Amazon.co.uk Review
Devendra Banhart is an unlikely figure for mainstream deification, but his third album,
Rejoicing in the Hands--the first for forward-thinking British independent XL--proves that appearances can be deceptive. Previous albums by this shaggy-haired ex-hobo have found him shunning upmarket studios and session musicians, preferring to perform his eerie folk lullabies unaccompanied and unadorned, the results recorded onto hissy tape-decks. Given this,
Rejoicing... is an upping of the ante--its 16 songs were captured on high-quality vintage equipment in the living room of a house in Alabama with occasional overdubs of piano and guitar, yet the spirit remains largely the same: hushed, haunted, but always sparking with ideas.
At heart, Banhart is much more a storyteller than a confessional songwriter--a fact that suits his flexible technique: that's why one minute, he sounds like a reedy-voiced Appalachian folk-singer, finger-picking a banjo on the porch of a rural mountain shack, and the next, on "This Beard is for Siobhan", he's curling his lip like T Rex's Marc Bolan and hollering about having "a real good time". Banhart's approach may sometimes appear wilfully amateurish--hear how he goofs the first take of "Todolos Dolores", then recommences, tape still rolling--but this is accomplished, genuinely timeless stuff. --Louis Pattison
Description
Acclaimed eccentric singer/songwriter Devendra Banhart takes a step out of the lo-fi basement and into the hi-fi livingroom for this critically lauded album. During a span of only 10 days, Banhart recorded more than 30 songs (co-produced by former Swans leader Michael Gira) that were subsequently divided between this record and its companion disc, NINO ROJO. Those already familiar with that gonzo folk masterwork will find this to be equally worthy (and vice versa). "Will IsMy Friend," "Poughkeepsie," and other songs benefit from some string and piano overdubs, but essentially, this is solo Banhart, with his seemingly tossed-off yet strangely anachronistic tunes creeping out like incense-perfumed air. Banhart's deft acoustic guitar finger-picking and vocal warbling show the influence of country blues masters like Blind Willie McTell and Skip James, while another of his idols, reclusive1970s folk icon Vashti Bunyan, appears on the title track. Whether observing how a friend's hair is like "Insect Eyes" or rattling off the Elvis Presley filmography, Banhart purrswith such a mystic, neo-hippie vibe that he could lull eventhe staunchest nihilist to a love-in.