyler Ramsey and Bill Reynolds joined the Band of Horses. In 2010 the band released their third studio work titled Infinite Arms. It was produced by the members of Band of Horses, with additional help from Phil Ek. Many musical magazines already gave the album good reviews, and the original sound of Seattle band will be enjoyed both by the old fans and by those who have not listened to Band of Horses yet.
Studio Albums
Infinite Arms
Band Of Horses Mirage Rock Zip Codes
Lives
‘The Funeral’, from Band Of Horses’ debut album Everything All the Time, remains the band’s biggest hit and most well-known song to date, and is a good yardstick by which to measure their progress over a six-year career. Lead singer Ben Bridwell announced his arrival on that song with the line “I’m coming up only to hold you under”, a lyric outlining the intentions of an emotionally suffocating album on which even the hokeyest of sentiments (“I like to think I’m a mess that you’d wear with pride”) sounded painstakingly genuine. ‘The Funeral’ demonstrates the tightrope that Everything All the Time dared to walk, between the mass-appeal of its soaring, effects-laden chorus sounding like it came from (before ending up on) countless Top Gear montages, and its dense and deeply personal lyrical content which actively shunned attempts toward objectivity or universality. This intense intimacy was the perfect counter-weight to the wide-screen stadium rock being peddled by the rest of the Horses.
The story of Band of Horses since then has been the story of that balance being lost. By 2007’s Cease to Begin, Bridwell was only just getting away with the kind of mawkish sentimentality that pocked that album (“no-one is ever gonna love you like I do”), and the grandiosity of Everything was starting to be exchanged for pomposity. Despite the “reboot” ahead of 2010’s Infinite Arms — Bridwell was the only remaining player from Everything by then — not much was done to arrest the slide. Carried away on the success of ‘The Funeral’, Band of Horses seemed desperate to write songs that soundtracked your life, but by losing that personal element, they discarded the thing that made ‘The Funeral’ so compelling in the first place.
That Mirage Rock takes a turn towards the low-key, then, should perhaps come as a relief. The record sees veteran producer/engineer Glyn Johns (most famous for recording Who’s Next) take up the reins behind the desk, and it needs to be said that he performs admirably. Mirage Rock is the most elegant sounding Band of Horses album yet, and Johns oversees them play the most assured and varied music of their career so far. Taking most of their cues from ’70s AOR soft rock, the band sound a world apart from the one that was constantly straining to shoot for the stars on Infinite Arms. Taking the band away from the overkill of effects and reverb that have coloured their weakest moments in the past, Johns gives Mirage Rock a genuine depth of sound and allows Bridwell’s voice — sounding here as strong as it ever has — to take centre-stage for most of the running time.
Sadly, it still sounds like the person least interested in what Ben Bridwell has to say is Ben Bridwell himself. Lyrically he is painting with broader strokes than ever, and entire sections sometimes seem like they’ve been written because he felt a song needed another verse. So often he falls back onto clichés, and the album is riddled with country-rock buzzwords about open roads, sheriffs’ departments, and probably a dead dog or two. Opening track and first single ‘Knock Knock’ is one of the worst offenders — “Knocking on the doorway, look what’s coming your way/It’s every I want, it’s everything I need,” goes the chorus which Bridwell repeats ad nauseum — and regrettably so, as musically it’s one of the record’s more enjoyable moments. A song like that deserves a memorable lyric, especially when its vocal is made so prominent in the mix, but instead we’re given little more than a sedate placeholder.
Wurth wow 5.00.8 download. ‘Slow Cruel Hands’ shows at least some imagination, but its narrative somehow comes off as both distant and self-indulgent. “This big city man/I used to rumble with him back in high school”, sings Bridwell, flirting with an interesting tale, but instead just resorting to stock nostalgia with the same effect as, say, taking a sepia-filtered photograph. The sense of disingenuousness permeates the record. Last year’s Decemberists record, The King Is Dead, drove at a similar level of country and ’70s soft-rock pastiche, but managed to do so with both a wry smile and a genuine sense of tribute, a love for the material they were aping. Mirage Rock finds most of the constituent elements in place, but lacks the final push of inspiration to make it anything but a thoroughly unengaging listen.
Band Of Horses Mirage Rock Zip Code
In the tail-end, Mirage Rock springs into something that resembles life. The stinging ‘Feud’ sounds like Band of Horses of old, Bridwell bitter with emotion as he sings “I want you to fail”. Closing track ‘Heartbreak on the 101’ is a Ryan Adams-alike lament over a slowly strummed electric guitar, and is perhaps the kind of direction the whole record should have gone in.
Band Of Horses Mirage Rock Zipline
Post-Infinite Arms, expectations for a new Band of Horses album are already low, so it’s hard for me to call Mirage Rock a disappointment. In as far as I expected anything at all, it has surprised me in being different to what you’d associate with “a Band of Horses record”, and perhaps the band deserve some credit for pushing their boundaries. That, though, is damning with faint praise for a band once so creative and full of life. Mirage Rock is not travesty or an outright disaster, but it is a failure in more places than it is a success.
