Fleet Foxes
• Wednesday 7th January 2009 - San Francisco Bath House – Wellington
• Thursday 8th January 2009 – The Bruce Mason Centre – Auckland
Tickets $55.00 plus booking fee, on sale from Ticketmaster from 13th October 2008.
Abridged Fleet Foxes Biography
Fleet Foxes on Wikipedia
About their music, singer Robin Pecknold puts it best: “We aim to be adventurous and true to ourselves and to enjoy our time together—the music we make is a reflection of our instincts. To me, the most enjoyable thing in the world is to sing harmony with people, so we do that a bunch. We love acoustic guitars, electric guitars, big rolling tom drums, mandolins, dulcimers, bass guitars, bass pedals, organs, pianos, kotos, and most of all harmony and melody. We’ve succeeded for ourselves if we’ve made a song where every instrument is doing something interesting and melodic. We try to draw from the traditions of folk music, pop, choral music and gospel, baroque psychedelic, sacred harp singing, West Coast music, traditional music from Ireland to Japan, and film scores, and are inspired by the music of our friends and contemporaries in the Seattle music family.”
Recorded prior to Sun Giant, Fleet Foxes and the EP form a cohesive unit, cut from the same harmonious cloth, sturdily woven from shimmering strands pulled from sources that range from the natural world and familial bonds to bygone loves and stone cold graves. Fleet Foxes flows from a trickle of slowly melting snow to meandering river, rushing rapids, then back again. The jangly warmth of album opener “Sun It Rises,” is brought to life with multi-part harmonies that spread across some distant or not so distant terrain, slowly ascending higher to reveal hilltop crescendos, bleeding through to valleys and melting over plains before giving way to “White Winter Hymnal”’s cyclical prose, rolling rhythms and stark comparisons of blood on snow to strawberries in summertime. Haunting shadows and unsettled melodies dance with demons in “Tiger Mountain Peasant Song,” the spare acoustic guitar of “Oliver James” is broken with gentle taps on the Martin’s hollow body, while soaring a cappella vocals evoke the dawn of a new life, cloaked in whispers from generations past.
“All we strove for with this record was to make something that was an honest reflection of who we are, citizens of the western United States who love all kinds of music and above all else love singing… This record is like our first steps and like any newborn, we made mistakes and made discoveries and in the process better found out who we are! That is what the record represents to me when I hear it now—the process we went through to find ourselves the first time. We cannot wait to continue making records, to explore all there is to explore in this vast musical landscape and test ourselves in new ways through song.”
For the full biography, photographs, mp3s etc visit the Sup Pop website
