LANGHORNE SLIM & THE LAW
''THE SPIRIT MOVES (DELUXE EDITION)''
AUGUST 7 2015
45:39
1 Spirit Moves 02:55
2 Changes 02:38
3 Put It Together 03:12
4 Whisperin 02:39
5 Strangers 02:54
6 Life's A Bell 03:46
7 Wolves 04:02
8 Bring You My Love 03:04
9 Airplane 03:59
10 Southern Bells 03:52
11 Strongman 01:49
12 Meet Again 02:01
13 Bad Dreams (Bonus Track) 02:04
14 Love Crimes (Bonus Track) 04:01
15 Amelia (Bonus Track) 02:36
Chandra/Vocals (Background)
Vinnie Ciesielski/Horn
Malachi DeLorenzo/Drums
Eleonore Denig/String Arrangements, Violin
Josh Hedley/Fiddle, Vocals (Background)
Langhorne Slim/Guitars, Vocals
Larissa Maestro/Cello
David Moore/Banjo, Piano
Jeff Ratner/Bass Guitar
Alexis Saski/Vocals (Background)
Tyler Summers/Horn
Oscar Utterström/Horn
Ashley Wilcoxson/Vocals (Background)
***************
REVIEW
by Mark Deming
Ever since he released his first record, Langhorne Slim seems to have been searching for a sound that suits his emphatic yet introspective lyrical style and rootsy melodies, from the scrappy sitting-around-the-campfire mood of his 2005 debut When the Sun's Gone Down to the polished and cleanly orchestrated figures on 2009's Be Set Free. On his fifth full-length album, 2015's The Spirit Moves, Slim has finally recruited a full-time backing band, the Law, featuring David Moore on banjo and keyboards, Jeff Ratner on bass, and Malachi DeLorenzo on drums, and in many respects this makes for one of Langhorne Slim's most musically satisfying albums to date, delivering performances that are clever, taut, and intuitive but leave just enough space for Slim's impassioned vocals and elemental guitar work. Slim also had other valuable collaborators on The Spirit Moves -- producer Andrija Tokic has given these sessions just a light buff and polish that allows the details to stand out (and the sparing use of strings and horns gives the arrangements a soothing undertow without robbing the music of its organic tone and feeling), and songwriter Kenny Siegal collaborated with Slim on eight of the album's 12 songs, firming up the frameworks of the tunes while keeping Slim's essential lyrical and melodic personality firmly in place. As for Slim, he's still trying to sort out his troubles with life, love, and the world around him, but the unpretentiously intelligent outlook of his songs suggests he's a man whose navel gazing is not about just his own troubles, but the large-scale job of sorting out one man's place in a big world, and if he doesn't always have answers, at least he knows how to ask the right questions. Hopefully Langhorne Slim will have worked out a few of his deeper thoughts in his next album with the Law, but at very least The Spirit Moves sounds like a sure-footed step in the right direction.
***************
OFFICIAL BIOGRAPHY
By Elisabeth Dawson
Sometimes, truth can’t be explained. But it can be felt, running wild through a song. “I don’t want to tame myself. I want to be wild,” says Langhorne Slim. “If I can continue to refine the wildness but never suffocate or tame it, then I’m on the right path. Because it is a path. I feel it.”
The Spirit Moves is Langhorne’s newest artistic attempt to refine the wildness. The result is an effervescent collection of his now-signature, cinematic, joyful noise, rooted in folk, soul, and blues. Out on Dualtone Records on August 7th, 2015, the album marks his second with rock-solid band The Law, and the highly anticipated follow-up to 2012’s critically acclaimed The Way We Move.
The Spirit Moves is a stunning portrait of Langhorne’s life in transition: the “born to be in motion and follow the sun” rambler found a home in Nashville, Tennessee. While he’s put down roots in a place, he’s unattached to a person, single for the first time in recent memory. The Spirit Moves is also the first album of his career written and recorded entirely sober. Together, the record’s beautiful glimpses of bold beginnings and risks taken create an ode not only to a better life, but to the vulnerability needed to live it.
“I’m a strong believer that sensitivity and vulnerability are not weaknesses. They’re some of the greatest strengths of man and woman kind,” Langhorne says. “And that’s what a lot of the record is about.”
Langhorne and The Law sought out engineer Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff) and recorded The Spirit Moves at Tokic’s studio, the Bomb Shelter, in East Nashville. Producing duties were shouldered by Langhorne, the band, and trusted cohort Kenny Siegal, reuniting the family behind The Way We Move.
“I went to battle with my demons, and I’m still doing it,” Langhorne says. “My brothers stood beside me and kicked ass on the record.” Three of his brothers are The Law: drummer Malachi DeLorenzo, bassist Jeff Ratner, and keys and banjo player David Moore. “My band is not a hired gun group of guys,” Langhorne says. “They are my band and they are uniquely spectacular.”
And then, there’s brother Kenny Siegal. “In Kenny, I’ve found a musical brother,” he says. “We drive each other crazy, but the man understands me somehow in an energetic, spiritual sense, more than most anyone I’ve ever met.”
Langhorne wasn’t looking for a co-writer, but that’s exactly what Siegal became for eight of the record’s songs, making The Spirit Moves the first time Langhorne has ever written with someone else for an album. For Langhorne, writing is oftenan arduous process.“I rarely write a complete song immediately,” he explains. “Every once in a while, one hits, but songs mostly come in pieces. Those pieces build up and start to taunt me as they swirl around in my head. Eventually, they make me feel like I’m going totally crazy. It’s like they’re gonna devour me––eat me alive.”
He pushed through alone to pen some of the tracks, chasing each song’s individual truth. In creating others, Siegal helped him put the pieces together.
What emerged is a record that delights in contradiction: freewheeling but purposeful; celebratory but confessional; looking to light even when it’s dark. Langhorne’s voice––an arresting howl sublimely at home in a Mississippi roadhouse or on a Newport stage––has never sounded better.
He wrote the title track just weeks before entering the studio, “terrified that I didn’t have enough and what I had wasn’t good enough.” The song is no mere reflection, but a manifestation of unbridled joy, and a celebration of opening up oneself to the supernatural that surrounds us.
“Changes” is an intimate look at a soul being reborn, but Langhorne hopes each listener can hear something of their own in it. “When I’m writing, it’s coming from a heart or soul kind of place, not the mental zone of ‘Well, I moved to Nashville and I got sober and I’m single and I’m going through changes, so let’s write a song about it,’” he says. He calls infectious garage-pop growler “Put it Together” “the most painful song I’ve ever written,” not because of the subject matter, but because of the process. He found the opening lines and crunchy chords while seeking relief after his beloved 1977 Mercury Comet was stolen. But then, the song took months to complete. “I’ve never worked that hard to get a song,” he says.
The refusal to let a heart harden helped bring about “Life’s a Bell,” a dreamy call-to-action that nods to 50s rock-and-roll and Sly and the Family Stone. “A lot of my music is celebration of light,” he says. “It’s a horrible thing to shield our hearts and not be vulnerable.”
“Wolves,” based on a James Kavanaugh poem, tackles similar subject matter, and Langhorne feels it’s the “truest expression of myself that I’ve put into a song.” “I’m tough enough to run with the bulls, and I’m too gentle to live amongst wolves,” he sings, his soul-shouting subdued to a hush that’s just as powerful.
The rollicking “Southern Bells” pulses with the optimism of a new day, while “Strongman” and its piano pay tribute to perseverance and seizing the moment. “Whisperin’” captures another kind of breakthrough, relatable and intense, while “Strangers” is classic Langhorne Slim, and begs to be danced to, uninhibited and free.
“Airplane” is a poignant example of his ability to capture the redemptive hope in desperation. Part meditation, part urging of an unnamed co-conspirator, the song puts his defiantly tender vocals front and center, hugged by a rotating cast of instruments that kicks off with stark guitar and piano, swells into lush strings and percussion, then ebbs back into its stripped-down beginning––like the waves of confidence and doubt that make up faith itself.
The song is undoubtedly a career standout for Langhorne, and creating it was a long road. Three key “muses”––his Grandma Ruth, dear friend Joel Sadler, and another confidant––gave him encouragement along the way. “I kept going for ‘Airplane’ because it made sense to me and there were people around me who were moved very deeply by it,” he says. “It’s one of my favorite songs I’ve ever written.”
With a new home and a clear head, Langhorne is exhilarated thanks to the realization of what he knew was possible. “I had a problem with drugs and alcohol from the time I was 15 until I quit last year on my 33rd birthday,” Langhorne says. “I was hitting my head against the ceiling. I knew all I had to do was quit, and my head would burst through that ceiling. I didn’t really know what would be there, but I knew it’d be something greater.”
For Langhorne, something greater includes making the best music of his life.
“By opening myself, I’m vulnerable and I’m fearful, but I start to get real. And in that realness, there is immense strength that I wish for everybody,” Langhorne says. “Maybe everybody’s scared to be a freak. But when you live as a freak––” he laughs––“it’s so much more fulfilling.”
***************
BIOGRAPHY/AMG
by Stewart Mason
Something of a one-man mixture of the Cramps, Beck's early indie records (circa One Foot in the Grave), and the soundtrack to O Brother, Where Art Thou?, singer and guitarist Langhorne Slim offers a sardonic, modern take on traditional folk, country, and blues. Fancifully dubbed "the bastard son of Hasil Adkins" in some of his early press releases, Langhorne Slim is in fact a Pennsylvania native who resettled in Brooklyn after his graduation from the State University of New York at Purchase. After a self-released demo garnered some local and online attention (as well as a semi-regular gig as the opening act for indie novelty outfit the Trachtenberg Family Slideshow Players), Langhorne Slim signed with the indie label Narnack Records and released his first EP, Electric Love Letter, in March 2004. The more varied and band-oriented full-length When the Sun's Gone Down followed in the spring of 2005. Much touring ensued over the next year, including support dates with Lucero and Murder by Death, with drummer Malachi DeLorenzo and upright bassist Paul DeFiglia (aka "the War Eagles") in tow. In 2006, Langhorne Slim signed with the larger (though still not major) label V2 Records, which released the all-new EP Engine in September of that year, as the singer was finishing recording his second full album, produced by Josh Ritter's keyboardist, Sam Kassirer. The deal fell through, however, and the band was left label-less. The band found a new home on Kemado Records, which released the self-titled Langhorne Slim album in 2008. A second Kemado album, Be Set Free, appeared a year later in 2009. In 2012 Slim and his new backing band the Law issued The Way We Move via Ramseur Records. The LP's title track was featured in the Tina Fey film Admission, as well as in a Microsoft commercial. Slim's fifth studio long player, the Spirit Moves, followed in 2015.
WEBSITE
TO THE TOP
''THE SPIRIT MOVES (DELUXE EDITION)''
AUGUST 7 2015
45:39
1 Spirit Moves 02:55
2 Changes 02:38
3 Put It Together 03:12
4 Whisperin 02:39
5 Strangers 02:54
6 Life's A Bell 03:46
7 Wolves 04:02
8 Bring You My Love 03:04
9 Airplane 03:59
10 Southern Bells 03:52
11 Strongman 01:49
12 Meet Again 02:01
13 Bad Dreams (Bonus Track) 02:04
14 Love Crimes (Bonus Track) 04:01
15 Amelia (Bonus Track) 02:36
Chandra/Vocals (Background)
Vinnie Ciesielski/Horn
Malachi DeLorenzo/Drums
Eleonore Denig/String Arrangements, Violin
Josh Hedley/Fiddle, Vocals (Background)
Langhorne Slim/Guitars, Vocals
Larissa Maestro/Cello
David Moore/Banjo, Piano
Jeff Ratner/Bass Guitar
Alexis Saski/Vocals (Background)
Tyler Summers/Horn
Oscar Utterström/Horn
Ashley Wilcoxson/Vocals (Background)
***************
REVIEW
by Mark Deming
Ever since he released his first record, Langhorne Slim seems to have been searching for a sound that suits his emphatic yet introspective lyrical style and rootsy melodies, from the scrappy sitting-around-the-campfire mood of his 2005 debut When the Sun's Gone Down to the polished and cleanly orchestrated figures on 2009's Be Set Free. On his fifth full-length album, 2015's The Spirit Moves, Slim has finally recruited a full-time backing band, the Law, featuring David Moore on banjo and keyboards, Jeff Ratner on bass, and Malachi DeLorenzo on drums, and in many respects this makes for one of Langhorne Slim's most musically satisfying albums to date, delivering performances that are clever, taut, and intuitive but leave just enough space for Slim's impassioned vocals and elemental guitar work. Slim also had other valuable collaborators on The Spirit Moves -- producer Andrija Tokic has given these sessions just a light buff and polish that allows the details to stand out (and the sparing use of strings and horns gives the arrangements a soothing undertow without robbing the music of its organic tone and feeling), and songwriter Kenny Siegal collaborated with Slim on eight of the album's 12 songs, firming up the frameworks of the tunes while keeping Slim's essential lyrical and melodic personality firmly in place. As for Slim, he's still trying to sort out his troubles with life, love, and the world around him, but the unpretentiously intelligent outlook of his songs suggests he's a man whose navel gazing is not about just his own troubles, but the large-scale job of sorting out one man's place in a big world, and if he doesn't always have answers, at least he knows how to ask the right questions. Hopefully Langhorne Slim will have worked out a few of his deeper thoughts in his next album with the Law, but at very least The Spirit Moves sounds like a sure-footed step in the right direction.
***************
OFFICIAL BIOGRAPHY
By Elisabeth Dawson
Sometimes, truth can’t be explained. But it can be felt, running wild through a song. “I don’t want to tame myself. I want to be wild,” says Langhorne Slim. “If I can continue to refine the wildness but never suffocate or tame it, then I’m on the right path. Because it is a path. I feel it.”
The Spirit Moves is Langhorne’s newest artistic attempt to refine the wildness. The result is an effervescent collection of his now-signature, cinematic, joyful noise, rooted in folk, soul, and blues. Out on Dualtone Records on August 7th, 2015, the album marks his second with rock-solid band The Law, and the highly anticipated follow-up to 2012’s critically acclaimed The Way We Move.
The Spirit Moves is a stunning portrait of Langhorne’s life in transition: the “born to be in motion and follow the sun” rambler found a home in Nashville, Tennessee. While he’s put down roots in a place, he’s unattached to a person, single for the first time in recent memory. The Spirit Moves is also the first album of his career written and recorded entirely sober. Together, the record’s beautiful glimpses of bold beginnings and risks taken create an ode not only to a better life, but to the vulnerability needed to live it.
“I’m a strong believer that sensitivity and vulnerability are not weaknesses. They’re some of the greatest strengths of man and woman kind,” Langhorne says. “And that’s what a lot of the record is about.”
Langhorne and The Law sought out engineer Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff) and recorded The Spirit Moves at Tokic’s studio, the Bomb Shelter, in East Nashville. Producing duties were shouldered by Langhorne, the band, and trusted cohort Kenny Siegal, reuniting the family behind The Way We Move.
“I went to battle with my demons, and I’m still doing it,” Langhorne says. “My brothers stood beside me and kicked ass on the record.” Three of his brothers are The Law: drummer Malachi DeLorenzo, bassist Jeff Ratner, and keys and banjo player David Moore. “My band is not a hired gun group of guys,” Langhorne says. “They are my band and they are uniquely spectacular.”
And then, there’s brother Kenny Siegal. “In Kenny, I’ve found a musical brother,” he says. “We drive each other crazy, but the man understands me somehow in an energetic, spiritual sense, more than most anyone I’ve ever met.”
Langhorne wasn’t looking for a co-writer, but that’s exactly what Siegal became for eight of the record’s songs, making The Spirit Moves the first time Langhorne has ever written with someone else for an album. For Langhorne, writing is oftenan arduous process.“I rarely write a complete song immediately,” he explains. “Every once in a while, one hits, but songs mostly come in pieces. Those pieces build up and start to taunt me as they swirl around in my head. Eventually, they make me feel like I’m going totally crazy. It’s like they’re gonna devour me––eat me alive.”
He pushed through alone to pen some of the tracks, chasing each song’s individual truth. In creating others, Siegal helped him put the pieces together.
What emerged is a record that delights in contradiction: freewheeling but purposeful; celebratory but confessional; looking to light even when it’s dark. Langhorne’s voice––an arresting howl sublimely at home in a Mississippi roadhouse or on a Newport stage––has never sounded better.
He wrote the title track just weeks before entering the studio, “terrified that I didn’t have enough and what I had wasn’t good enough.” The song is no mere reflection, but a manifestation of unbridled joy, and a celebration of opening up oneself to the supernatural that surrounds us.
“Changes” is an intimate look at a soul being reborn, but Langhorne hopes each listener can hear something of their own in it. “When I’m writing, it’s coming from a heart or soul kind of place, not the mental zone of ‘Well, I moved to Nashville and I got sober and I’m single and I’m going through changes, so let’s write a song about it,’” he says. He calls infectious garage-pop growler “Put it Together” “the most painful song I’ve ever written,” not because of the subject matter, but because of the process. He found the opening lines and crunchy chords while seeking relief after his beloved 1977 Mercury Comet was stolen. But then, the song took months to complete. “I’ve never worked that hard to get a song,” he says.
The refusal to let a heart harden helped bring about “Life’s a Bell,” a dreamy call-to-action that nods to 50s rock-and-roll and Sly and the Family Stone. “A lot of my music is celebration of light,” he says. “It’s a horrible thing to shield our hearts and not be vulnerable.”
“Wolves,” based on a James Kavanaugh poem, tackles similar subject matter, and Langhorne feels it’s the “truest expression of myself that I’ve put into a song.” “I’m tough enough to run with the bulls, and I’m too gentle to live amongst wolves,” he sings, his soul-shouting subdued to a hush that’s just as powerful.
The rollicking “Southern Bells” pulses with the optimism of a new day, while “Strongman” and its piano pay tribute to perseverance and seizing the moment. “Whisperin’” captures another kind of breakthrough, relatable and intense, while “Strangers” is classic Langhorne Slim, and begs to be danced to, uninhibited and free.
“Airplane” is a poignant example of his ability to capture the redemptive hope in desperation. Part meditation, part urging of an unnamed co-conspirator, the song puts his defiantly tender vocals front and center, hugged by a rotating cast of instruments that kicks off with stark guitar and piano, swells into lush strings and percussion, then ebbs back into its stripped-down beginning––like the waves of confidence and doubt that make up faith itself.
The song is undoubtedly a career standout for Langhorne, and creating it was a long road. Three key “muses”––his Grandma Ruth, dear friend Joel Sadler, and another confidant––gave him encouragement along the way. “I kept going for ‘Airplane’ because it made sense to me and there were people around me who were moved very deeply by it,” he says. “It’s one of my favorite songs I’ve ever written.”
With a new home and a clear head, Langhorne is exhilarated thanks to the realization of what he knew was possible. “I had a problem with drugs and alcohol from the time I was 15 until I quit last year on my 33rd birthday,” Langhorne says. “I was hitting my head against the ceiling. I knew all I had to do was quit, and my head would burst through that ceiling. I didn’t really know what would be there, but I knew it’d be something greater.”
For Langhorne, something greater includes making the best music of his life.
“By opening myself, I’m vulnerable and I’m fearful, but I start to get real. And in that realness, there is immense strength that I wish for everybody,” Langhorne says. “Maybe everybody’s scared to be a freak. But when you live as a freak––” he laughs––“it’s so much more fulfilling.”
***************
BIOGRAPHY/AMG
by Stewart Mason
Something of a one-man mixture of the Cramps, Beck's early indie records (circa One Foot in the Grave), and the soundtrack to O Brother, Where Art Thou?, singer and guitarist Langhorne Slim offers a sardonic, modern take on traditional folk, country, and blues. Fancifully dubbed "the bastard son of Hasil Adkins" in some of his early press releases, Langhorne Slim is in fact a Pennsylvania native who resettled in Brooklyn after his graduation from the State University of New York at Purchase. After a self-released demo garnered some local and online attention (as well as a semi-regular gig as the opening act for indie novelty outfit the Trachtenberg Family Slideshow Players), Langhorne Slim signed with the indie label Narnack Records and released his first EP, Electric Love Letter, in March 2004. The more varied and band-oriented full-length When the Sun's Gone Down followed in the spring of 2005. Much touring ensued over the next year, including support dates with Lucero and Murder by Death, with drummer Malachi DeLorenzo and upright bassist Paul DeFiglia (aka "the War Eagles") in tow. In 2006, Langhorne Slim signed with the larger (though still not major) label V2 Records, which released the all-new EP Engine in September of that year, as the singer was finishing recording his second full album, produced by Josh Ritter's keyboardist, Sam Kassirer. The deal fell through, however, and the band was left label-less. The band found a new home on Kemado Records, which released the self-titled Langhorne Slim album in 2008. A second Kemado album, Be Set Free, appeared a year later in 2009. In 2012 Slim and his new backing band the Law issued The Way We Move via Ramseur Records. The LP's title track was featured in the Tina Fey film Admission, as well as in a Microsoft commercial. Slim's fifth studio long player, the Spirit Moves, followed in 2015.
WEBSITE
TO THE TOP
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