03-04-2013, 12:05
online listen
never heard of them
alt country flavor on some tracks
Cowboy Junkies vocal maybe
clip was the only thing I liked
then I made the mistake of watching the video
1.3 from me and a converted 2.4 from allmusic
artist web site - http://www.hemmusic.com/
from the album - Tourniquet
http://www.youtube.com/watch?v=IedsGqHAhkU
released Apr 2nd
![[Image: MI0003514507.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_250/MI0003/514/MI0003514507.jpg?partner=allrovi.com)
Bio - from allmusic
The genesis of the New York-based folk outfit Hem goes back to 1999, when songwriter Dan Messe
teamed up with producer/engineer Gary Maurer (who had worked with artists such as Jon Spencer,
Luna, Fountains of Wayne, and James Iha). The two wanted to make a record that would explore
their interests in traditional American music while draping it in contemporary stylings. They
enlisted friend Steve Curtis (guitar, mandolin) and, needing a singer, placed an ad in The
Village Voice. After receiving numerous demos that didn't suit their needs, the ad was pulled.
Then Sally Ellyson called Messe about the spot, though she claimed that she wasn't really a
singer.
Not expecting much, Messe asked for a demo. The tape, a cassette of lullabies she'd recorded
for a friend's child, was exactly what Messe was looking for. The collaboration started out as
a low-budget affair, but as the project grew and the bandmembers' faith in their work
increased, Messe ended up selling off personal possessions in order to afford, for example, an
18-piece orchestra. The resulting album, 2001's Rabbit Songs, was recorded without any
contemporary recording luxuries -- such as samples, computer mixing, or digital wizardry -- and
focused instead on lush, traditional instrumentation and Ellyson's soothing vocals.
DreamWorks inked the band a deal in early 2003, and Rabbit Songs was reissued in July.
Stateside club shows with Leona Naess followed. The group released a split EP, Birds, Beasts, &
Flowers, with fellow chamber/country/pop collective the Autumn Defense in September 2004, with
its second full-length, Eveningland, arriving the following month. No Word from Tom, a
collection of covers, rarities, outtakes, demos, and live recordings, was released on Nettwerk
in 2006. Hem continued releasing material at a prolific pace by issuing Funnel Cloud, the
group's third studio album, that same year.
Three years later, the musicians founds themselves providing the soundtrack to a summer
production of Twelfth Night. Held in Central Park and starring Anne Hathaway, Audra McDonald,
and Raúl Esparza, the show required Hem to perform Irish instrumentals, original songs, and
orchestral mood music. Cast members joined the band in the studio several months later to
record an official album, which was released in October 2009. Meanwhile, the band continued to
work on its proper follow-up to Funnel Cloud. Though 2009's Twelfth Night was issued under
their name, it was essentially a traditional Celtic record performed by a cast of movie stars
and Shakespearean actors, with Hem serving as the backup band. After an extended time away from
one another, the bandmembers resumed working together in a studio in 2012. In the spring of
2013, they re-emerged with a proper new album entitled Departure and Farewell on Nettwerk.
Album Review - from allmusic
Departure & Farewell is the first album by Hem in nearly seven years. They entered the studio
in 2007 to record a proper follow-up to Funnel Cloud, and almost didn't get out. According to
an interview with chief songwriter Dan Messe, the initial sessions were supposed to be for a
final release, and broke down during a tumultuous period for the band internally. Certain
relationships were strained to the breaking point and a period of separation was necessary.
Thankfully, time, willingness, forgiveness, and respect heal wounds. Departure & Farewell is
vital, ambitious; Hem sound renewed (they aren't breaking up). Many, including the opening
title track, "Walking Past the Graveyard, Not Breathing," "Traveler's Song," and others make
use of a large chamber orchestra (usually in parts) with winds, brass, and strings.
Particularly effective are "Gently Down the Stream," with its woven electric and acoustic
guitars and swooping strings, and the interplay of piano, harp, clarinet, guitars, and strings
on "Tourniquet." Other cuts are much more sparse. The moving, hymn-like "The Seed" features the
band with violinist Charles Burnham, while the gorgeous country-tinged "The Jack Pine" adds Bob
Hoffnar's pedal steel. Sally Ellyson's signature warm, lullaby style is present in the silvery
sweetness of "Seven Angels" and the shimmering "Bird Song," where glockenspiel, strings,
percussion, and acoustic guitars offer an otherworldly waltz for her to carry the listener to
another place. "Last Call" is an epilogue to drinking songs on earlier recordings such as "When
I Was Drinking," "Lucky," and "Pacific Street." One of the two homemade choirs guests to
underscore its late-night barroom feel. Another of these sends the record off on the
bittersweet "So Long," a country gospel goodbye steeped in the notion of love without regret,
leaving the possibility of return. No matter how expansive the arrangements, the production by
Messe and guitarist Gary Maurer leaves plenty of room for space; they also -- wisely -- make
Ellyson's voice the unwavering anchor in each song, its place of solace and comfort. Therefore,
Hem's trademark sense of intimacy and elegant directness is never sacrificed. Departure &
Farewell abundantly testifies to the band's creative vitality. Not only are these songs equal
to anything they've presented before -- no mean feat for a record so long in the making --
their poetry and melodies deliver grace and tenderness more abundantly for having been tested
by fire. Track for track, this was well worth waiting for.
Track Listing
1. Departure and Farewell
2. Walking Past the Graveyard, Not Breathing
3. Things Are Not Perfect In Our Yard
4. The Seed
5. The Jack Pine
6. Tourniquet
7. Seven Angels
8. Gently Down the Stream
9. Bird Song
10. Travelers Song
11. The Tides at the Narrows
12. Last Call
13. So Long
never heard of them
alt country flavor on some tracks
Cowboy Junkies vocal maybe
clip was the only thing I liked
then I made the mistake of watching the video
1.3 from me and a converted 2.4 from allmusic
artist web site - http://www.hemmusic.com/
from the album - Tourniquet
http://www.youtube.com/watch?v=IedsGqHAhkU
released Apr 2nd
Bio - from allmusic
The genesis of the New York-based folk outfit Hem goes back to 1999, when songwriter Dan Messe
teamed up with producer/engineer Gary Maurer (who had worked with artists such as Jon Spencer,
Luna, Fountains of Wayne, and James Iha). The two wanted to make a record that would explore
their interests in traditional American music while draping it in contemporary stylings. They
enlisted friend Steve Curtis (guitar, mandolin) and, needing a singer, placed an ad in The
Village Voice. After receiving numerous demos that didn't suit their needs, the ad was pulled.
Then Sally Ellyson called Messe about the spot, though she claimed that she wasn't really a
singer.
Not expecting much, Messe asked for a demo. The tape, a cassette of lullabies she'd recorded
for a friend's child, was exactly what Messe was looking for. The collaboration started out as
a low-budget affair, but as the project grew and the bandmembers' faith in their work
increased, Messe ended up selling off personal possessions in order to afford, for example, an
18-piece orchestra. The resulting album, 2001's Rabbit Songs, was recorded without any
contemporary recording luxuries -- such as samples, computer mixing, or digital wizardry -- and
focused instead on lush, traditional instrumentation and Ellyson's soothing vocals.
DreamWorks inked the band a deal in early 2003, and Rabbit Songs was reissued in July.
Stateside club shows with Leona Naess followed. The group released a split EP, Birds, Beasts, &
Flowers, with fellow chamber/country/pop collective the Autumn Defense in September 2004, with
its second full-length, Eveningland, arriving the following month. No Word from Tom, a
collection of covers, rarities, outtakes, demos, and live recordings, was released on Nettwerk
in 2006. Hem continued releasing material at a prolific pace by issuing Funnel Cloud, the
group's third studio album, that same year.
Three years later, the musicians founds themselves providing the soundtrack to a summer
production of Twelfth Night. Held in Central Park and starring Anne Hathaway, Audra McDonald,
and Raúl Esparza, the show required Hem to perform Irish instrumentals, original songs, and
orchestral mood music. Cast members joined the band in the studio several months later to
record an official album, which was released in October 2009. Meanwhile, the band continued to
work on its proper follow-up to Funnel Cloud. Though 2009's Twelfth Night was issued under
their name, it was essentially a traditional Celtic record performed by a cast of movie stars
and Shakespearean actors, with Hem serving as the backup band. After an extended time away from
one another, the bandmembers resumed working together in a studio in 2012. In the spring of
2013, they re-emerged with a proper new album entitled Departure and Farewell on Nettwerk.
Album Review - from allmusic
Departure & Farewell is the first album by Hem in nearly seven years. They entered the studio
in 2007 to record a proper follow-up to Funnel Cloud, and almost didn't get out. According to
an interview with chief songwriter Dan Messe, the initial sessions were supposed to be for a
final release, and broke down during a tumultuous period for the band internally. Certain
relationships were strained to the breaking point and a period of separation was necessary.
Thankfully, time, willingness, forgiveness, and respect heal wounds. Departure & Farewell is
vital, ambitious; Hem sound renewed (they aren't breaking up). Many, including the opening
title track, "Walking Past the Graveyard, Not Breathing," "Traveler's Song," and others make
use of a large chamber orchestra (usually in parts) with winds, brass, and strings.
Particularly effective are "Gently Down the Stream," with its woven electric and acoustic
guitars and swooping strings, and the interplay of piano, harp, clarinet, guitars, and strings
on "Tourniquet." Other cuts are much more sparse. The moving, hymn-like "The Seed" features the
band with violinist Charles Burnham, while the gorgeous country-tinged "The Jack Pine" adds Bob
Hoffnar's pedal steel. Sally Ellyson's signature warm, lullaby style is present in the silvery
sweetness of "Seven Angels" and the shimmering "Bird Song," where glockenspiel, strings,
percussion, and acoustic guitars offer an otherworldly waltz for her to carry the listener to
another place. "Last Call" is an epilogue to drinking songs on earlier recordings such as "When
I Was Drinking," "Lucky," and "Pacific Street." One of the two homemade choirs guests to
underscore its late-night barroom feel. Another of these sends the record off on the
bittersweet "So Long," a country gospel goodbye steeped in the notion of love without regret,
leaving the possibility of return. No matter how expansive the arrangements, the production by
Messe and guitarist Gary Maurer leaves plenty of room for space; they also -- wisely -- make
Ellyson's voice the unwavering anchor in each song, its place of solace and comfort. Therefore,
Hem's trademark sense of intimacy and elegant directness is never sacrificed. Departure &
Farewell abundantly testifies to the band's creative vitality. Not only are these songs equal
to anything they've presented before -- no mean feat for a record so long in the making --
their poetry and melodies deliver grace and tenderness more abundantly for having been tested
by fire. Track for track, this was well worth waiting for.
Track Listing
1. Departure and Farewell
2. Walking Past the Graveyard, Not Breathing
3. Things Are Not Perfect In Our Yard
4. The Seed
5. The Jack Pine
6. Tourniquet
7. Seven Angels
8. Gently Down the Stream
9. Bird Song
10. Travelers Song
11. The Tides at the Narrows
12. Last Call
13. So Long
