Rejoicing in the Hands

Devendra Banhart - Rejoicing in the Hands

Rejoicing in the Hands
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CD Details

Artist: Devendra Banhart
Edition: Music CD
CD Release Date: 2004-05-04
Music Label: Young God Records
Soundtracks:
  1. This Is The Way
  2. A Sight To Behold
  3. The Body Breaks
  4. Poughkeepsie
  5. Dogs They Make Up The Dark
  6. Will Is My Friend
  7. This Beard Is For Siobhan
  8. See Saw
  9. Tit Smoking In The Temple Of Artesan Mimicry
  10. Rejoicing In The Hands
  11. Fall
  12. Todo Los Dolores
  13. When The Sun Shone On Vetiver
  14. There Was Sun
  15. Insect Eyes
  16. Autumn's Child

Music reviews of Rejoicing in the Hands

Music Review: The New Face of Folk Music (5/5)
Rating: 5 Stars

Devendra Banhart is still new to the world, which finds most people comparing him to a surplus of other musicians. However, Banhart has quickly proven that, contrary to comparison, he possesses his very own unique style that easily sets him apart from any singer/songwriter on the planet (past or present). His voice is so unique that he will find himself in a similar league with some of music's all-time great distinctive voices.

His ability to create charming images of a surreal world with his abstract lyrics, abnormal time signatures, and inimitable vocals is like no other current artist today. On his previous albums, this was heard through his ghostly recordings on four track recorders and answering machine messages. These were songs never meant for public consumption until his friends convinced him that it'd be a good idea to let them loose. So, Michael Gira (Swans and Angels of Light) took control of these recordings and released them "as is" on his self-managed Young God label. Accolades have been strewn about Banhart's feet since.

One of the principal qualities that made these early recordings of Banhart's so unique is how they effortlessly sounded like they came from another era. If you didn't know they were recorded within the last five years, you'd swear they were the lost tapes of Robert Johnson's next-door neighbor. But with the release of Rejoicing in the Hands, Banhart entered an official studio to record fifty-some songs. There is a decidedly cleaner sound than on the lo-fi recordings of before. Some of the new songs will appear here and the rest will make it on to a separate album or EP to be released in the next year.

Banhart certainly is prolific at what he does. He's also very dedicated to making his art as perfect as possible, regardless of how bizarre it may appear. During the song "Todo los Dolores" he makes a mistake with the Spanish lyrics, but quickly recovers and shows that his work is very serious. Once he regains composure and begins his "1-2-3-4" intro, it's time for business again.

Banhart's lyrics are not only on par with what he has currently accomplished, but music schools around the world should study his guitar work on this folk-rock masterpiece. With the addition of the studio effects Devendra has been able to add different elements to his songs. Rejoicing in the Hands has a more current vibe than Oh Me Oh My and Black Babies, but the charm and unique qualities are still very much in tact. If anything, it has allowed his music to become more greatly appreciated by the casual listener. "Insect Eyes," which is also the best song of Banhart's catalog, has the addition of bass and "Autumn's Child" contains piano. Both of these instruments are exclusive to this album so far, but subtly add a substantial depth to the songs.

Besides being one of the most interesting artists to come out of the singer/songwriter genre in recent memory, Devendra Banhart is proving that the self-reliant style of the folk artist is something that is sadly being overlooked. If anyone can single-handedly bring this back to the forefront, it will be him. He's already every bit as important as Nick Drake, Sandy Denny, Jackson C. Frank, or any of the other artists who have influenced his art. Only his music speaks more clearly to this generation.

The idea that he can transcend his influences makes Devendra Banhart well worth your time and attention. And if you've appreciated any of his work thus far, you'll be extremely happy with what Rejoicing in the Hands has to offer. Perhaps only time will tell, but it could very well turn out to be one of the great timeless folk albums. And anyone who can sit down in such a short period of time and write this many unique songs has to have something abnormally genius working inside.

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Description of Rejoicing in the Hands

When Michael Gira's Young God label issued Devendra Banhart's glorious home-recorded debut, Oh Me Oh My, on an unsuspecting world, its gorgeous yet sparse primitivism, complete outsider lyric sensibilities, and infectious melodies grabbed hold of listeners all over the world. It offered them a bona fide fissure between popular and underground American culture. Banhart's aesthetic is no pose; his iconoclastic songwriting could not be farther away from officially sanctioned "alternative" music. However, given the unanticipated coverage and success of the album (by modest indie standards, folks, not those dictated by the biz), a quandary was presented in how to follow it up. Should his new songs -- and there were many -- be recorded in exactly the same way to preserve the notion of "authenticity?" Or should he not be penalized by having to adhere to the same economic realities, and be nurtured as the developing artist he is? Wisely, Gira and Banhart saw through the smokescreen what a word like "authentic" implies. Banhart's songs are the authentic outsider article even if he were to record them in Barry White's studio, so why punish for the sake of a media construct? Gira and Banhart chose a simple but very effective recording studio in engineer Lynn Bridges' house on the Georgia/Alabama border as their location, getting down 57 songs(!) and choosing 32 for two different albums from the treasure trove. Rejoicing in the Hands is the first of these albums -- another will be issued in the fall of 2004. Simply stated, it is a stunner, form start to finish. Banhart's Muse may be furiously active, but she is tender all the same. The sonic ambience on this disc is breathtaking. Gira and Banhart brought the master tapes back to Brooklyn for some minimal and tasteful overdubbing -- a guitar track here, a cello or trumpet there, a piano ghosting through the mix in another place, some spare drumming, hand percussion or vibes somewhere else. Over it all, though, is Banhart's reedy tenor and edgy, angular guitar playing with its hypnotic insistence carrying the tunes from deep in the interior of his image and sound world to the fore, where listeners can encounter and engage with them. Elements of blues, ragtime, Appalachian rural styles, country music, European and Celtic folk songs: all weave in and out of one another in a seamless yet crackling whole, each of them serving their role in articulating Banhart's sublimely prismatic, loopy vision. Singling out tracks or quoting from his words would amount to nothing more than sacrilege. This music is simply rendered, to be sure, but unspeakably profound and mercurial; it's funny, warm, heartbreaking, and evocative of another place and time. There are glimpses here of Greil Marcus' "old weird America," the all-but-visible inner terrain that informed certain spiritual, social, and aesthetic elements in our culture. Banhart's music is utterly unselfconscious and poetic. Rejoicing in the Hands is a whole -- each song an inseparable part of an offering for listeners to be, quite literally, enchanted and even awed by. ~ Thom Jurek, Rovi

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