Red River Dialect: Overabundance

$3.00 – $5.00

The Overabundance EP follows Red River Dialect’s 2019 full-length Abundance Welcoming Ghosts (PoB-046) and includes three studio outtakes from that acclaimed album. The Guardian hailed Abundance Welcoming Ghosts as “alert, anti-colonialist folk” (and their Folk Album of the Month), and Pitchfork praised it as the band’s “most ingenious and immersive mix of folk and rock yet … finding joy in sensory pleasures as well as in the mystical inquests that music allows.”

SKU: PoB-059 Category: Tags: , ,

The Overabundance EP follows Red River Dialect’s 2019 full-length Abundance Welcoming Ghosts (PoB-046) and includes three studio outtakes from that acclaimed album. The Guardian hailed Abundance Welcoming Ghosts as “alert, anti-colonialist folk” (and their Folk Album of the Month), and Pitchfork praised it as the band’s “most ingenious and immersive mix of folk and rock yet … finding joy in sensory pleasures as well as in the mystical inquests that music allows.” These songs by “the most underrated folk-rock band in Britain” (MOJO) are suffused with longing and raw loss. “Front Row” describes the emotional end of an evening after missing a Bill Callahan show, while “Old Afternoon” recalls a final meal with a father. “Slinky” is a moody instrumental.

Songwriter, singer, and guitarist David Morris writes:

Three songs couldn’t make it to the Abundance Welcoming Ghosts LP and have haunted it these past months. This EP contains perhaps the most intense and most free-flowing Red River Dialect moments, and the album feels somehow incomplete without them. At the same time they stand apart, being the three songs recorded during the album sessions that hark back to older times and well-worn themes.

Highlights

  • The Overabundance EP comprises three outtakes from the Abundance Welcoming Ghosts sessions: “Front Row,” “Old Afternoon,” and the instrumental “Slinky.”
  • Artist page/tour dates/back catalog 

Tracklist

1. “Front Row” 3:55
2. “Old Afternoon” 5:34
3. “Slinky” 4:06

Catalog Number/Release Date

PoB-059 / July 3, 2020

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Acknowledgments for Abundance Welcoming Ghosts

9/10. I’m Bad Now is the real deal… feels as much a modest masterpiece as Spring Hill Fair or Tigermilk. What sets them apart is the fear and trembling in Nigel Chapman’s reedy monotone and guitarist Brad Loughead, who unleashes the full Verlainian screaming bluebird repertoire. 

– Stephen Troussé, Uncut

Masters of subtlety. I’m Bad Now slithers through 11 tracks like a phosphorescent python, its diamond-shaped scales emitting both glimmer and gloom.

– Beca Grimm, NPR Music

The band’s warmest and kindest record yet. Not only does Chapman write with more interrogative passion about his inner life than many songwriters twice his age, but here he expands outward, unpacking religious themes on “White Disciple,” pondering connection to others on “You Like to Joke Around With Me,” and wondering what becomes of all our big ideas on the beatific “Sage.” More than ever before the band’s instrumental interplay feels like its own thing, restrained, considered, and riveting. “Please don’t ask me to throw my work away,” Chapman sings over Salter’s rolling bass on album highlight “Judgement,” and it’s clear why. Nap Eyes is doing the best work of its career with I’m Bad Now.

– Jason Woodbury, Aquarium Drunkard

Possibly the catchiest, most immediate thing they’ve ever done, a deceptively thoughtful rocker that ambles along with a little extra verve.

– Peter Helman, Stereogum

Being bad has never felt so good. The real jamming on I’m Bad Now isn’t happening on the fretboards, but in the lyrics. [Chapman] saves his most bon mots for the astounding “White Disciple,” where the religious undercurrents that have always coursed through Nap Eyes’ music roil into a tsunami. Part Pixies bass rumble, part soulful “Beast of Burden” sway, the song proves to be Chapman’s Mangum opus, a breathless meditation on faith and vice that burrows a winding path from Christianity to Hinduism.

– Stuart Berman, Pitchfork

Triangulates the sweet spot between the Grateful Dead, Creedence Clearwater Revival, and Marquee Moon. If that sounds like your thing, I promise that Nap Eyes will be very your thing.

– Stephen Hyden, Uproxx

In just four short years, Nap Eyes have made much ado about meaninglessness with rock ‘n’ roll songs that shake just offbeat and smart lyrics wrapped in bemused ennui.

– Lars Gotrich, NPR Music

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