Doe Eye retreats to her high school bedroom and emerges with a full-length debut. Plus: Papercuts' Jason Quever on writing, catharsis, and how he's not as depressed as everyone thinks
Unsurprisingly, given the past few years of her career, the record (again, produced by John Vanderslice at Tiny Telephone) doesn't exactly sound like an artist's debut. That being the case, it'll be interesting to hear what the next few years bring for Doe Eye. Qudus isn't thinking too far beyond the First City Festival in Monterey in August, though. Beyond that, she has one main project: getting her own place in San Francisco again.
With DRMS, The She's
Great American Music Hall
859 O'Farrell, SF
I promise it was unintentional to pair these two together in this fashion, but hey, speaking of good things that come from being holed up in one's room: Life Among the Savages, the sixth studio album from Papercuts (the creative outlet of longtime San Francisco songwriter-producer Jason Quever) and his first for the LA-based Easy Sound label, is a testament to the good that can come from staying home.
That is, of course, if you have a home studio like Quever's, Pan American Recording, where he's produced Cass McCombs, Beach House, and Casiotone for the Painfully Alone, among others. It's also where, most recently, Quever produced perhaps his cleanest, most sophisticated, most lush Papercuts record yet — full of a warmly melancholy ebb and flow that matches Quever's cathartic, introvert's tell-all style of writing. The atmospheric indie-dream-folk band has always been primarily a conduit for his songwriting; on this record perhaps more than others, you can hear the solitude in which it was conjured. (He'll debut songs from the album, out May 13, at The Chapel this Sat/31).
"I think I did about 75 percent of the work here [at home], and yeah, it's fair to say this one is pretty much all me," says Quever, though he thanks friend and Beach House guitarist/keyboardist Alex Scally for having shaped some of his arrangements, like the urgent (Quever says "stabby") strings that open the album's title track.
"I also had some lyric help from my friend [songwriter] Donovan Quinn on one song. But other than that, I would say it was a lot of being inside my own self-hating brain," Quever says cheerfully. "I'm working on it. But hey, it gets results."
It's a record two years in the making, during which time Quever left Sub Pop for Easy Sound ("They don't have a huge roster, so you're not going to get lost in the sea of bands the way you can with a bigger label"), placing Papercuts alongside sonic bedfellows like Vetiver. He also wrote a lot of music that he wound up scrapping.