Venice Is Sinking: Sand and Lines

I admit that I’ve been sitting on this album for awhile. Way too long, in fact. I just kept coming up empty when I searched for words to describe and do justice to what I was hearing. Venice Is Sinking released a very different sort of album in Sand and Lines, from the story to the music to what album sales are going to benefit. After a great deal of contemplation, I believe I’m finally ready to share the story with you.
In early 2008, Venice Is Sinking was approached by Wilmot Greene, owner of Athens’ Georgia Theatre, with the idea of recording an album onstage with minimal production adornment. When the idea was finally realized, it was decided that the recording would be done similar to the Cowboy Junkies’ Trinity Sessions; recorded live with no overdubs and mixed directly to 1/4” tape with no post hoc editing, splicing, or manipulation other than mastering. Through much trial and error as well as blood, sweat, and tears, late nights, and take after take, Sand and Lines was born.

On June 19, 2009, Wilmot Greene and members of Venice Is Sinking watched helplessly as the Georgia Theatre was gutted by fire. The band quickly decided that all of the money should go back to Mr. Greene and the Theatre crew to help them recover and rebuild. Meanwhile, the Georgia Theatre has entered the rebuilding phase and hopes to be open by early 2011. Donations are being accepted at the Georgia Theatre’s website: http://www.georgiatheatre.com/.

The result of the Georgia Theater sessions is an album that fits somewhere in the space between a studio recording and a live recording; 10 songs recorded live with two mics, presented in the order of their recording, the document of the sound of a beautiful space that doesn’t exist anymore.

The sound is vulnerable and haunting; it has a live feel but there is a striking emptiness left by the lack of audience noise and the lo-fi recording system. The sailing melodies and essential harmonies of Venice Is Sinking are stunning. Each instrument is blooming with personality in the stark recording; Daniel and Karolyn’s voices seem to be made for this performance.

“The Grey Line” softly and sweetly meanders then reaches seemingly impossible heights. The simple tune of “Bardstown Road” is oddly endearing through layered vocals and well paired percussion. “Falls City” is like a mystery unfolding. Karolyn’s vocals voice slides through the notes while the dark instrumentation builds up the ominous tone. “Lucky Lady” feels like a well-worn sort of love, with a notable soaring viola part. “Pebble Trail” is a bright, urgent, track that will be quick to find a place in your heart.

Amongst the original works are a few time-tested covers that are well worth mentioning including Galaxie 500’s “Tugboat”, Waylon Jennings’s “The Wurlitzer Prize (I Don’t Want To Get Over You)”, and an aching, whispered take on Dolly Parton’s “Jolene”.

Pick up a copy of Sand and Lines here. For more on Venice Is Sinking, visit VeniceIsSinking.net and make sure to follow the band on twitter.

Sidelights