Performing Lost and Gone Forever in its entirety plus a set of Guster favorites.“I told Swift that our last two records took a year each to make,” laughs Guster’s Ryan Miller. “He told me he’d never spent more than nine days on an album.” The band and producer got together anyway and the result is Evermotion, an album of raw acid-soaked chamber pop, and a stylistic departure that no one saw coming.Guster sought out Shins keyboardist/Black Keys bassist Richard Swift based on his work with Damien Jurado and Foxygen, giving themselves over to the full experience of recording at Swift’s Cottage Grove, Oregon studio for three weeks in January 2014.“It wasn’t hard to figure out where we overlapped with Swift,” adds percussionist/drummer Brian Rosenworcel. “It was just a matter of trusting ourselves to go big and commit. Richard is the type of artist that’s always standing back and taking in the whole canvas.”With a new looseness and swagger, Guster pushes the acoustic guitars into the background, instead exploring deeper drum grooves, keyboard textures and atmospheric noise — a language they shared easily with Swift. The band that emerged from this session sounds like one that is no longer evolving, but has evolved into something else entirely.“Richard helped us figure out what was important about recording,” says guitarist Adam Gardner. “We had just one microphone over the drum kit, used whole takes, didn’t obsess over vocals or really edit things at all — it’s a raw version of our band, mistakes and all, that feels more relevant. He helped us tremendously with the big picture.”Evermotion’s first single, the infectious “Simple Machine,” has been hailed by TIME magazine for its “frantic beats and crawling synthesizers.” The chiming lullaby of “Long Night” with its aching Ryan Miller falsetto, the shimmering “Endlessly,” the distorted steel drums and Bacharach melody of “Doin’ It by Myself,” the a cappella Beach Boys harmonies in the gently breezy “Lazy Love,” the dream-pop of “Expectation,” the British Invasion beat of “Gangway,” the woozy trombones and whistling of “Never Coming Down” and the Beatle-esque psychedelia of “It Is Just What It Is” shows Guster is still learning new tricks.
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Performing Lost and Gone Forever in its entirety plus a set of Guster favorites.“I told Swift that our last two records took a year each to make,” laughs Guster’s Ryan Miller. “He told me he’d never spent more than nine days on an album.” The band and producer got together anyway and the result is Evermotion, an album of raw acid-soaked chamber pop, and a stylistic departure that no one saw coming.Guster sought out Shins keyboardist/Black Keys bassist Richard Swift based on his work with Damien Jurado and Foxygen, giving themselves over to the full experience of recording at Swift’s Cottage Grove, Oregon studio for three weeks in January 2014.“It wasn’t hard to figure out where we overlapped with Swift,” adds percussionist/drummer Brian Rosenworcel. “It was just a matter of trusting ourselves to go big and commit. Richard is the type of artist that’s always standing back and taking in the whole canvas.”With a new looseness and swagger, Guster pushes the acoustic guitars into the background, instead exploring deeper drum grooves, keyboard textures and atmospheric noise — a language they shared easily with Swift. The band that emerged from this session sounds like one that is no longer evolving, but has evolved into something else entirely.“Richard helped us figure out what was important about recording,” says guitarist Adam Gardner. “We had just one microphone over the drum kit, used whole takes, didn’t obsess over vocals or really edit things at all — it’s a raw version of our band, mistakes and all, that feels more relevant. He helped us tremendously with the big picture.”Evermotion’s first single, the infectious “Simple Machine,” has been hailed by TIME magazine for its “frantic beats and crawling synthesizers.” The chiming lullaby of “Long Night” with its aching Ryan Miller falsetto, the shimmering “Endlessly,” the distorted steel drums and Bacharach melody of “Doin’ It by Myself,” the a cappella Beach Boys harmonies in the gently breezy “Lazy Love,” the dream-pop of “Expectation,” the British Invasion beat of “Gangway,” the woozy trombones and whistling of “Never Coming Down” and the Beatle-esque psychedelia of “It Is Just What It Is” shows Guster is still learning new tricks.
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