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  5. Sundowner
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Description

To Whom It May Concern,I am here to announce that my new album, Sundowner, will be out October 16th, 2020 via Dead Oceans. THE WRITING: (KANSAS CITY, KANSAS) In the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 off of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn't help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own. As the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o'clock in the summer, when the sunsets are warm and abstract. Landing back home felt jarring juxtaposed with a life full of chaos and adventure with my band on the road. But at the very least, I was happy to have - for the first time in my adulthood - a place to close the door, with no temptations other than to work on music and reflect on what I had built since I left. It was a new form of isolation, one I had never explored or expected to experience. Not ready to let go of the hand of the California desert, I spent the winter decorating the best I knew how; with mementos from my previous home, cactus and aloe vera and covering the walls in pinewood - immediately earning my house it's nickname, The Little Los Angeles. THE RECORDING: Sonic Ranch, Neve Room, Tornillo, Texas In January 2019 I contacted my friend and producer Brad Cook to help recreate what I had made in my shed. We chose to work in Texas; we wanted to make sure the record was done far away from any coastline, and in the heart of America. Brad played bass and some keys on the album, but beyond that he encouraged and inspired me to play almost everything else. All lead guitar, proper drums (save the drums on A Night At The Little Los Angeles"), mellotron and what I believe to be the albums secret weapon - a WWII era collapsible and slightly out-of-tune pump organ - were performed by me. We did, however, bring in James Krivchenia towards the end of the session to fill out the percussion. It was an honor to work with him as he built maracas from pecans and played on the floor of the live room, adding flourish wherever he saw fit. On the last evening of the session, after everything had wrapped, we all climbed on top of an empty water tower on the property, giving us a view in all directions. To the North you could see an endless Texas, with long wisps of cirrus clouds above the desert floor, and to the South there was Mexico, the recent detention camps only a mile beyond, with large cumulus clouds hovering over, bringing us to an ominous pause. To the West, towards the setting sun, the two families of clouds merged, holding the last light of the day in purple and orange. Below, a freight train cut the landscape in half as it whistled in the distance. AFTER Almost as soon as the session wrapped, I was off and away on press trips and then proper tours for Oh My God, which came out in April that same year. Sundowner sat inside of a hard drive back at Sonic Ranch and did not see the light of day, until I found myself, as did the rest of the world, stuck inside their home and in quarantine in March 2020. My second year of touring for Oh My God was cancelled. Brad, Jerry and I worked from our respective homes, sending notes back and forth as we worked alone but together to mix the al"
NEW CD

Kevin Morby

Sundowner

Dead Oceans
2020 studio album

$22.00
Last copy!

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Pressing Info

Artist: Kevin Morby
Label: Dead Oceans
Format:CD , 1CD
Country: USA
Genre:Alternative
Cat No. DOC231CD
Barcode: 656605153124
Year: 2020
Decade: 2020s
Beatdisc SKU: 156957

Condition Info

Cover Condition: NEW
Media Condition: NEW

Beatdisc Grading Guide

New (NEW)
Media
: Brand new and never played.
Sleeve: Brand new and direct from the supplier, usually sealed.
 
Mint Minus (M-)
Media
: Like new, may have been handled but will appear unplayed and have no imperfections during playback.
Sleeve: Unsealed and opened but will appear like new.
 
Excellent (EX)
Media: Usually the highest grade we use for 2nd hand items. The CD/LP may be played and have minor visual blemishes but there will be little to no audible surface noise.
Sleeve: No major visual blemishes. Jacket/booklet will be free of ring-wear, creases or bends but may have light shelf-wear.
 
Very Good Plus (VG+)
Media: The most common grading for our 2nd hand items. The CD/LP may have visual blemishes (which could cause light surface noise on LPs) but will never overpower the music and usually only be audible in-between tracks or in quieter passages.
Sleeve: May have some light ring-wear or visible creases, but will be free of major damage and have no rips, tears etc.
 
Very Good (VG)
Media: Many of the defects found in a VG+ item will be more pronounced when the condition is VG. Surface noise and pops will be more audible on LPs, but there will still be no major audio defects or skips. CDs may have more noticeable visual marks but won't skip or affect playback.
Sleeve: More prominent ring-wear and creasing may be visible, along with possible seam splits, corner wear or booklet creasing. There will still be no major rips or tears but will generally be of a more pronounced “used” appearance.
 
Good (G)
Media: A record in Good condition can be put onto a turntable and will play through without skipping, but it will have significant surface noise, scratches and visible groove wear. CDs in Good condition will have visual markings and may skip.
Sleeve: Strong ring-wear, seam splits, bends/creases, writing or other defects are likely to appear. 
 
Fair (F)
Media: The bare minimum for a playable CD/LP. For vinyl, there will be pronounced surface noise and scratches, as well as the likelihood of small skips or jumps throughout playback. CDs will likely have major visual markings and more pronounced skips or jumps.
Sleeve: Many of the same defects as a sleeve or jacket in Good condition, but these will be more pronounced and start to overwhelm the object. Seams may be coming apart and small rips or tears may appear.
 
Poor (P)
Media: We rarely put out records in Poor condition unless they’re particularly sought-after. The LP will have significant scratching, warping or damage and is unlikely to be fully played.
Sleeve: A jacket in Poor condition will have large tears or rips, may be mouldy or water-damaged and seams will likely be split or completely separated.
 

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Description

To Whom It May Concern,I am here to announce that my new album, Sundowner, will be out October 16th, 2020 via Dead Oceans. THE WRITING: (KANSAS CITY, KANSAS) In the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 off of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn't help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own. As the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o'clock in the summer, when the sunsets are warm and abstract. Landing back home felt jarring juxtaposed with a life full of chaos and adventure with my band on the road. But at the very least, I was happy to have - for the first time in my adulthood - a place to close the door, with no temptations other than to work on music and reflect on what I had built since I left. It was a new form of isolation, one I had never explored or expected to experience. Not ready to let go of the hand of the California desert, I spent the winter decorating the best I knew how; with mementos from my previous home, cactus and aloe vera and covering the walls in pinewood - immediately earning my house it's nickname, The Little Los Angeles. THE RECORDING: Sonic Ranch, Neve Room, Tornillo, Texas In January 2019 I contacted my friend and producer Brad Cook to help recreate what I had made in my shed. We chose to work in Texas; we wanted to make sure the record was done far away from any coastline, and in the heart of America. Brad played bass and some keys on the album, but beyond that he encouraged and inspired me to play almost everything else. All lead guitar, proper drums (save the drums on A Night At The Little Los Angeles"), mellotron and what I believe to be the albums secret weapon - a WWII era collapsible and slightly out-of-tune pump organ - were performed by me. We did, however, bring in James Krivchenia towards the end of the session to fill out the percussion. It was an honor to work with him as he built maracas from pecans and played on the floor of the live room, adding flourish wherever he saw fit. On the last evening of the session, after everything had wrapped, we all climbed on top of an empty water tower on the property, giving us a view in all directions. To the North you could see an endless Texas, with long wisps of cirrus clouds above the desert floor, and to the South there was Mexico, the recent detention camps only a mile beyond, with large cumulus clouds hovering over, bringing us to an ominous pause. To the West, towards the setting sun, the two families of clouds merged, holding the last light of the day in purple and orange. Below, a freight train cut the landscape in half as it whistled in the distance. AFTER Almost as soon as the session wrapped, I was off and away on press trips and then proper tours for Oh My God, which came out in April that same year. Sundowner sat inside of a hard drive back at Sonic Ranch and did not see the light of day, until I found myself, as did the rest of the world, stuck inside their home and in quarantine in March 2020. My second year of touring for Oh My God was cancelled. Brad, Jerry and I worked from our respective homes, sending notes back and forth as we worked alone but together to mix the al"

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