29 October - 17 November
THE RECORD BOOKS: IF BEST-SELLING ALBUMS HAD BEEN BOOKS INSTEAD - An Exhibition by Christophe Gowans
18 November - 31 December
Album Of The Year Exhibition 2013
November 23, 1:00pm
BUY DAUGHN GIBSON'S ALBUM 'ME MOAN' NOW AT ROUGH TRADE EAST AND COLLECT YOUR WRISTBAND AT THE SAME TIME OR PRE-ORDER THE DAUGHN GIBSON BUNDLE ONLINE NOW
***PLEASE NOTE THIS IS LUNCHTIME INSTORE***
"Revel in the murky atmospherics that surround the melancholy and extraordinary power of that voice" - Sunday Times 'Album of the Week'
"Its uniqueness makes it indispensable" - Time Out 4/5 'Album of the Week'
"Me Moan is a remarkable record that takes a genre rooted in formulae and cliches - country - and spins it into something fresh, compelling and edgy" - 9/10 Drowned in Sound
"Traditionally, country music and club-derived electronics make for awkward bedfellows, but it's a testament to the strength of Gibson's strange vision that Me Moan might well become a touchstone of modern-day Americana" - 8/10 Uncut
"Gibson radiates confidence and a taste for the unexpected" - 4/5 The Guardian
"The desolate blend of despair and deep, deep affection is unlike anything I've ever encountered in pop"- 4/5 The Independent
For those new to Daughn Gibson, the first name rhymes with the Vaughn's Robert and Stevie Ray. He was born in the village of Nazareth, PA, (ironic given the title of his debut album All Hell) and currently resides in the sleepy college town of Carlisle, PA, where he frequents local watering holes like The Cave and Alibis. He's 6'5", hovers at 200 pounds and has a head of jet black hair thicker than a porcupine. He played drums in Pearls & Brass for a number of years, touring the US to small but enthusiastic crowds. For some time in between, Daughn was a trucker, but he's also been packing boxes in an un-airconditioned warehouse, climbing up commercial broadcast towers with untested levels of radiation, working the register at an adult bookstore, doing sound at dive bars and collecting unemployment checks to earn a living. Daughn's been around.
Daughn Gibson first entered the minds and fantasies of the music loving public in the Spring of last year, care of his critically acclaimed debut album All Hell, released on Matthew K of Pissed Jeans' label White Denim. At once both foreign and familiar, Daughn's music is immediately striking, through the use of dusty thrift store records and baptized them as fierce, future Americana. His songs as frequently tender as they are prurient, as hopeful as they are brimming with despair. He treats the past with respectful reverence while still appreciating what is happening at the forefront of electronic production.
The follow up and Sub Pop debut Me Moan has taken All Hell's wilful lead, grabbed the rule book, laughed in its face and driven it to the tip. The woozy baritone remains intact but what surrounds it is utterly unique. Like Scott Walker's 1-4 sharing a drink with Waylon Jennings, neon lit and glowing with the hazily blue-ish light of a computer screen. Daughn was also going through a big Fleetwood Mac phase during the album's gestation, endlessly submerged in Mirage and Tango In The Night, resulting in a record that bubbles with melodic invention, taking in the classics and re-tooling them to create an entirely new musical landscape. He also has a penchant for the likes of Demdike Stare and is smitten with all things hip hop. Like we said, Daughn likes to get around.
On Me Moan Daughn Gibson truly reveals himself and the scale of his talent. If All Hell was black and white, Me Moan is not just Technicolor but a widescreen IMAX 3D blockbuster. While the roots of sample-based music remain, these songs and every piece of music on them is performed live, lushly detailed and richly orchestrated. While taking in everything from live drums, pedal steel and horns, to house strings, organs and even bagpipes, it never feels over stuffed, with every instrument or melody in its rightful place. Elsewhere, guitarists John Baizley (Baroness) and Jim Elkington (Brokeback) provide stunning performances.
Me Moan takes the listener on a journey as seen through Daughn's eyes, with stories and characters that are distinctively Noir-ish. You'll throw caution to the wind during 'Kissin on the Blacktop', pairing a stadium chorus to a bath-salt addled riff about a dive bar where "people buy drugs, consume them in the bathroom and just might be late for dinner", then nurse your hangover with 'Into the Sea'. You'll protect your loved ones against 'The Pisgee Nest' a track Daughn describes as "a pulsing woozy song about an incident in the woods that I heard about some years ago and it disturbed me to the core", then hold them close during 'Franco', a companion piece to 'Ray' from the debut album; "a song I could barely sing in the studio because it kept making me choke up, about a father who desperately wants his wife to emerge from the grief of her son's suicide". You'll also send 'Phantom Rider' after your enemies and feel remorse alongside 'All My Days Off'.
Album opener and lead track 'The Sound of Law' perfectly sets out Me Moan's stall, a track that Daughn wanted to "transform from a chugging freight train into a rocket ship headed for space", a sentiment that apparently runs through the record as a whole. Me Moan isn't just Daughn Gibson's primal scream, it's a skirmish through the full spectrum of emotion, unfiltered and impassioned. Like an aural amalgam of Cormac McCarthy and Robert Altman. Daughn is a uniquely American and modern artist who throw's his romantic soul into his work, free of compromise, possessed by a singular vision. And because of this, it will take a few listens to get on board this particular freight train. But for Me Moan, we can surely all find the time. Better days are not yet done.