Josh T. Pearson
Available languages: EnglishTexas singer and songwriter Josh T. Pearson is best known as the frontman for the short-lived cult indie roots band Lift to Experience, who issued a self-titled EP in 1997, a single, and a sole double album, The Texas-Jerusalem Crossroads (which is the stuff of underground legend), in 2001 before splitting. Pearson spent the next decade touring in the U.S. and abroad, including appearing as an invited guest at several All Tomorrow's Parties festivals. Recordings under his own name include an official live bootleg entitled To Hull and Back recorded in the U.K., a live DVD single, and one side of a single he split with Australia's Dirty Three; his half is a stellar version of Hank Williams' "I'm So Lonesome I Could Cry." Pearson has done some sideman work, most notably as a guest vocalist on two tracks on the Bat for Lashes full-length Fur and Gold. He reunited with former Lift to Experience drummer Andy Young, with Robert B. Weaver III of the Paper Chase on bass, to support My Bloody Valentine in Austin, Texas in April of 2009 during their re-formation tour. He moved to Paris later that year and joined a nightclub band with Bosque Brown and H-Burns. He left Paris in early 2010 for Berlin. Pearson signed to Mute Records in 2010 and recorded his debut for the label, Last of the Country Gentlemen. The album's first single, a kind of minimalist epic pop number entitled "Country Dumb," was released in early March of 2011. The album followed a few weeks later. Pearson returned in 2018 with his sophomore solo album, The Straight Hits!, a set of ten tracks, each of which featured the word "Straight" (or "Straits") in its title. Released via Mute once again, the record was a departure from the sound of its predecessor and focused on more straightforward song structures, replacing stripped-back acoustics with a more equipped "band feel."
© Thom Jurek /TiVo
4 albums gesorteerd op Meest aanbevolen en gefilterd op Blues/country/folk
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Folk - Verschenen op 15 maart 2011 | Mute
Josh T. Pearson's Last of the Country Gentlemen is a nakedly confessional, unflinchingly honest, sometimes suffocatingly intimate album. It profiles the desperation of one who desires deliverance from tormented obsession and self-destructive behavior, yet can find neither rest nor redemption. Pearson expresses this without megalomania or self-pity. He's fronted by Texas trio Lift to Experience, who released a single album a decade ago, The Texas-Jerusalem Crossroads, which married the beautiful, overdriven sonics of My Bloody Valentine to Americana with Biblical-scale spiritual visions. But Pearson's lived hard and wild in the ensuing decade. Last of the Country Gentlemen reveals that he still believes in his God, but he's been also torn apart by love, drink, and a past he cannot reconcile, but which he accepts full responsibility for. Recorded over two nights in Berlin, the disc contains seven songs -- four over ten minutes long -- usually skeletally adorned by his voice and elliptical guitar playing. (The latter is sometimes a device he'll employ for long stretches, seemingly to summon the courage to continue to sing). These songs are direct lyrically, and often repetitive, but seldom do they offer resolution. They can make monumental leaps in narrative and emotion: one moment he's expressing naked tenderness, the next drunken brutality, and in a flash, he shifts back. Opener "Thou Art Loosed" features Pearson's beautiful falsetto in a wished-for bravado he doesn't possess: "Don't cry for me baby/You'll learn to live without me/Don't cry for me baby/I'll learn to live without you," before truthfully snarling the delusional, "I'm off to save the world/At least I can hope," at song's end. "Sweetheart I Aint Your Christ," spurns a lover's enormous need because it terrifies him. His own hunger appears later in "Sorry with a Song." "Woman When I've Raised Hell" (which features a small string section that includes Warren Ellis) demands acceptance of his alcoholism, because refusal would result in violent consequence. The hinge piece, "Honeymoon's Great! Wish You Were Here," is a tormented confession revealing his love for a woman he isn't marrying. Its lyrics are too profound to excerpt; it's the most loaded (and finest) song in this collection. That woman returns three songs later in closer "Drive Her Out," which is a truer alter-ego of "Thou Art Loosed." Last of the Country Gentlemen is a demanding listen; its wandering pace, its startling, emotionally jarring terrain of uncalculated honesty, and its obsession can be uncomfortable. That said, it is a recording of surprising originality and great beauty. © Thom Jurek /TiVo