Waterdrawn is only the second album in 10 years from Chicago-based The Horse’s Ha. Why does it take them so long to make records? They’re not inherently lazy people; Janet Bean has had a 25 year career of making records as half of alt-country originators Freakwater and as one third of Eleventh Dream Day, while James Elkington has spent the last few years as a guitarist in Jon Langford’s Skull Orchard and drummer in Brokeback. He’s also released an album of finger-style guitar duets with Nathan Salsburg —Avos (Tompkins Square),and recorded and toured with Laetitia Sadier (Stereolab), in addition to other groups.
The Horse’s Ha’s first record, Of The Cathmawr Yards (2009), was a blurring of English folk, jazz improvisation and haunting harmonies that featured Bean and Elkington’s contrasting voices, the athletic rhythm section of Nick Macri and Charles Rumback on bass and drums, and the stellar-searching cello experiments of Fred Lonberg-Holm. However, for Waterdrawn, Bean and Elkington went back to their roots as a duo to make a stripped-down record built on the foundation of Bean’s country-tinged voice and Elkington’s folk-inspired guitar playing with a minimum of ornamentation. Drawing strength and influence from Shirley Collins’ and Davy Graham’s genre-defining album, New Routes, Folk Routes and Donovan’s early endeavors, The Horse’s Ha wrote a collection of songs about the sea and dreams of escape that harkens back to the British folk boom without replicating it and points the group in a new direction. Horse’s Ha regulars’ Lonberg-Holm and Macri made wonderful and buoyant contributions that keep Waterdrawn bobbing along, and reed and string contributions from Jacob Daneman and Skull Orchard’s Jean Cook add color and texture, but the emphasis is on the irrefutable magic of voice and guitar, and how that can invite the listener into a different world.
The Horse’s Ha’s Waterdrawn is out August 20th on Fluff & Gravy Records. They will play their record release show in Chicago on Thursday, August 22nd at The Hideout.
LISTEN TO/SHARE THE HORSE’S HA’S “DYING TREE” –
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“the new record emphasizes simplicity, focusing on Bean’s voice and Elkington’s finger-style folk guitar. Their new track ‘The Dying Tree’ is a breezy representation of the results.” – Consequence of Sound
WHAT’S BEEN SAID ABOUT THE HORSE’S HA:
“the veteran players demonstrate undeniable talent and a unique vision, finding common ground in a somber folk aesthetic and dreamy jazz rhythms. . . a cohesive and beautiful sound.” – WXPN’s “World Café”
“Most of the songs are by Elkington, whose elegant melodies benefit greatly from the band’s warm, roomy arrangements and Bean’s lovely singing. His dry, fragile croon might not seem like a natural fit with her sweet post-Emmylou Harris flutter-their vocals have little in common besides their delicacy-but they find ways to make it work, either trading lines or having Bean shadow Elkington’s quavering voice with honeyed softness.” –Chicago Reader
“Autumnal melodies informed by folk, country and jazz with co-ed vocals on top from Janet Beveridge Bean (of Eleventh Dream Day and Freakwater) and James Elkington (Zincs). The resolutely unshowy vocals echo the dignity of mountain soul and the British folk-rock of the ’60s (ala Sandy Denny-era Fairport Convention).” –Chicago Tribune [Top Chicago indie releases of 2009]
“easy, fluid, and complex at the same time.” – Stereogum
“The songs are moody and cryptic, full of death and moonlight. And with Elkington’s deep, resonant voice intertwined with Bean’s high, thin one, and his acoustic finger-picking interlaced with Lonberg- Holm’s sinuous cello, their mystery is enchanting.” – Philadelphia Inquirer
“The Horse’s Ha is one of those bands that you may need to spend a bit of time with, but it’s an investment well-worth making.”- Washington Post
The Horse’s Ha online:
www.pitchperfectpr.com/a_hh.html