Paper Bird (Album Release) w/ He's My Brother She's My Sister
also: CHIMNEY CHOIR
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Paper Bird’s backbone is their songwriting, musicianship and a general allergy to all limitations and trends. With seven members and no leader, possibilities are ever unfolding, with fluctuations in style and mood akin to weather patterns.
When asked what genre of music they play, they answer “joyful.” The seven-piece band consists of three female singers, accompanied by banjo, guitar, stand-up bass and trombone. Young in age but timeless in spirit, Paper Bird continually captures the hearts of new listeners and long-time fans. Their rare and beautiful approach to music led them to be featured on NPR’s All Things Considered and they were voted in the Top 10 Best Underground Bands by Denver Post two years in a row, as well as 5280’s Top of the Town 2009 “Top Local Band”. In the last year they have played Red Rocks Amphitheater to an audience of over 8000 people and have shared the stage with Devotchka, Judy Collins, Grace Potter & the Nocturnals, Glen Campbell, and Big Head Todd & the Monsters. Their haunting and authentic sound is a refreshing and breathtaking blend of folk, jazz, bluegrass and rhythm and blues.
The members of the band- Sarah Anderson, vocals and trumpet; sisters Esmé and Genny Patterson, vocals; Paul DeHaven, guitar; Caleb Summeril, banjo; Macon Terry, upright bass; Mark Anderson, percussion – create a smooth sound that pushes the boundaries of the modern day music scene.
The band’s inception came a few years ago in Breckenridge, Colorado. They wrote a song as a cure for cabin fever, and tested playing it standing on a street corner, where they earned a few dollars and decided to form a band. Shortly after they went into the studio and recorded their first self-released album Anything Nameless and Joymaking (2007), which has been a top selling record in local retail stores since its release. Following releases include: A Sky Underground (2009), When the River Took Flight (2010), and Carry On (2011).
If you have yet to catch He’s My Brother She’s My Sister live, come see why they have been called “delightfully original” (Indieshuffle) and “forward thinking folkies forging new ground”(New Times).
He’s My Brother She’s My Sister is like a time warp to the golden present, wrapping nostalgia around the here and now with throwback flair and good taste. They make debauchery and estrangement so glamorous. The songs are as catchy as a radio pop jam, but throw off the trappings of plastic pop and wrap you in fur, folk, and the last drops of moonlight. (LA Record, February 24, 2010)
[Their] voices mingle like glamour in the desert” and serve up “party music for coyotes drunk on champagne,” (LA Weekly).
“Their mojo (has) the power to heal the afflicted” (LA Deli Magazine).
Chimney Choir's new album, (compass), is music played on banjo, fiddle, guitar, and piano and sung in three part harmony. It is layered with electronic drones, field recordings, and conversational rhythms played on junk percussion. The songs were born on the road - it was sketched out, improvised, jammed, performed, scrapped, and reinvented over months of touring in the US, Germany, Holland, and Belgium. They were hashed out around campfires in between gigs, sung in the van during long stretches of driving, and tested in front of a new audience every night.
When the recording process started, the band wanted to capture a unique sonic character. The drums were tracked in an historic 1920's theater, they sang in a makeshift vocal booth in an urban carriage house, and retreated to the mountains for the finishing touches. They incorporated field recordings from Belgian train stations, Kris picked back up her childhood fiddle, and a new dimension was layered with the bass of Tom Plassmeyer. Their vision of bringing together acoustic and electronic sounds was developed while mixing with co-producer Jeremy Averitt (Princess Music, Clouds and Mountains.
(compass) was released over four months in a series of semi-theatrical performances at Leon Gallery in Denver, CO. Each monthly performance investigated a cardinal direction in hope to 'find the compass.' The performances were inspired by minimalist Fringe theater, where production was suggested or even imaginary. The shows experimented with sound collage, storytelling, puppetry, dance, and ritual. They lit candles, burned incense, and painted their faces. "We're establishing dreamlike environments where the audience can't really tell the show from reality after a certain point." Rynhart said of the performances. The final episode took place on June 23rd with the full release of (compass). The album was 'found' during a mock game show within a show at an antique warehouse near Denver's Valverde neighborhood, built on an old farm site that was once known for producing the world's best celery.
Comparisons have been as far flung as Harry Nilson, The Fleet Foxes, Sufjan Stevens, Incredible String Band, Kurt Weill, and David Bowie. The band is currently working on a multi-media performance art show centered around the discovery of an inter-dimensional communication device. There are also plans to release an acoustic folk album and rumors of a collaboration with Wonderbound, the experimental ballet company based in Denver. One thing is for certain - Chimney Choir squints into the future because it is so bright.
"Denver-based Chimney Choir is more than just a group of talented multi-instrumentalists looking to evoke an old-timey sound. They are an artistic oddity; a unique homemade collage of sound. Yes, they have the usual roots laced deep in the soil of Americana and folk, though, the character of their melodic folk sound hinges largely on a skillful balancing of freaky vocal interplay with computer synths, traditional acoustics and kitchen sink percussion. Original, catchy and ripe with a strangely warm and welcoming aesthetic"
- Flagstaff LIVE (March, 2013)
Kevin Larkin - mandolin, samples, percussion, harmonica, accordion, synth, vocals
Kris Drickey - banjo, keyboards, guitar, violin, percussion, vocals
David Rynhart - guitar, flute, piano, percussion, vocals
Carl Sorensen - shakers, bottles, cans, random metal objects
Tom Plassmeyer - bass