314 E. Mountain Ave
Fort Collins, CO, 80524
Doors 6:00 PM / Show 7:00 PM
Watch & Listen
Lean in to Mandolin Orange’s recent album, “Blindfaller,” and it’s bound to happen. You’ll suddenly pick up on the power and devastation lurking in its quietude, the doom hiding beneath its unvarnished beauty. You’ll hear the way it magnifies the intimacy at the heart of the North Carolina duo’s music, as if they created their own musical language as they recorded it.
Building on the acclaim of Mandolin Orange’s 2013 breakthrough debut on Yep Roc Records “This Side of Jordan” and its follow-up, last year’s “Such Jubilee,” their new album “Blindfaller” is already following suit. Upon its September 30 release, the album charted on Billboard’s Bluegrass (#3) and Folk/Americana (#16), made Rolling Stone’s “40 Best Country Albums of 2016” and was featured on NPR’s “Heavy Rotation,” among others.
“When we finished ‘Such Jubilee,’ I started writing these songs with a different goal in mind. I thought about how I would write songs for somebody else to record,” Marlin explains. “I ended up with a bunch of songs like that, but we chose ones that I still felt personally connected to.”
Holed up at the Rubber Room studio in Chapel Hill, N.C., with a full band this time around, they laid down the tracks in a week between touring. They’ve always been keen on the notion that drawn-out recording sessions don’t necessarily yield better results. A good song, and just one good take, will always shine through any studio sorcery.
The passage of time, and the regret that often accompanies it, courses through these songs. “When did all the good times turn to hard lines on my face/ And lead me so far from my place right by your side?” Marlin ruminates on “My Blinded Heart.”
In fact, there’s heartache by the numbers on “Blindfaller.” If you didn’t know better, you’d swear “Picking Up Pieces” is a tearjerker George Jones or Willie Nelson sang back in the early 1970s. It’s a Mandolin Orange original, of course, and also a poignant reminder of the economy and grace with which Marlin imbues his songs – say what’s important and scrap the rest.
A country dirge with soulful washes of pedal steel and mandolin, “Wildfire” details the the lingering, present-day devastation of slavery and the Civil War, with Marlin’s voice locking into close harmonies with Frantz on the chorus. “Take This Heart of Gold” opens with perhaps the best classic-country line you’ll hear all year: “Take this heart of gold and melt it down.” (Marlin admits it was inspired by a Tom Waits lyric he misheard.)
But there’s also room for detours. Straight out of a honky tonk, “Hard Travelin’” lets the band shift into overdrive. A freewheeling ode to life on the road, it had been kicking around for a while but never fit on previous releases.
As for the album title, it’s meant to evoke a sense of wonder, of contemplation. A “faller” is someone who fells trees, and in this case that person is blind to his/her own actions and those of the world. The spectral cover photo, by Scott McCormick, is open to interpretation, too: Either those trees are engulfed in flames or sunlight is pouring through them. It’s up to you.
“We wanted different vibes and different intuitions on these tracks,” Marlin says, “and I feel like we really captured that.”
Close your eyes and imagine the Everly Brothers wearing Tie-Dyed Nudie Suits. Okay, now open them. There’s Mapache.
Youngn’s Clay Finch and Sam Blasucci, the Mapache boys, are barely in their 20s and are already rising to the top of the new wave of West Coast Cosmic Americana. Born and raised in Glendale, California, their breathtaking harmonies and heartfelt yet heady sound, was honed by surfing the beaches and exploring the deserts and canyons of their native California.
Clay spent time at Chico State while Sam missioned in Saltillo, Mexico, living out what would become the songs on their self-titled debut album on the Spiritual Pajamas label.
The lineage of Mapache has blood running back to the first wave of psychedelic country revivalists Beachwood Sparks. Clay is a cousin of Beachwood main man Chris Gunst. Chris and GospelbeacH’s Brent Rademaker went to bat for Mapache by helping them score their first club shows and recording sessions with Dan Horne. Since then they’ve made fans of no less than Chris Robinson, Neal Casal, Jonathan Richman and the Allah Las among numerous others on the California music scene.
“One memorable night they showed up to our gig with deep surfer tans and big white circles around their eyes just like raccoons—Mapache is Spanish for Raccoon,” remembers Rademaker. “The boys set up on stage, sang and played their timeless and soon to be classic songs into a single microphone. Time stood still, and the normally chatty LA crowd closed their mouths and opened their ears and their hearts to Mapache. At that very moment I knew they were on their way.”