/ VINYL

Fognode

Beat Hollow

Used Vinyl

$20.00

Personnel

Mark Fauver - Acoustic Bass
Brian Siskind - Acoustic Guitar
Sarah Siskind - Acoustic Guitar
Brian Siskind - Artwork By
Al Goll - Dobro
Brian Siskind - Drums
Brian Siskind - Electric Bass
Brian Siskind - Electric Guitar
Daniel Tashian - Electric Guitar
David Dawson - Electric Guitar
JD Meek - Electric Guitar
Mack Starks - Electric Guitar
Mark Fauver - Flute
Brian Siskind - Hammered Dulcimer
James Digirolamo - Keyboards
Brian Siskind - Loops
Jim DeMain - Mastered By
Brian Siskind - Pedal Steel Guitar
Sarah Siskind - Piano
Brian Siskind - Producer

Notes

”fantastic ambience" - Pat Mastelotto (King Crimson) 12" LP Limited Edition of 100 - hand numbered 12" 150g vinyl Remastered reissue of the 2001 classic. "Fognode's Beat Hollow (2001) stands as an excellent introduction to the pastoral mode that would characterize indie Nashville in the coming decade." - Edd Hurt - Nashville Scene "When I first heard Fognode’s 2001 Beat Hollow, I had been back in Nashville for about a year. I had seen the city change already in the 1990s, when many rockabilly clones and wanna-be Lefty Frizzell cardboard cutout figures mutated with what has always been a factor in Nashville music, smug insider-hipsterism. The Fognode music, though, seemed like someone’s dream of Nashville as a place where there had always been too many overtones. The tonal palette of Beat Hollow, thus, contains pedal steel, regular guitars, some piano, drums, flutes, found sounds. The rest of the world, as Fognode auteur Brian Siskind likely knew when he got to Nashville back in the ‘90s, had already years earlier outside of Nashville done some interesting, abstract stuff with the materials around them. So I think the collision of song form and what you could call this record’s trip-hop leanings is also very Nashville. The overall effect is mystical, rural, leaf-strewn, but Beat Hollow is also as studied as a Chet Atkins instrumental-jazz-country record. In a way, Beat Hollow is a singer-songwriter record without the singer, and it is also a guitar record that contains several blues-folk-pop codas--the guitar often ends to songs that amble through their markings like a folk singer through the familiar chord changes that everyone knows. It’s a record of light, shadow and hills and streets that are scrambled, as Nashville streets can be. In a way, of course, it’s a pop record, an aural signature, a blank. Recorded in 1999 and first released in 2001, it’s a snapshot of a sensibility in Nashville, and you can take it from here." --EDD HURT