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The word “extraordinary” is defined as something beyond, amazing, or incredible. The word “extralife” doesn’t exist. But in the world of Darlingside—another previously non-existent word—it’s all about invention, expansion, and elevating everything into the realm of the extraordinary both conceptually and through musical performance.
The band’s new album Extralife intensifies the journey begun on its critically acclaimed 2015 album Birds Say. On that project, Darlingside’s quartet of bassist Dave Senft, guitarist/banjoist Don Mitchell, violinist/mandolinist Auyon Mukharji, and cellist/guitarist Harris Paseltiner fused assertions (“Go Back”), assumptions (“God Of Loss”), predictions (“The Ancestor”), projections (“Do You Ever Live?”) and reflections (“White Horses”). “We put our four heads together and created this collective consciousness about bits and pieces from our past and how we saw the world based upon reminiscences,” explains Paseltiner about that sojourn. It having been the Massachusetts group’s second full-length outing, Birds Say mastered a musical and lyrical path that led to the more challenging territory explored on Extralife. Mukharji describes the “Extralife” concept as “…a life beyond where we are now, whether that’s a brand new thing, a rebirth, or just a new version of ourselves as we move forward.” So by abandoning Birds Say’s nostalgia and its tales of “what once was,” Darlingside created its polar opposite with Extralife, the new album exploring “what is now” and “what might be” simultaneously in the brave new world.
“A lot of the album has to do with the present and the future,” Mukharji reveals, “that future being a completely unknown quantity and the present being a new and bizarre place to be living in. I think we’re grappling with a number of aspects of reality we had not expected.” That reality, surviving a dystopian landscape, constructs the new album, the band killing many of its prior darlings (the name Darlingside being a reference to non-attachment) in the process. Their Birds Say, wide-eyed innocence is now bloodshot for the better. As the title track “Extralife” informs in four-part harmony, “It’s over now / The flag is sunk / The world has flattened out,” it loosely sets the new album’s premise. However, the recording also delivers hope through Beach Boys-inspired vocals that contrast with lyrics such as “The fiery flower beds above / Mushroom clouds reset the sky.” “Eschaton” uses a similar formula, this time immersing its Waterworld imagery in fun, fluid synthesizer runs, concluding with the rally, “No matter what we’ve been / We are the upshot now.” Its axis-flipped, Escher-mimicking lyrics sketch a variation on the End Times that suggests it’s actually preventable. Even the “Taps”-inspired trumpet mourn and harmonica cries of “Hold Your Head Up High” are held at bay by the uplifting, anthemic chorus chants of the song title’s message.
As seen throughout the above, Extralife is not shy about employing metaphysics to prove its flexible theses. Perhaps the most blatant example would be in “Futures.” Despite despondent references to “futureforests in the sea,” “bikini snow,” (a historical nickname for nuclear fallout) and even the Thermocene Epoch, we’re encouraged through time-traveling radio transmissions that “It’s not ever too late,” undeniable when empowered by those powerful four-part harmonies. Even the song’s tiny interpolation of The Beatles’ “I’ve Just Seen A Face”, “Falling, yes I’m falling, and she keeps calling me back again,” is a reassurance that, yes, as even The Fab Four suggested, we will find our way back. And if doom and gloom is reversible, perhaps whatever darling is emerging on “Indian Orchard Road” can be killed or contained by the sheer beauty of a Darlingside musical assault.
Although Darlingside’s signature superpower is considered to be their vocal prowess, it perhaps can overwhelm their presentations’ subtleties, both live and in the studio. After all, the mind gravitates to that which is charming, and their harmonies could seduce the rings off Saturn. But Extralife is the first Frankensteining—as the band puts it—by the group’s four equal-status members. Each one now equally contributes to something way bigger than his individual part. Equal contributions of vocals, lyrical altruism and wisdom, and effortless musicianship are what empower today’s Darlingside and animate Extralife’s twelve reality-benders.
As evidenced in their new recordings, these young turks jettison preconceived notions and hardwired life lessons with the grace of choirboys. This time around, there’s no patience for a lengthy, lighthearted song such as Birds Say’s “Harrison Ford” when a cut-to-the-chase commentary on the “American dark horse” using a short but pathos-rich “Rita Hayworth” as its vehicle will suffice. Also, instead of relying purely on its very capable, musical fraternity of core members, they even eliminate their Darlingside darlings by expanding its Americana with surprising instrumentation such as the aforementioned trumpet, plus synthesizers, echo-chambered flutes, and more. Of the gifts and weapons left by these honorary Darlingsidians, Mukharji informs, “It very much feels like a big, communal family that’s growing together. That’s a very exciting thing.” And once described as boyishly cryptic, their innocent, poetic lyrics also were felled on the field. On Extralife, lyrics must serve as standalone poetry, cautionary tales, and extended musical backdrops via phonetics with no clear boundaries.
So considering all of the above, what exactly is “Extralife? ” “The idea of the ‘extra life’ in a video game is another chance or another path, and the ability to continue,” reveals Paseltiner. “We read an article about Mario Brothers and the development of Nintendo in The Economist. With that first track on the album, Auyon had been conducting a lyrics experiment where he was writing from the viewpoint of Mario stuck in a video game. We then ended up taking our songs beyond the confines of that video game experiment, identifying with some of its themes like either feeling stuck in a certain dimension and having a desire to break into the next one or what it means to break beyond the sphere we are stuck in—the present. The album goes through a series of songs that deal with that.”
As “Best Of The Best Of Times” posits, “I wonder whether our days are unnumbered,” if we’re truly heading towards Game Over. Neither Extralife nor its creators have any solutions. On the other hand, “Orion” offers some guidance as to preventing the “what is now” from cementing the “what might be” explored across this brave new album: “The beach is just a line in the sand / The tide is in the palm of your hand / It’s looking like the start or the end / Either way ahead is around the bend.” Perhaps by moving beyond our preconceptions—going Extralife—we can create an amazing future by steering this world towards something incredible. That all makes up the definition of extraordinary.
If you take a look through his family tree, one thing becomes abundantly clear: Henry Jamison was born to write songs. There’s his father, a classical composer, and his mother, an English professor, who both inspired and encouraged him directly, but if you continue tracing Jamison’s lineage back even further, some interesting names start to turn up. Go back to the 1800’s, for example, and you’ll find “Battle Cry of Freedom” author George Frederick Root, the most popular songwriter of the Civil War era. Travel even further back in time, to 14th century England to be exact, and you’ll find the poet John Gower, known to be a friend to both Chaucer and Richard II.
With his stunning debut album, ‘The Wilds,’ Jamison is ready to claim his place as the latest in a long line of remarkable storytellers. Blending delicate acoustic guitar and banjo with programmed percussion loops and synthesizers, the Vermont songwriter grapples with the jarring dissonances of contemporary life in his music as he struggles to reconcile the clashes between our inner and outer selves, the natural world and our fabricated society. Jamison is a solitary artist, writing, recording, and arranging everything himself on the album including the string arrangements, and he pens his lyrics with cinematic precision, conjuring vivid scenes and fully realized characters wrestling with existential crises and modern malaise. His dazzling way with words and keen ear for memorable hooks at once calls to mind the baroque pop of Sufjan Stevens and the unflinching emotional honesty of Frightened Rabbit, but the delivery is uniquely his own, understated yet devastating. Jamison is a solitary artist who writes, records, and arranges everything himself, including all of the album’s gorgeous string arrangements, and ‘The Wilds’ is a pure reflection of the world through his eyes.
Recorded on a mountainside in Goshen, VT, during breaks in the maple sugaring season, ‘The Wilds’ comes on the heels of Jamison’s 2016 breakout debut EP, ‘The Rains.’ Tracks from that collection racked up more than 20 million streams on Spotify, as his uniquely off-kilter brand of lyricism earned a swarm of critical acclaim. NPR’s World Café featured Jamison in their breaking artist series, raving that his “descriptions of places ring true and his subtle production touches stand out,” while Vice Noisey said his “mellow folk…soothes your nerves,” and Consequence of Sound praised him as a “visual lyricist” writing music that “sounds like a dream taking form.” The EP earned Jamison dates with Big Thief, Lady Lamb, and Tall Heights plus festival appearances and performances across Europe.