George Stanford, Dawn Landes
9081 Santa Monica Blvd
Los Angeles, CA, 90069
This event is all ages
The jack pine doesn’t yield its seed willingly. Seasons can come and go and years—even decades—can pass, and the seeds remain locked in the cones. There is only one catalyst for this unusual tree to reproduce: fire. As flames rise to the tree’s crown, the cones open, bringing forth the seeds of new life. It’s a striking image, one that formed the basis of “The Jack Pine,” a song that is representative of Hem’s extravagantly bittersweet five-years-in-the-making album, Departure and Farewell. It’s also a perfect summation of this unusual chapter in the band’s life, which started as a breakup before becoming a rebirth—a point lost on none of the members.
“The metaphor of fire, burning everything to the ground for something to be reborn, was a powerful one,” notes guitarist/vocalist Steve Curtis, who originally wrote the song to mark the dissolution of his 15-year marriage. “But it proved to be prescient, not just foreshadowing the themes of the album but the things that were yet to come for us all.” Like a tall pine with the flames encroaching, the members of Hem believed—with varying degrees of certainty—that this album would be its swan song. “The original idea for the album was that we wanted to wrap everything up in a nice bow,” says Dan Messé, the band’s keyboardist and chief songwriter. “And a lot of the early songwriting was about that.”
The stage was certainly set for the band to go out on a high note. By 2007, Hem had recorded three well-received albums—along with a B-sides-and-rarities disc plus a handful of EPs—and had been rewarded with a dedicated following. Its songs, graced with the unmistakable voice of Sally Ellyson, had begun soundtracking an entire long-running ad campaign for Liberty Mutual. For a band that’s always thrived on being able to hire extra players—including entire orchestras—to realize its grandiose sonic visions of lushly arranged Americana, the time of prosperity brought new possibilities. “We spent a lot of time with Greg Pliska, the orchestrator,” recalls Gary Maurer, a guitarist who’s always acted as Hem’s in-house producer. “Dan always has specific ideas where the orchestra is concerned, and we really executed them. We had the money this time to work with really big groups. We’d have as many as 30 people in the room all at one time overdubbing to the basic tracks.” On top of that, the band was invited to write the score for the Shakespeare-in-the-park musical version of Twelfth Night, starring Anne Hathaway and Audra McDonald, performed in New York’s open-air Delacorte Theater in summer 2009. Curtis even ended up onstage as a member of the musical ensemble. Despite Ellyson’s absence from the project, an album of musical highlights bore the Hem name.
But as work on Departure and Farewell continued, it was increasingly characterized by upheaval, riven with by the dissolution of two marriages, and punctuated by addiction, family loss and crisis. Eventually discord set in, making it even more likely that the band’s career would end here, and not with a grace note. "It turned into a much uglier goodbye,” recalls Messé, who, in the course of seeking help to function, ended up hooked on prescription pills for the better part of two years. The songwriter now reflects on the time of missed commitments, frustrations and dependence with regret. “It strained every relationship that I had. And the album almost didn’t get finished.” At his lowest point Messé wrote “Tourniquet,” which imagined his surrounding neighborhoods as instruments of torment. “Brooklyn, I’m broken – I’m breaking apart / Greenpoint pins down my hand, Red Hook pierces my heart / And my blood runs into the Gowanus Canal / Where it sinks to the bottom / And hurts like hell.”
Slowly, relationships between all the band members began healing as work resumed. “After we came back together, the feeling was a lot more loving,” Messé says. “We were all really appreciative of what each person brought to the project.” And in the process, the band, which seemed to be finished, has found new life. What was intended to be a swan song is now a hymn of rebirth. And even with growing families, the band still intends to tour. “Even as recently as 12 or 18 months ago I don’t think anyone would have foreseen this,” observes Curtis, a note of astonishment in his voice. “I think the best-case scenario was that we’d be able to email files back and forth enough times to get this mixed and mastered and released, then that would be it.”
Lurking behind all of the drama, and perhaps better for it, Departure and Farewell stands as the best, most heartrending work the band has ever done. “Would I have traded my marriage for a song like ‘So Long?’” Messé asks. “Definitely not. But given that my marriage was coming apart at the seams I’m glad to have that comfort.”
"Dan’s songs always manage to tap into that universal internal truth that feels like the most personal place,” Ellyson says. “This album is about loss, about the fear of loss and about the trajectory of life. And in this time in my life I’m very aware of all that, so it was one of the more emotionally resonating albums to record.”
“Hem is such a shared project,” Messé adds. “It’s intense. And we all want it to be the best thing we’ve ever done. It always had that ethos behind it.” This time around, the ethos is bathed in some new textures, with “Walking Past The Graveyard, Not Breathing” employing a wind ensemble to evoke a New Orleans funeral, while “So Long” relies on a gospel vocal group, a first for the band. “Things Are Not Perfect In Our Yard” double-tracks Ellyson’s voice, another successful experiment, and “Traveler’s Song” includes a brass quintet.
In ironic juxtaposition, it may have marked Hem’s worst time professionally and personally, but it’s also the band’s best work to date. And in the process, the sign reading “The End” has been changed for one marked “To Be Continued.”
“We hope it’s not a swan song,” Messé says. “We certainly have more things we want to say. And we have more songs in the pipeline.”
“We really are a family,” Ellyson says. “We fight like a family. We love like a family. We stick together like a family. Nobody’s going to lose their place in this band because you don’t lose your place in a family. Even Dan couldn’t quite shake us free. I think that’s a real testament to the core of what Hem is.”
George Stanford made his way to the front of the band through the brass section, where he played trombone in every type of band he could as a kid. Trombone proved to be a dangerous 'gateway' instrument, leading him to the bass, guitar, keyboards, and anything else that would make noise. These instruments led him to discover his love for singing, and the beautiful puzzle of songwriting. He studied the trombone at University of the Arts in his native Philadelphia for a year, where he formed the rock group Townhall. Realizing the academic lifestyle wasn't for him, he left school to set out on the road with his band. After touring, recording, and starving for over five years, the group decided to go their separate ways in early 2006. With the demons of rock and roll calling his name louder than ever, and a new understanding of his own musical voice, George left his home, family, and job at the laundromat for the bright lights of Los Angeles, to record a batch of new tunes. Within weeks of getting to the big city, he signed a recording contract with Epic Records. After a little shake up in early 2007, George moved to Mercury Records and became the first artist on the revived classic label. His debut record, 'Big Drop' was released in June 2008. Billboard magazine called it "a promising debut from a serious talent." He has since rejoined the ranks of independent musicians, and lives in Hollywood, CA, recording and producing his and other artists' music
“Studios showed her how hard the business is. She continued to write and perform, but she also learned how to engineer and produce… And then, as the female singer/songwriter Bible dictates, she went to Paris. Where, according to that same Bible, she got her first contract and made her first CD.”
- HUFFINGTON POST profile on Dawn Landes
Kentucky born Dawn Landes first traveled to Paris to perform in the Les Femmes s’en Mêlent festival as a 22 year old songwriter. Her hand-made cds caught the attention of indie label Ocean Music who released her first album “Dawns Music” in France in 2005. She toured the country for the next few years, not speaking a word of French. Picking up bits of slang from the musicians she met on the road, Landes started to learn the songs of French greats Serge Gainsbourg, Francoise Hardy and Georges Brassens. When Paris-based label Fargo released her second album “Fireproof” in 2008, it was praised by the European press and she appeared on many French radio programs, touring the French countryside with artists such as Feist and Andrew Bird. Shortly after, Landes moved from New York to Paris into a little flat near Parc Georges Brassens. One morning she found herself at an antique book fair in the park and discovered a picture book with a 45” vinyl record titled “George Brassens Chante Pour Les Enfants” (George Brassens Sings for Children). The songbook inspired her to write the first song on this album “Mal Habillée” (Badly Dressed) in nursery rhyme style: part sweet, part sinister.
“Writing in a new language is a beautiful contrast,” says Landes. “You have the wonder and vocabulary of a child but the desires of an adult.” Working in collaboration with French songwriters and friends, Landes delivers a collection of eight French songs in the musical style of Yé-Yé, with guest appearances by singers Matthew Caws (Nada Surf), Tunde Adebimpe (TV on the Radio) and more. Accompanying the album is a large format picture book with translations and illustrations. It is now available as a digital e-book and also in old-fashioned print form.
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