Migrations of Glass Review from Pitchfork

http://pitchfork.com/reviews/albums/19646-desertshore-migrations-of-glass/

It must have seemed like quite a boon to guitarist Phil Carney when Mark Kozelek, his leader in Red House Painters and Sun Kil Moon, started contributing vocals to Carney’s own Desertshore project. From a listener’s perspective, however, that blessing has been mixed. Formed by Carney and keyboardist Chris Connolly, Desertshore began as a dusky, post-rock-inflected instrumental project with the release of their debut album, 2010’s Drifting Your Majesty. Kozelek eased himself in as a guest vocalist on 2011’s Drawing of Threes; by the time 2013’s Mark Kozelek and Desertshore rolled around, his name was on the marquee. Understandably, a project that features Kozelek as well as a member of his own bands was going to get compared to those bands. In that comparison, Mark Kozelek and Desertshore turned out pretty well— and that was the problem. Desertshore no longer seemed like a distinct entity; in fact, the group barely ever had the chance to establish itself as such in the first place.

Migrations of Glass is Desertshore’s fourth album, and Kozelek—who’s gained a lot of attention lately from Benji, no complaints there—has scaled back his contribution to one track, “Crosstown Seven”. On that track, he only plays bass; his sepia croon is nowhere to be found. For all intents and purposes, then, Migrations might as well be Desertshore’s second album instead of its fourth. The core of Carney and Connolly is once again the nerve center, and not only have they found new facets of their instrumental dynamic to explore, they’ve done so with more passion. On “Crosstown Seven”, arpeggios are laced together intricately, a dizzying crisscross of pings and peals that render guitar and piano practically indistinguishable. The rhythm section measures out a mathy tempo that’s nonetheless light as dandelion fluff, reminiscent of the Sea and Cake circa The Biz. Kozelek’s bass line, bottom-heavy yet buoyant, is all the outside contribution that’s needed.

“Crosstown Seven” is just one bone in Migration’s sturdy rock spine—it’s a holdover from Drifting, which sounded as if it could have been a Sun Kil Moon session before vocals had been laid down. “Until Morning Comes” is the track on Migration that comes closest to Sun Kil Moon’s more orthodox songwriting, but Carney’s smoky strumming tells a story all its own, naturally set somewhere in the inverse twilight of the predawn calm. Connolly’s keys do most of the speaking, though, thanks to his eerie ability to phrase melodies as warm, organic cadences. Carney may not have played on Benji, but Connolly did; he’s best heard toward the end of “Micheline”, where his subtle tinkling feels like a ghostly whisper. He reprises that sensation on the ostensible sequel to “Until Morning Comes”, “The Morning Is Open”, which paints an expressionistic portrait of stillness, sunlight, and the potential energy they contain. It’s gorgeously placid, even bordering on new age. Carney and Connolly are invading new territory, and they’re occupying it with quiet conviction.

As synched as the two musicians are throughout most of Migrations, it’s their contrast that holds the most promise. Connolly is classically trained, and it’s hard not to assume he’s referencing Philip Glass—particularly works like “Music In Similar Motion”— on Migration’s “Glasslight”, a study in cascading, oscillation-rich minimalism. On Carney’s end, he takes the lead on “Intermezzo”, a Takoma-style quickie for unaccompanied guitar that manages to pack a wealth of haunting, John Fahey-esque twang into a one-minute burst. “Tempest Armada”, on the other hand, is the longest song in the album, eleven minutes of melodic post-rock peaks, valleys, and curved surfaces that’s reminiscent of Cul de Sac’s most arresting epics. There’s a sprawl to Migrations that shows more confidence and ambition than all of Desertshore’s prior output combined. It doesn’t always click, though: “Enduro Nocturno” doesn’t commit deeply enough to its celestial Krautrock thrum, and the Crazy Horse-goes-fusion vibe of “Mesa Verde” has too many clashing angles. But when it does come together, which is often, it shows that Carney and Connolly are well on their way to climbing out from under the boss’ shadow.

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Review from Dirty Impound

http://www.dirtyimpound.com/2011/12/albums-of-the-week-december-7-december-13/

Ron’s Pick of the Week:
Desertshore: Drawing of Threes (Caldo Verde)

For over 15 years, guitarist Phil Carney has performed beside sad-core kingpin Mark Kozelek in both the Red House Painters and Sun Kil Moon. His unique strain of solemn, atmospheric playing has resonated across the landscape of modern music with his influential work on such classic releases as the Painters’ 1996 album Songs for a Blue Guitar and Sun Kil’s 2008 epic April. Now the two old friends reconvene once again with the release of the second LP by Carney’s own instrumental group Desertshore with pianist Chris Connolly. Recorded at the legendary Hyde Street Studio in their native San Francisco, where such essential recordings as The Grateful Dead’s American Beauty, Santana’s Abraxas and Neil Young’s eponymous solo debut were cut, Drawing of Threes (released November 22) finds the group incorporating vocals for the very first time, with Kozelek singing on six of the ten tracks in addition to sitting in the production chair and playing bass on the entire thing. The end result is as shimmering and atmospheric as anything the combination of Kozelek and Carney have done to date, anchored by Connolly’s hushed, classically trained playing which brings a strong sense of resonant modality to the unique slow pop formula presented here. Whether or not Kozelek continues as an active member of Desertshore remains to be seen. However, if the band wants to make more records as affecting as Drawing of Threes they might not want to lose his number any time soon. (Ron Hart)

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Review from Pitchfork

http://www.pitchforkmedia.com/reviews/albums/16095-drawing-of-threes/

San Francisco’s Desertshore ostensibly took their name from Nico‘s 1970 album, the one where she began writing her own songs and exerting more control over her sound and style. A decidedly more personal than commercial album– with a few songs in German and one sung by her daughter– Desertshore was not a hit, at least not on par with her debut or her albums with the Velvet Underground, but it continues to attract as many listeners as it repels. Similarly, Desertshore the band represents guitarist Phil Carney’s first step away from sideman status, after a stint in Red House Painters and a few appearances on albums and tours by former Painters frontman Mark Kozelek. Carney favors patient, shimmery repetitions of notes that establish tone instead of melody, and the group, which also includes pianist Chris Connolly and a rotation of percussionists, trades in glacial instrumentals that echo the sepiatone reminiscences of the best Painters tracks.

Desertshore, however, do not represent a conscious attempt by Carney to escape that band’s orbit; it’s less a solo or even a duo project than it is a collaborative entity. Kozelek signed the band to his own Caldo Verde label and contributed to their 2010 debut, Drifting Your Majesty. Now, almost inevitably, Kozelek has more or less joined the group: On their follow-up, Drawing of Threes, he plays barely noticeable basslines and adds lyrics and vocals to six of these 10 songs. It may be as close to a Red House Painters reunion as we will get– at least until Kozelek reconvenes the original Sun Kil Moon line-up.

As a result of Kozelek’s participation, Drawing of Threes will sound deeply familiar to anyone who’s heard any of the bands mentioned so far. His voice remains distinctively hollow-eyed, his vocal melodies sound as eloquently understated as ever, and the guitars ring in a darkly ruminative mood that sets Desertshore in the same 3 a.m. universe as Old Ramon and Ghosts of Great Highway. In other words, Kozelek dominates this album. Of the four instrumental tracks, only one– the standout “Matchlight Arcana”– exceeds the two-minute mark, while the others sound like soundtrack interstitials consigned to the album’s second half. It’s an odd dynamic: the guest plays the lead, the name band becomes the support. Whether that speaks to Desertshore’s modesty or timidity is never quite clear.

Still, it’s obvious why the musicians gravitate toward one another, not only here but on previous tours and Kozelek solo records: Their particular instruments suit each other evocatively, each bringing out something intriguing and perhaps unnoticed in the other. In that regard, Drawing is best when it casts the familiar elements in a new light. “Vernon Forrest” sets Kozelek’s vocals against Connolly’s sunlight-on-water piano ripples, like a demo for the vox-and-keys album you know Kozelek has in him. “Randy Quaid” is a laundry list of half-remembered summertime totems that includes “Immigrant Song” and the troubled Vacation actor and manages to rhyme “Spalding Gray” with “the Brothers Quay.” It’s an especially playful song for a notoriously depressive singer-songwriter, and Carney’s chiming guitar evokes a specific perspective rather than a general sense of nostalgia. Crucially, it sounds more like the memory of summer than summer itself, which lends the song a bittersweet tone. Because Drawing sustains a similar mood across 10 tracks, the album sounds cohesive, if not exactly revelatory. For Kozelek, this is a not unpleasantly minor effort that allows him to stretch out a bit, but it only hints at what all Carney and Connolly can do together.

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Review from SpinCDs

http://www.spincds.com/drawing-of-threes

Mark Kozelek of Sun Kil Moon sings on 6 of the albums 10 tracks.

Drawing Of Threes is Desertshore’s second album but it’s their first with vocals. Their debut in 2010, Drifting Your Majestic was entirely instrumental.They didn’t set out to make this album with vocals. They had planned, after the critical success in the USand UK of Drifting Your Majesty, to continue in the instrumental form. Fate however, intervened. The two forces behind Desertshore come from quite different directions. Chris Connolly is a classically trained pianist who studied with Julian White and Sharon Mann in California. Phil Carney’s history is much more from the rock world. He played guitar in San Francisco legends, Red House Painters and later, Sun Kil Moon. The third force that intervened was Phil’s old band-mate from Red House Painters, Mark Kozelek. At San Francisco’s Hyde Street Studios during this past_summer, Mark began production of Drawing Of Threes, as well as adding vocals, bass and subtle hints of nylon string guitar.”My intentions were only to help produce the record, but melodies and lyrics were coming to me as I heard the music, so it felt natural to put a mic up. It was an interesting way to approach music, and I consider it a true co-writing experience between the three of us. The writing fell together very naturally and the songs don’t feel overworked,” Kozelek says. Kozelek ended up singing on six of the album’s_ten tracks, and the result has a melodic, even pop flavor. But Desertshore still retains the willingness to define genres that characterized their first record. Tracks from Drifting Your Majesty were used on Showtime’s ‘Californication’ and also the documentary film, Mark Kozelek: On Tour. Drawing Of Threes combines shimmering guitar notes, resonant piano, subtle distortion and noise with Kozelek’s distinctive vocals to produce something new for both Desertshore and Mark Kozelek himself.

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Stereo Gum Review of Drawing of Threes

http://stereogum.com/874782/desertshore-diana-feat-mark-kozelek/mp3s/

The former Red House Painters/Sun Kil Moon guitarist Phil Carney now leads the band Desertshore, and he’s tapped his former boss in both those bands, depression-rock godhead Mark Kozelek, to sing and play bass on new Desertshore album Drawing Of Threes. We’ve already posted one track from that album, “Mercy.” Now here’s another: The similarly crushing six-minute wallow “Diana.”

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Drifting Your Majesty Review on iTunes

iTunes Review

This incredibly sublime album of pastoral instrumentals is a must-have for anyone in need of music through which to dream the day away. Red House Painters and Sun Kil Moon guitarist Phil Carney and classically trained pianist Chris Connolly combine for the gentlest one-two punch in San Francisco. The tunes range from shimmering pieces of astral projection (“Black Mirror Water,” “Mojave Mirage”) to acoustic, British-folk-like impressions (“Gwynnedd”). The extended length of the title track at over ten minutes allows for a truly mesmerizing instrumental weave that builds to icy caps of distortion, while brief tracks like “Darkhan,” “Koko,” “Right Favor” and “Maurice In Reflection” provide quick, flourishing escapes. Carney’s tone is immaculate. Neither play merely to show off their chops; each player creates with a sense of economy and the song at hand. “Beautiful Descent” is simply gorgeous, its notes bouncing off stars. “Plataea” dips into a Middle-Eastern mood with dramatic guitar pulses and careful drum accents. “Sixteen Drawers” is a sweet, flowing piece that creates a dreamlike web for all to drift away.

http://itunes.apple.com/us/album/drifting-your-majesty/id390548711?i=390548792&ign-mpt=uo%3D4

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Desertshore on YouTube

Click on the link below to see video on YouTube of Mojave Mirage

Desertshore on YouTube

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Desertshore Album Available on iTunes

The new album “Drifting Your Majesty” is available for download on iTunes. Here is the link to listen to samples and download the album:

http://itunes.apple.com/us/album/drifting-your-majesty/id390548711

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First Ever Interview with Desertshore

Exclusive interview with Phil Carney just released on the bad penny blog.  Also an exclusive mp3 from the album “Drifting Your Majesty” is available through this site only. Read the interview by clicking the link below!

http://thebadpennyblog.wordpress.com/2010/10/04/bad-penny-exclusive-ex-red-house-painters-guitarist-phil-carney-gives-first-ever-interview-shares-desertshore-mp3/

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Drifting Your Majesty Available for Pre-order

For those of you interested in the album, it is currently available for pre-order on the caldo verde records website. A nice feature has been added that allows a quick preview of all the tracks on the album. There are still a lot of hidden gems on the album so some of the quick previews are not entirely representative. If anyone has any questions or comments feel free to leave a comment here or on our facebook page. We are excited to be releasing the album in one month!

http://www.caldoverderecords.com/

Regards,

Chris

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