At the end of the song he say he will set out on his journey alone. He tells her that just because he's ready to die for her doesn't mean he is ready to stay: his wanderlust is too strong to remain in one place. In "Ends of the Earth," Huron describes the landscapes and adventures of the world that call out to him and asks a female character to join him. Lord Huron - Ends of the Earth (Official Music Video) Lord Huron - Lonesome Dreams - "Ends of the Earth" *Bonus final track for streaming and UK CDįurther information: " Ends of the Earth" Lonesome Dreams and Strange Trails "exist within the same world, but they are separated by time, location and different characters." Songs Song It is set in "a world like ours, but compressed, enhanced, and exaggerated." A 2013 version of Johnson's website indicates the track list of the album Lonesome Dreams is the chronological order of the story, so this article is organized in that sequence.Īccording to Ben Schneider, the inspiration for Lonesome Dreams came from a trip to Indonesia, during which he took samples of gamelan music, and from evening drives through the desert in the United States. #GHOST ON THE SHORE LYRICS LORD HURON SERIES#The novel series unfolds non-chronologically, following the wide-ranging adventures of several characters - chiefly Huron, Admiral Blaquefut and Helena - whose stories intertwine. The official lyrics are available in the CD and vinyl liner notes. The songs are not credited to particular characters, but the music videos and fictional novels provide some context. The events in the album follow characters from a series of adventure novels by George Ranger Johnson. The music portion of South By Southwest runs from March 12-March 17.Lonesome Dreams is Lord Huron's debut album. What’s a guy gotta do to get a key change? But Houck’s main problem lies with the rhythm section lay a few James Brown records on that drummer and call me in the morning. Workmanlike guitars did their level best to elevate the proceedings, but the utter lack of anything in the way of syncopation or musical surprise was sort of astonishing. The group offered four songs, all ballads (even when the bass was hitting it hard) and all rather maudlin-sounding, too, though it can be quite hard to distinguish the lyrics of founder/frontman Matthew Houck (he sings in the tight-mouthed Dylan vein, or in the reticent phrasings of Tallest Man on Earth’s Kristian Matsson). Shortly after the Huron show, I hit the HypeMachine showcase to catch Phosphorescent, a band that has fared better among indie tastemakers. The band commandeers various virtues of the Shins and the Foxes, yes, but with an undeniable voice of its own-and a very welcoming one indeed. Drummer Mark Barry fixes a tambourine above his hi-hat (a smart technique and one I’m surprised more percussionists don’t use) and tends to lean in when he’s layering beats within beats on the toms with a pair of mallets. On slow-jams “Ghost on the Shore” and “In the Wind,” the band stretched its legs without ever noodling, the guitars urging each other up the fretboard and twining into a wail as plaintive and memorable as Schneider’s own stratospheric voice. Fellow axe men Tom Renaud and Karl Kerfoot are capable of the hard-grind sonic breakdown one expects from Wilco, but they also create upper-register textures so rich that there’s no need for organ-the band doesn’t have one. But Schneider’s band is so good that his occasionally inscrutable lyrics about the splendors of nature, etc., come off as a conscious counterpoint to the very electric propulsion of the music. Yes, the Foxy touches are undeniable: slow, incremental guitar melodies that sound like Aaron Copland lost in the forest, and soaring, reverbed vocal harmonies that belong in a cathedral. That, at any rate, was the reassuring sense I got at last night’s show. What’s so annoying about the hyper-referential haters is that they rarely consider the possibility that perhaps frontman/founder Ben Schneider is drawing not on Robin Pecknold or Jim James, but on a plenty worthy muse of his own. Pitchfork damned Lonesome Dreams, the group’s 2012 debut, with whisperingly faint praise, invoking the Foxes (and My Morning Jacket) wherever possible and rating the record a glum 5.6/10. Also, I have now basically seen Fleet Foxes #twobirds #SXSW.” What I didn’t realize then was just how bluntly the comparison had been used to bludgeon the band into spinoff status. I owe Lord Huron a partial apology: During the band’s grandiose, enveloping set at the Austin City Limits Moody Theater yesterday I dropped a lazy tweet: “Entrancing performance from Lord Huron at ACL Theater.
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