By the time Twin Peaks' second season had aired and Fire Walk With Me had just began principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks' trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me's soundtrack would ultimately showcase two preliminary tracks ('A Real Indication' and 'The Black Dog Runs at Night') from a full-length album that wouldn't see release for the next two and a half decades. Between May of 1992, and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces. This dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.
On Room Inside the World-Ought's third album and their first for Merge-growing up doesn't mean mellowing out so much as it means learning to pay attention, listening carefully and openly, staying somewhere long enough to really understand where you are. Recorded at Rare Book Room in Brooklyn with producer Nicolas Vernhes (Deerhunter, Animal Collective, Silver Jews), Room Inside the World explores themes that have always concerned the band-identity, connection, survival in a precarious world-but with a bolder, more nuanced sound palette. Vibraphone, justly intonated synthesizers, drum machines, and a 70-piece choir suffuse the precise post-punk breakdowns that spangled Ought's first two albums, giving rise to an emotional complexity that pushes their characteristically taut sound to greater depths.It makes for a different kind of catharsis: the quiet satisfaction of a job well done, the glow of seeing someone as they are, the soft simmer of real love. It's like finding a space inside the world where you can sit down for a bit, a room where there's room enough for everyone. The record ends on a comma, a quick fade, a sharp intake of breath, and you find yourself right back where you began.
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Ought returns with their second full-length album Sun Coming Down, following a break-out year for the MontrÃ©al quartet that saw its 2014 debut More Than Any Other Day make well-deserved waves, with a Best New Music nod from Pitchfork and appearances on countless year-end lists.
Having spent most of 2014 on the road vitalizing audiences with no-nonsense post-punk and the feverishly observational testifying of singer/guitarist Tim Darcy, Ought spent the first few months of 2015 writing, playing the occasional local gig, and eventually heading back to the studio to lay down a batch of fresh tunes.
Sun Coming Down maintains the band's tight, twitchy, economical sound. Ought pursues an artistically apposite austerity in committing these new songs to tape, referencing the arid and unvarnished production of no-wave and early indie rock while balancing carved-out angularity against an evolving comfort with textural coalescences and measured pacing. It makes for an album that's consistently, insistently propulsive but also feels unhurried and pleasantly unhyped. Sun Coming Down confirms the distinctive vitality and purposive naturalism of Ought, which resists facile primitivism and overhyped dynamics in equal measure, keeping things hermetic but never airless, ascetic but never dispassionate, literate but never prolix.
Ought has been gathering momentum the old-fashioned way, with a humble and deceptively unassuming post-punk debut that's been worming its way into many ears thanks to its combination of intelligence, authenticity, directness, simplicity and energy; and driven by live performances wherein the band's channeling of genuine passion, politics and charisma is exuberantly galvanizing audiences.
Ought's full-length More Than Any Other Day has been showered with accolades. Discussion of a tour-only release that would commit a couple of the band's self-recorded early tunes to vinyl shifted towards a realization that Ought wanted to update some of this material to reflect how the songs have evolved on stage and in concert. A weekend session at MontrÃ©al's Hotel2Tango in June 2014 yielded new recordings of two early pieces, "Pill" and "New Calm Pt. 2" along with the brand new, more experimental "New Calm Pt. 3". The fantastic non-album track "Waiting" from the More Than Any Other Day sessions rounds out this 4-song, 24-minute, vinyl-only offering.
Rather than restrict this freshly recorded material to tour-only status, Constellation is making it available to indie retail; a very fine EP that rounds up Ought's first two years of songwriting and reveals exciting additional facets of the band.
Ought has been burning with a strong and steady flame since flickering to life in Montreal just before the inspired months of the Quebec student general strike in 2012. The mass mobilization against neo-liberal austerity measures indelibly shaped the emerging sound, vision and social mandate of Ought.
Then band's earnest, stately and exuberant post-punk is dextrous, deliberate, unfussy and fluid, with debts to Cap'n Jazz, The Feelies, Lungfish, Gang Of Four and early Talking Heads, among many others. They shift from sharp angles and stuttering counterpoint to softer edges and chiming flow, with an economy of elements and fidelity to their basic 4-piece constitution. The instrumental interplay is consistently whipsmart, supple and deceptively simple. Vocalist Tim Beeler's speak-singing can give way to melancholic melodic croons and ragged, desperate yelps, always driven by sincerity of feeling and connection to his subject matter, whether that's the conundrum of our fractured interiority or communion with others in our fractured social space (or, for the most part, both).
Ought are a righteous and humble young band, fiercely dedicated to grassroots organizing and artmaking, taking as self-evident the inseparability of politics and aesthetics; we are proud and excited to be releasing their debut full-length.