11 Songs, 41 Minutes

EDITORS’ NOTES

Bandleader, songwriter, and producer Jason Quever delves ever deeper into Phil Spector wall of sound territory on Papercuts’ fourth release. A hazy blend of dream and chamber pop, Fading Parade shimmers beneath layers of reverb, dense keyboards, and intricate arrangements. The bright and poppy opener, “Do You Really Wanna Know,” is a beacon in the aural fog shrouding most of the album, and “Winter Daze” stands apart due to its comparatively sparse production and clearer separation of instruments. Mostly though, simple hypnotic riffs, lush strings, and a studio full of gorgeous gossamer effects grace album highlights “Do What You Will,” “Chills,” “White Are the Waves,” and the mesmerizing closer, “Charades.” In mood and feel, Papercuts is similar to Sub Pop label mates the Shins and Beach House in terms of gentleness and use of haunting melodies, yet with a more subtle backbeat. And though his breathy wisp of a voice is largely lost amidst the wash of sound, it’s fitting for such dreamy material. These are, after all, songs to get lost in.

EDITORS’ NOTES

Bandleader, songwriter, and producer Jason Quever delves ever deeper into Phil Spector wall of sound territory on Papercuts’ fourth release. A hazy blend of dream and chamber pop, Fading Parade shimmers beneath layers of reverb, dense keyboards, and intricate arrangements. The bright and poppy opener, “Do You Really Wanna Know,” is a beacon in the aural fog shrouding most of the album, and “Winter Daze” stands apart due to its comparatively sparse production and clearer separation of instruments. Mostly though, simple hypnotic riffs, lush strings, and a studio full of gorgeous gossamer effects grace album highlights “Do What You Will,” “Chills,” “White Are the Waves,” and the mesmerizing closer, “Charades.” In mood and feel, Papercuts is similar to Sub Pop label mates the Shins and Beach House in terms of gentleness and use of haunting melodies, yet with a more subtle backbeat. And though his breathy wisp of a voice is largely lost amidst the wash of sound, it’s fitting for such dreamy material. These are, after all, songs to get lost in.

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3:14
3:41
4:48
4:20
3:28
3:17
4:11
3:27
3:19
3:57
3:52

About Papercuts

Papercuts are a soft indie pop project centered around Jason Robert Quever, who was brought up in a commune in Humboldt County, California. He traveled up and down the West Coast, eventually settling in San Francisco. Quever's work began when he used the apartment of a vacationing friend to record piano tracks for Cass McCombs. He has kept busy since, collaborating with such artists as Casiotone for the Painfully Alone, the Skygreen Leopards, and Vetiver. Two Papercuts albums arrived in the early 2000s: Rejoicing Songs (Cassingle USA) and Mockingbird (Antenna Farm). Can't Go Back was released in February 2007 through Gnomonsong, run by Devendra Banhart and Andy Cabic of Vetiver, and in support of that record, Papercuts toured throughout the U.S. with Grizzly Bear. Although, like many Papercuts releases, 2009's You Can Have What You Want was recorded at Quever's self-built Pan American home studio, this album was perhaps his most collaborative effort to date, with Alex Scally of Beach House not only contributing bass, keyboards, and percussion, but also assisting with string arrangements and session engineering.

Quever and company took an even lusher approach on 2011's Fading Parade, which was the first Papercuts album released by Sub Pop in the U.S. and featured production input from ex-Lilys and Pernice Brothers player Thom Monahan. After this, Quever took a break from the group, but stayed busy by assisting with numerous other musical projects. Both Gold Leaves' 2011 album The Ornament and Dean Wareham's late-2013 Emancipated Hearts benefited from his production skills. The next Papercuts album, Life Among the Savages, was released in May of 2014 for new labels Easy Sound in the U.S. and Memphis Industries in the U.K. ~ Kenyon Hopkin & James Wilkinson

  • ORIGIN
    San Francisco, CA

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