The good news keeps on coming! Dave Hartley brings you his sophomore album under the Nightlands moniker. Titled Oak Island, it’s the follow up to Forget the Mantra, released in 2010. Dave uses the Nightlands name as a vehicle to further understand art through the analytical process. He engages a side we don’t often see portrayed in his other endeavors, namely his role as bassist in The War On Drugs.
The new album boasts of ten pops songs, stories that take the listener on a scientific journey through the human experience. Today, the silver-tinged Hartley shares with us the first single and album standout, “So Far So Long.” Come – to space we go. Enjoy the track above or at Pitchfork, where it premiered this morning. Oak Island is out January 22, 2013.
You all know Dave Hartley as The War On Drugs’ bass player and for his solo endeavor, Nightlands, but today, we refer to him as the great interviewer. Dave’s a bit of a basketball enthusiast and his love for and knowledge of the game has led to his Death Dunk column in Impose Magazine. His most recent installment includes an interview with the ever-animated Paul Shirley, a former NBA pro. With a tag-line of “The NBA bench-warmer and author can’t get fired again from ESPN, but tries in our interview,” Dave never falters from asking the hard questions.
In their lengthy chat, Dave and Paul swap questions concerning both basketball and music. Paul reveals himself to be somewhat of a rarity in the NBA, sharing his feelings of isolation that led him to seek out music. Read the full interview HERE.
Want to know what Paul Shirley thinks of The War On Drugs? Sure yah do. He tells you all about it in Music For Men: The War On Drugs.
Nightlands has put together a new digital single called Covers which appropriately contains covers of Lindsey Buckingham’s 1981 hit “Trouble” as well as Scott Walker’s “Big Louise.” Both covers pay homage to the original while undergoing the Nightlands treatment, taking on a lusher more dream-like quality. Nightlands is offering both songs as a free download, just hit the link below. If you like these covers, check out more of Nightlands’ original work from their full-length Forget the Mantra HERE.
In other news, Nightlands will be touring North America with Sondre Lerche starting May 31. In addition to opening the shows, Dave Hartley the creative force behind Nightlands, will also be playing bass in Sondre’s band on this tour. Check out the full dates after the jump.
On their debut, the life-affirming Wagonwheel Blues, and the follow-up EP, Future Weather, Philly’s The War on Drugs seemed obsessed with disparate ideas, with building uncompromised rock monuments from pieces that may have seemed like odd pairs. Folk-rock marathons come damaged by drum machines. Electronic and instrumental reprises precede songs they’ve yet to play, and Dr. Seuss becomes lyrical motivation for bold futuristic visions. Now, Granduciel has done it again, better than before: Slave Ambient (Out Aug. 16), their proper second album, is a brilliant 47-minute sprawl of rock ‘n’ roll, conceptualized with a sense of adventure and captured with seasons of bravado.
Slave Ambient features a team of Philadelphia’s finest musicians, including multi-instrumentalists Dave Hartley and Robbie Bennett, and drummer Mike Zanghi. Recorded throughout the last four years at Granduciel’s home studio in Philly, Jeff Ziegler’s Uniform Recording and Echo Mountain in Asheville, NC, the album puts the weirdest influences in just the right places. Synthesizers fall where you might expect more electric guitars (and vice versa); country-rock sidles up to the warped extravagance of ’80s pop. Instant classic “Baby Missiles” is part Spingsteen fever dream, part motorik anthem “Original Slave” might sound like a hillbilly power drone, but “City Reprise #12″ suggests Phil Collins un-retiring to back Harmonia. “I Was There” is Harvest rebuilt by some selection of psychedelic all-stars, while the shuffling, sleepy opener “Best Night” offers a band with too many ideas to be in a hurry. During the mid-album centerpiece “Come to the City,” Granduciel howls and moans, “All roads lead to me/I’ve been moving/I’ve been drifting.” Indeed, however unlikely that might seem, all these sounds arrive cohesively in one unmistakable place. Every song on Slave Ambient is instantly identifiable and infinitely intricate, a latticework of ideas and energies building into mile-high rock anthems. It’s a remarkable work for which we have an enormous pride and respect. And for which the story is only just beginning.