The new Okkervil River album is called Away. I didn't plan to make it and initially wasn't sure if it was going to be an Okkervil River album or if I'd ever put it out. I wrote the songs during a confusing time of transition in my personal and professional life and recorded them quickly with a brand new group of musicians. I got together the best New York players I could think of, people whose playing and personalities I was fans of and who came more out of a jazz or avant garde background, and we cut the songs live in one or two takes – trying to keep things as natural and immediate as possible – over three days in a studio on Long Island that hosts the Neve 8068 console which recorded Steely Dan's Aja and John Lennon's Double Fantasy. I asked Marissa Nadler to sing on it and got the composer Nathan Thatcher to write some beautiful or- chestral arrangements, we recorded them with the classical ensemble yMusic and then I mixed the record with Jonathan Wilson out in Los Angeles.
2013-2015 had been a strange time for me. I lost some connections in a music industry that was visibly falling apart. Some members of the Okkervil River backing band left, moving on to family life or to their own projects. I spent a good deal of time sitting in hospice with my grandfather, who was my idol, while he died. I felt like I didn't know where I belonged. When there was trouble at home, a friend offered me her empty house in the Catskills where I could go and clear my head. New songs were coming fast up there, so I set myself the challenge of trying to write as many as possible as quickly as possible. I wasn't think about any kind of end product; the idea was just to write through what I was feeling, quickly and directly. Eventually, I realized I was writ- ing a death story for a part of my life that had, buried inside of it, a path I could follow that might let me go somewhere new.
"Okkervil River R.I.P." and "Call Yourself Renee" are good emotional transcriptions of that time. I wrote the latter on psylocibin mushrooms on a beautiful afternoon in early fall in the Catskills. I wrote "The Industry" quickly after getting some bad news. "Comes Indiana Through the Smoke" is an anthem for the battleship my grandfather served on during the Pacific Theater of World War II. Before becoming a private
school Headmaster, my grandfather was also a jazz musician; he paid his way through college as a bandleader, toured with Les Brown and His Band of Renown, and spent summers playing a residency at a NH lakeside gay dance club called The Jungle Room that kept live monkeys in the basement. (You can hear his actual trumpet on this song, played by C.J. Camarieri from yMusic.) "Judey on a Street" is a love song, sunny but written late at night when the woods are maximum spooky. We cut "She Would Look for Me" pretty shapelessly, with a lot of improvisation, and it's also a love song. "Mary on a Wave" is about the feminine aspect of God but is in a very masculine tuning: DADDAD. It's also a love song. I wrote "Frontman in Heaven" in an obsessive three- day streak of writing for 14 hours, going to bed, getting up and writing again. It wasn't a pleasant experience. I wrote "Days Spent Floating (in the Halfbetween)" by just jot- ting down the first sentence that popped into my head every morning in October im- mediately after I opened my eyes. At the end of the month I had a finished song. It was recorded as an afterthought as the last thing we did when they were about to kick us out of the studio. You can hear me flub some lyrics. But one take and we had it.
I think this record was me taking my life back to zero and starting to add it all back up again, one plus one plus one. Any part that didn't feel like it added up I left out. Weirdly, it was the easiest and most natural record I've ever made. More than any time in my life before, I felt guided by intuition – like I was going with the grain, walking in the direction the wind was blowing. The closer it got to being finished, the more the confusion I'd felt at the start went away. It's not really an Okkervil River album and it's also my favorite Okkervil River album.
Jesse Hale Moore
Jesse Hale Moore was born and raised on Aquidneck Island, RI. Moore grew up surrounded by music in a family where everybody could sing and play an instrument. It wasn't uncommon for family gatherings to turn into jam sessions with guitars, mandolins, and many voices singing in harmony to a repertoire consisting primarily of American Folk standards. Through his adolescence Moore studied piano and voice and was always making music of his own. Artists like Ben Folds and Elton John inspired his earliest songs written in high school, a time when he'd host moody nights of candle-lit musical performances in the living room of his parent's home.
For the last ten years Moore has been living in Philadelphia where he has cultivated his sound as a singer/songwriter. Early piano/vocal demos caught the attention of friend and fellow musician David Hartley, of Nightlands/The War On Drugs, who encouraged him to record the songs in studio. With the help of Canvasback Music/Atlantic Records and with Hartley producing Jesse was able to record his first two singles "Every Time" and "Holding A Sign" which came out in the Fall of 2015. The following year was spent playing shows in Philadelphia and New York while recording new music. His self produced debut album, Green End, is named for the Avenue his grandparent's home was on, a house he spent a lot of time in as a child.
Moore is inspired by the textures and space at play in music by artists like Sade and Rhye and he aims for a sound that stands the test of time. Other influences include Hall and Oates, Carole King, Roberta Flack, and Beck. His first album is an intimate introduction to an artist who is ready to carve out a space of his own within the world of classic American songwriters.