Animated Stuffed Animals

Since the end of the world at the end of a love Among

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Since the end of the world at the end of a love. This phrase that broadly underpins the poetics of Texas Josh T. Pearson , authentic cowboy beard apocalypse mileage. Musician wandering and tormented, the inevitable sombrero and a battered guitar, Josh sees music in the instrument to give voice to the faith. In 1996 (along with fellow Josh Browning and Brian Smith) form the Lift To Experience with which five years later is finally able to record the magnificent "The Texas Jerusalem Crossroads" [can be reached here] double-album set in a post-apocalyptic spiritual deserts in Texas, suddenly transformed into an earthly paradise. The disc, released by English Bella Union attention than usual thanks to John Peel, was turned into a sort of cult object for many fans, particularly in Europe.

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TJC is an epic work by the sound, at times overwhelming, with some progress worthy of the best post-rock era (the usual Mogwai, Godspeed You! Black Emperor, etc.) and shoegaze layers that alternate with delicate ballads, but is mainly characterized by a sensitivity and a writing much over the top. The scope of the purely human efforts Pearson directs the production of the disc to break up the band puts its output in the aftermath of the work. A deep existential crisis and religious man leads to 'a period of isolation and psychiatric sessions. A few years later moved to Europe, reappears in some UK concerts (one of them captured in 2005 in the beautiful CD-R bootleg ' ' To Hull And Back'' entirely new pieces), and little recently his name back to move more urgently, thanks in part to an escalating series of concerts and collaborations. But the real turning point was when, at the end of 2009, the Dirty Three do they call their base for an Irish tour with Josh which earns a big hit with audiences and critics. And 'the turning point. Josh understands that it's finally time for a new job.

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Recorded in Berlin in January 2010 in a couple of days,'' Last Of The Country Gentleman'' (Mute, 2011) [ here] is a record of upsetting an agreement. The material is, as usual, grief, despair, suffering, but this time the apocalypse is private, and concerns over a love, sublimated by the music media in long (with four of these seven tracks that exceed seven minutes), where one man, a few guitar chords and a faint whisper, engages intimate confessions and dying in facing a bigger emotional part of him (it seems that Josh has needed two weeks of complete rest after the end of recordings) with the melodies they play hide and seek, and struggle to turn out only after repeated plays. Personally I would rather use the violin (Warren Harris) and piano (Dustin O'Halloran) stronger - when they are sprouting from spoliation pure oxygen - and I do not think this disc would lost the extraordinary degree of emotionality that distinguishes it and thanks to Josh who is deservedly managed to get almost all agree in the criticism.

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