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One-Sheet, Contact/Release Info, Streaming Player, mp3 and Press Photos:
sideB: running
time: 22:09
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Things you may want to know: * Light Time, as a whole, references not only illumination of darkness, but weight, and the speed at which these phenomena interchange. * Side A is comprised of two interwoven tracks: "Petrified Forest" presents metaphors of industrial and emotional decay. Arrangements grow from sparseness, as nostalgia blossoms like weeds within rubble. Lyrical imagery includes abandonment of children and factories, neglect and fear-based decisions. The final line ushers the sound of hope as the strings swell to crescendo: "In the petrified forest, where your heart is frozen still, you will bring it to life...you will bring it... you will" The track "Light Time" illuminates the
path and closes with sinewy eastern melody and circular, primitive
percussion along with a warning/confirmation: "Don't try to
run from your choice, The years will take away your voice" * On Side B, Lewis & Clarke eats it's own fruit with "Dead and Gone". It was originally recorded and released on Bare Bones and Branches. The Rhodes piano played by Lou Rogai on this song is suspected to be haunted. It was procured in Buffalo, New York at an estate sale of a murdered dentist. Inexplicable sounds and voices have been known to emanate from the instrument, which can also be heard on Strand of Oaks' Leave Ruin. Regarding the bold move to cover Leonard Cohen's "Chelsea Hotel #2", Rogai tells The Morning Call: "This is a recollection of Cohen's romance with a prominent female singer who rose (pun intended) to fame in the '60s and left our Earth too early. He later apologized for naming names, so out of respect, I won't. The paradoxical reason I felt most compelled to cover this tune is contained between these quotation marks: 'I need you, I don't need you.' " *Recorded at Dan's House by Dan McKinney March 2009
and at One Forest by Tom Asselin *Cover Painting detail from "Misty Forests"
by Erika Somogyi
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Selected Press:
"Lewis & Clarke blew up their pastoral
folk sound into long, torn-open and moody soundscapes on 2007's Blasts
of Holy Birth, and they have taken that brooding tangled beauty down even
darker roads....Light Time shows once again that Lewis & Clarke's
quiet sound is an affecting one."
-Prefix
"Lewis & Clarke doesn’t play songs
as much as unfurl them, slowly letting ribbons of sound billow and cascade.
The power, though, is palpable, made even stronger through delicateness,
a paradox that is at play not only in the music on Light Time but also
in its metaphors for life, loss and renewal.
-PopMatters
Hypnotic mountain folk, setting reedy vocals against
spare and elegant guitars, gradually swooning into a near seven-minute
piece full of strings and woodsy imagery...songs for getting lost into"
-Stereogum
"A reminder that the heart, above all else,
is a muscle."
-Donnybrook
Writing Academy
"With lyrics that pluck at the heartstrings,
and guitar that can be most simply put as solemnly subtle, there's a sense
of heaviness that seems to be barely escaping itself...These are songs
that embrace their own hopeful anguish, and satisfy our need to feel."
-freewilliamsburg.com
"(Light Time) doesn’t just have three noir naturalistic Rogai-penned
tracks to worship and adore — he and his crew cover the Leonard
Cohen masterpiece “Chelsea Hotel # 2.”
-Philadelphia City Paper
"Haunting, hushed vocals and introspective songs elegantly couched
in understated arrangements"
-The Morning Call
Previous Selected Press:
"Its obvious that this album is a keeper...perfectly
crafted, well executed, and earnest in its intent. Blasts of Holy Birth
is thoroughly enjoyable, and it would rest snugly beside your copy of
Pink Moon and Brightblack Morning Light. In aiming to create music that
is emotionally pure, Lewis & Clarke has released one of the best of
the year."
-Prefix
"Eight tracks of delicate beauty."
-Pitchfork
"The melodies are exquisite, as delivered by an impressive array
of strings, percussion, and Rogai’s own direct, unforced vocals...This
is a band that more than deserves its growing acclaim."
-Pop Matters
"Rogai has a gift for speaking plainly while tonguing poetry, and
his meditations on life cycles and pastoral philosophy blossom and collapse
with organic grace..."
-A.V. Club (The Onion)
"A profound work of earthy, orchestrated new-folk, Blasts Of
Holy Birth raises the bar for both listeners and players...An expose
of grace, beauty, peril, triumph, and the interconnectivity of all things.
Meshing gorgeously hushed melodies and plucked guitars with baroque string
arrangements and ethereal pulses and surges, Lewis & Clarke has crafted
a transcendent work of epic proportions."
-Impose Magazine
"This is psychedelic in a halcyon sense, as moments expand and bring
warmth to the listening experience. Rogai and company play with space
here, a feat that yields results that range from warm undertones to grandiose
exultation."
-Cleveland Free Times
Selected Press Cont.
Previous Releases:
2009 Light Time
vinyl-only 12" limited EP (La Société Expéditionnaire)
2007 Blasts of Holy Birth
CD (La Société Expéditionnaire)
2006 Live on WPRB
vinyl-only 12" limited EP (La Société Expéditionnaire)
2005 Bare Bones and Branches
(Summersteps) US
2003 Bare Bones and Branches
(Delboy) EU
2003 Bright Light
EP & 7" (Delboy) EU
Press Photos:
