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Recorded primarily during the perigee-syzygy (also known as the super moon) of August 2014, the Supermoon EP from S. Carey is a study in scale, space, and proximity. These songs are a new and closer look into existing works from both S. Carey's renowned full-lengths, 2010's All We Grow and 2014's Range of Light. With Supermoon, Carey has broken these songs down to their essential, acoustic parts with his forever humming vocals laid over top, lilting yet percussive piano, and a subtle swath of harmonic strings. You can hear Carey's breath between words and the pat of his fingers on the keys; you can hear the living room in which his family's baby grand piano sits. These songs are beautiful, intimate and so potently personal. This collection is a stark presentation of S. Carey laid bare, an open invitation for the listener to climb into his world.
One particularly poignant piece is the re-imagined Range of Light closer, "Neverending Fountain," perhaps an apt metaphor for the life of the songs themselves. Says Carey, "The longer you spend with a song, the more you can see it in its pure form." Supermoon also features a heartrending cover of "Bullet Proof.. I Wish I Was" from Radiohead's classic album The Bends, and a new song, the EP's namesake, "Supermoon," which takes its inspiration, like much of Carey's work, from the natural world around him.
Another source of inspiration quoted by Carey is the excitement of working out arrangements for pre-existing songs on the spot, for various sessions on tour. He brought that spirit to the recording of Supermoon, which took place over the course of a single weekend. Already known as an artist of impeccable craft, S. Carey worked with long-time friends and collaborators (Mike Noyce played viola, Zach Hanson engineered, mixed, and mastered) to add a chapter to the still unfolding story of Sean Carey as an artist. We can hear the songwriting, singing and performance for what it truly is; understated, true and pure beauty.
S. Carey's work is hugely beatific, restorative panorama or beauty - perfect given how landscape and the wonder of nature inspire much of Carey's imagery. His new album 'Range of Light' takes its title from the name that 19th century naturalist John Muir gave to the Sierra Nevada, and follows suit with a dazzling array of musical light and shade, drawn from Carey's love of jazz, modern classical and Americana. Like a weathered mountain range changing shadow form and color, or the ebb and flow of a river's current, S. Carey's music is simultaneously restful and rhythmic, complex and simple, and always evolving.
Hoyas by S. Carey is a hospitable statement about love, longing and the celebration of knowing it well. You will find the familiar S. Carey modern classical repetition pushed into the vernacular of electronic music and beat making. This is the warmest electronic music you'll ever meet. The beats swing, stutter and pulse while each instrument retains a heightened awareness of its form and function within the larger family of voices.
Hoyas was mixed and produced by the Grammy Award Winning team of Justin Vernon and Brian Joseph of Bon Iver.
The debut album from S. Carey, All We Grow, is the result of a young lifetime immersed in music. As a band member of Bon Iver, Sean Carey witnessed a flip of his formal training to step firmly into a worldwide-touring rock band. His performance degree in classical percussion and his love for jazz drumming prepared him for a central role in the inspiring force of the Bon Iver live show.
All We Grow is a convergence of Carey's Waltz For Debby-era Bill Evans inflected jazz tendencies, and traditional rock band experience, taking leads from Talk Talk. It also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich.