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Accompany
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Accompany in Franklin, TN
Current price: $14.99
Barnes and Noble
Accompany in Franklin, TN
Current price: $14.99
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Size: CD
Following the band-backed
Less Ready to Go
(2019) and self-released one-man outing
So On So On
(2020),
Accompany
finds
Michael Nau
back in a collaborative setting after the latter album and a few years without "much of a plan." What changed that was producer/engineer
Adrian Olsen
(
the Head and the Heart
,
Fruit Bats
Lucy Dacus
) reaching out to invite
Nau
to record something together at his Richmond, Virginia studio. With sessions scheduled,
wrote some songs and put together a band consisting of longtime studio and/or touring collaborators, including vocalist
Whitney McGraw
, keyboardist
Will Brown
, and multi-instrumentalists
Seth Kauffman
Ray LaMontagne
Angel Olsen
),
Mat Davidson
Twain
Langhorne Slim
Big Thief
), and
Ken Woodward
Buck Meek
) as well as
Olsen
. His full-length debut for
Karma Chief Records
, the resulting
was essentially recorded live in the studio as a band. Although
's music has always been known for a reflective, "dreamy" countenance,
settles into a consistently blurry, midtempo bearing that's particularly lost in thought and memory. Helping this perception along are impressionistic lyrics that capture feelings and experiences without necessarily naming them. A song like the
Carole King
-evoking "Shiftshaping" epitomizes this effect with its sometimes indistinguishable wash of strings, synthesizers, guitar noodling, and ghostly backing vocals adding dense atmosphere to more in-focus piano and vocals whose lyrics are concerned with emerging from a period of sleep and forgetfulness. Other songs, like the jaunty highlight "Painting a Wall," regretful opener (or does it just sound regretful?) "Sharp Diamonds," and the nostalgic "Relearn to Boogie," lean heavily into floaty steel guitars or, in the case of the latter, vibraphone. Even relatively lucid entries like "And So On" and the organ-centric "Comes to Pour," with their relatively crisp rhythm sections, are set against a backdrop of reverb and sustain. It's an especially dreamy -- and seductive -- album and one that seems to find comfort in collaboration. ~ Marcy Donelson
Less Ready to Go
(2019) and self-released one-man outing
So On So On
(2020),
Accompany
finds
Michael Nau
back in a collaborative setting after the latter album and a few years without "much of a plan." What changed that was producer/engineer
Adrian Olsen
(
the Head and the Heart
,
Fruit Bats
Lucy Dacus
) reaching out to invite
Nau
to record something together at his Richmond, Virginia studio. With sessions scheduled,
wrote some songs and put together a band consisting of longtime studio and/or touring collaborators, including vocalist
Whitney McGraw
, keyboardist
Will Brown
, and multi-instrumentalists
Seth Kauffman
Ray LaMontagne
Angel Olsen
),
Mat Davidson
Twain
Langhorne Slim
Big Thief
), and
Ken Woodward
Buck Meek
) as well as
Olsen
. His full-length debut for
Karma Chief Records
, the resulting
was essentially recorded live in the studio as a band. Although
's music has always been known for a reflective, "dreamy" countenance,
settles into a consistently blurry, midtempo bearing that's particularly lost in thought and memory. Helping this perception along are impressionistic lyrics that capture feelings and experiences without necessarily naming them. A song like the
Carole King
-evoking "Shiftshaping" epitomizes this effect with its sometimes indistinguishable wash of strings, synthesizers, guitar noodling, and ghostly backing vocals adding dense atmosphere to more in-focus piano and vocals whose lyrics are concerned with emerging from a period of sleep and forgetfulness. Other songs, like the jaunty highlight "Painting a Wall," regretful opener (or does it just sound regretful?) "Sharp Diamonds," and the nostalgic "Relearn to Boogie," lean heavily into floaty steel guitars or, in the case of the latter, vibraphone. Even relatively lucid entries like "And So On" and the organ-centric "Comes to Pour," with their relatively crisp rhythm sections, are set against a backdrop of reverb and sustain. It's an especially dreamy -- and seductive -- album and one that seems to find comfort in collaboration. ~ Marcy Donelson
Following the band-backed
Less Ready to Go
(2019) and self-released one-man outing
So On So On
(2020),
Accompany
finds
Michael Nau
back in a collaborative setting after the latter album and a few years without "much of a plan." What changed that was producer/engineer
Adrian Olsen
(
the Head and the Heart
,
Fruit Bats
Lucy Dacus
) reaching out to invite
Nau
to record something together at his Richmond, Virginia studio. With sessions scheduled,
wrote some songs and put together a band consisting of longtime studio and/or touring collaborators, including vocalist
Whitney McGraw
, keyboardist
Will Brown
, and multi-instrumentalists
Seth Kauffman
Ray LaMontagne
Angel Olsen
),
Mat Davidson
Twain
Langhorne Slim
Big Thief
), and
Ken Woodward
Buck Meek
) as well as
Olsen
. His full-length debut for
Karma Chief Records
, the resulting
was essentially recorded live in the studio as a band. Although
's music has always been known for a reflective, "dreamy" countenance,
settles into a consistently blurry, midtempo bearing that's particularly lost in thought and memory. Helping this perception along are impressionistic lyrics that capture feelings and experiences without necessarily naming them. A song like the
Carole King
-evoking "Shiftshaping" epitomizes this effect with its sometimes indistinguishable wash of strings, synthesizers, guitar noodling, and ghostly backing vocals adding dense atmosphere to more in-focus piano and vocals whose lyrics are concerned with emerging from a period of sleep and forgetfulness. Other songs, like the jaunty highlight "Painting a Wall," regretful opener (or does it just sound regretful?) "Sharp Diamonds," and the nostalgic "Relearn to Boogie," lean heavily into floaty steel guitars or, in the case of the latter, vibraphone. Even relatively lucid entries like "And So On" and the organ-centric "Comes to Pour," with their relatively crisp rhythm sections, are set against a backdrop of reverb and sustain. It's an especially dreamy -- and seductive -- album and one that seems to find comfort in collaboration. ~ Marcy Donelson
Less Ready to Go
(2019) and self-released one-man outing
So On So On
(2020),
Accompany
finds
Michael Nau
back in a collaborative setting after the latter album and a few years without "much of a plan." What changed that was producer/engineer
Adrian Olsen
(
the Head and the Heart
,
Fruit Bats
Lucy Dacus
) reaching out to invite
Nau
to record something together at his Richmond, Virginia studio. With sessions scheduled,
wrote some songs and put together a band consisting of longtime studio and/or touring collaborators, including vocalist
Whitney McGraw
, keyboardist
Will Brown
, and multi-instrumentalists
Seth Kauffman
Ray LaMontagne
Angel Olsen
),
Mat Davidson
Twain
Langhorne Slim
Big Thief
), and
Ken Woodward
Buck Meek
) as well as
Olsen
. His full-length debut for
Karma Chief Records
, the resulting
was essentially recorded live in the studio as a band. Although
's music has always been known for a reflective, "dreamy" countenance,
settles into a consistently blurry, midtempo bearing that's particularly lost in thought and memory. Helping this perception along are impressionistic lyrics that capture feelings and experiences without necessarily naming them. A song like the
Carole King
-evoking "Shiftshaping" epitomizes this effect with its sometimes indistinguishable wash of strings, synthesizers, guitar noodling, and ghostly backing vocals adding dense atmosphere to more in-focus piano and vocals whose lyrics are concerned with emerging from a period of sleep and forgetfulness. Other songs, like the jaunty highlight "Painting a Wall," regretful opener (or does it just sound regretful?) "Sharp Diamonds," and the nostalgic "Relearn to Boogie," lean heavily into floaty steel guitars or, in the case of the latter, vibraphone. Even relatively lucid entries like "And So On" and the organ-centric "Comes to Pour," with their relatively crisp rhythm sections, are set against a backdrop of reverb and sustain. It's an especially dreamy -- and seductive -- album and one that seems to find comfort in collaboration. ~ Marcy Donelson
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