Hungrytown

It might seem absurd that folk noir duo Hungrytown’s latest album Further West – streaming at Bandcamp -made the Best Albums of 2015 page here, yet never got a full writeup. That’s because if they made it to town last year, they did that before the album came over the transom. Where it sat, and sat, and sat, and that’s a crime: it’s by far their most vivid and intense album, in fact one of the most darkly memorable releases of the past many months.

Since the early zeros, singer Rebecca Hall and her multi-instrumentalist husband Ken Anderson have been working the darker corners of the folk milieu. Their most recent album before this, 2011’s Any Forgotten Thing took an impressively erudite detour into period-perfect 60s Laurel Canyon psychedelic folk. This release is a return to their elegant acoustic roots, more or less, although a couple of the most quietly lingering tracks also explore the band’s psychedelic side. The elegantly waltzing, understatedly menacing title cut sets the stage:

Rocks in my pocket
Blood on the stairs
Followed you down to the sea

And the story only gets better from there. Hall’s calm, collected narrator eventually intimates that she’s leaving the crime scene for parts further west simply because she’s got better things to do.

The album’s version of Hard Way to Learn – the chilling opening track on Hall’s excellent 2000 solo album Rebecca Hall Sings! – gets a slightly bulked-up remake, awash in lush, multitracked harmonies, propelled by Anderson’s steady banjo and Lissa Scheckenburger’s stark fiddle. In Sometime, Hall turns on her pillowiest, most understatedly wounded delivery, anchored by funereal organ, revisiting a theme of learning the hard way:

Rushing through my brightest hour but favoring the dark
Believing every undying word is justified in part

Hall doesn’t bother to change any of the lyrics to fit a woman’s voice for a stark take of the old British folk ballad, Don’t You Let Me Down, and the result is even more surreal than the original. And the bit about how “the bank man stole it all away” makes it even more relevant, here at the end of the real estate bubble era. The harrowingly catchy Day for Night takes that theme further into the present:

Losing streak, trying to sail, over dry land
Losing sleep, promise to pay, no money in hand
And the cold’s rolling in from the north…
So many ways, ways to go wrong, so we just go along
And the trucks run their engines all night
We’ll sleep in the glare of the streetlight

Hall and Anderson duet a-cappella and keep that hardscrabble ambience going with the bitter migrant work lament Pastures of Plenty. They pick up the pace with the Lynchian vintage C&W of Don’t Cross That Mountain, the bit of extra reverb on Hall’s voice matched by Anderson’s ominously echoey guitar. Then they revisit the indian summer psychedelia of their previous album with the hypnotic, uneasily starlit Highway Song:

Moon rolls down the highway
Playing hide and seek
Stop along the meadow
Tickling his cheek

Suzanne Mueller’s austere cello underpins the stately, heartbroken minor-key waltz Ramparts and Bridges. Anderson’s twinkling electric piano mingles with low-key fingerpicked guitar on Static, an enigmatic night drive that might or might not be a sequel to the title track: “I know how you feel to have lost every signal you once had,” Hall intones gently. The album ends up with the elegantly trad Eastward Forests, Westward Hills and then the spare, menacingly aphoristic Troubles in Between:

December, sorry, slept right through.
January, missed you too.
Sped past March, April and May
Sometimes it’s best to keep away

Not only is this one of the best albums of 2015, if’s one of the best of the decade, if anybody’s counting. - New York Music Daily

That was the opening song and title track of Further West, the newest record by duo Hungrytown – Rebecca Hall and Ken Anderson.

This is a song and a record of highway travelers glimpsing a world zooming by them in all of its complexity, from the denizens under bridges to the beauty of a turnstile. As Hall writes, “Imperfect rhyme matters sometimes.” As a fan of slant rhymes, myself, I understand what she’s getting at. Life is not as simple as an inspirational poster or a Facebook meme. Simple slogans certainly have truth in them, but it’s difficult to bring all of life, like blood on someone’s hands, under that umbrella.

Hungrytown - Further West - Further West

As Hall asks when describing her lean street urchin in Hard Way to Learn, my favorite Hall composition, “Tell me how your bright ideal measures up to a life so real.” Far from standing on a soapbox, Hall admits her own limitations as a passenger seat observer when she admits, “No time to rest, we head further west for someplace I’ve got to be.” This is both literally true — because Hungrytown is on tour far more than they are home — but also because that is indeed the rhythm of America, to be on the move, busy with appointments. And it’s a global trend as we all become more interconnected via the web. It’s a trend that like Hall’s imperfect rhyme is somewhat unsettling and a thing we will all be reckoning with for days to come. “Flashing, is it danger, or just another town” a line from Highway Song seems to sum up our plight rather well.

The title track, Further West, is a perfect introduction to this record, which is full of characters living on the razor’s age. And the album, in fact, ends with Hall lamenting, “Life goes on from dream to dream, nothing but troubles in between.” The record itself is like a dream where many players drift in and out revealing both plain and cloaked messages, only to vanish upon waking. Just a few among the cast of characters we meet are a family making an ill-fated winter mountain crossing, a runaway, and the protagonist of Don’t You Let Me Down who seems to echo what we all want, at least one good person to be sturdy and reliable in an ever shifting world.

In keeping with the theme of the beleaguered wanderer, Hungrytown’s stunning cover of Woody Guthrie’s Pastures of Plenty throws the plight of migrant farm workers and farmers into high relief, so that they are not merely the anonymous subject of a depression era photograph, but a flesh and blood person doing what Hall describes as “Balancing each day upon a blade of light and shade.” With many years of international touring under her belt, armed with keen powers of perception and a tremendous amount of empathy, very little escapes Hall’s notice — including other journeymen. She acknowledges us, her listeners, as fellow travelers and friends when she and Anderson whisper to us in the song Static, “I know just how it feels to think you’ve lost whatever signal you once had.”




But among the troubles, Hall knows that beauty speaks to us too, and provides a gentle and vital respite when she gives us images like a “Flock of birds high over head . . . drifting softly down, as one by one they come to set their feet upon the ground.”

Anderson, who was at the helm in Hungrytown's studio, has a deep understanding of harmony and layering that he puts to use creating soundscapes which echo everything from Simon & Garfunkel and Fairport Convention to Neko Case and The Milk Carton Kids. But the sound combinations are particularly Anderson’s — whose brain seems to be full of these layers on a constant basis. He deftly played many of the instruments on the record, plus they had a few special guests step into the studio for the gorgeous string parts which Anderson wrote and arranged. He sings harmony in a way that delicately crosses and buoys Hall’s voice which is showcased in Pastures of Plenty. Just listen for little secret sound wonders of production conjured by Anderson like the sweet “la la la’s” at the end of Highway Song. Anderson’s box of musical treasures reveals these sound gifts to you on repeat listenings.

Hall’s voice rings clearly and she soars and dives with an incredible range. I was able to excerpt all of these lyrics without even consulting the liner notes, because she sings so clearly and Anderson’s full but sympathetic production never crowds out their voices. Hall writes with an aim to communicate and sings with an aim to broadcast that communication clearly and tunefully. While her voice is widely expressive from the strident warning of Don’t Cross that Mountain to the secret whisper of the song Static, you still can hear every word.

There were many times that my hair stood on end while listening to this record —and it wasn’t my first listen, but my umpteenth. Once, during this listen, I was brought to tears. And I think that comes of listening all the way through to an honest work without any distractions in a quiet room. Listening this way is a great gift you could give to yourself. I’ve also enjoyed this album thoroughly while driving down the highway or cleaning up my sewing room. There is no filter here between you and Hungrytown – it’s a plain speaking, but also lushly orchestrated record which is a combination that is so uniquely Hall and Anderson working together, both bringing their strengths to bear on their newest work.

And work it is. When talking about artists like Hungrytown, I am talking about two working musicians, who make their own records, drive their own vehicle to gigs, set up their own sound, book their own shows, create their own posters, and do their own everything 98% of the time. (I think they mostly leave major car repairs to the experts.) This is quite a feat, but yet they manage to do all of this while also creating remarkable, unfussy art of the highest caliber. You know what would be great, is if you followed this link and bought this record.

After a busy holiday season and the start of the new year, it can all feel like a giant rush to get back on the horse and survey the land called “the year ahead.” But remember as Hall says in her song Sometime, "Halfway round the world they’ve flown, but now they’re coming down. We’ve all got to rest sometime." - Golden Biscuit Hour

Further West is the third album from Vermont-based duo Rebecca Hall and Ken Anderson. They are well supported here by long-time collaborator, cellist Suzanne Mueller, and fiddler Lissa Schneckenburqer.

The album opens unusually with the haunting waltz of the title track, with Hall's striking vocals casting a seductive spell. 'Hard Way To Learn' is driven by Schneckenburger's fiddle and Anderson's clawhammer banjo, telling the tale of a runaway mother who comes face-to-face with life's hard realities.

'Don't You Let Me Down' is classic mountain folk, whilst the lovely ballad 'Day For Night' ponders the changing landscape and dying American dream.

A convincing a capella take on Woody Guthrie's dustbowl classic 'Pastures Of Plenty' follows. It's a beautiful cover, but the real strength of this album lies in the authenticity and honesty of their own lyrics, mainly penned by Rebecca Hall, tethered to the superb musicianship on display from all four.

The traveling songs 'Don't Cross That Mountain' - all fear and danger on a disastrous journey, 'Highway Song' - life viewed through a window, and 'Static', fueled by crackling radio, make an engaging trio.

'Ramparts And Bridges', penned by Mueller, is a poignant and elegant reference to Edna St. Vincent Millay's sonnet 'On Hearing A Symphony Of Beethoven'.

Further West is a wonderfully realised collection of chamber-folk-pop and is an understated treat. - R2

Hungrytown make no attempt at pretense. Even their handle hints at an unadorned, unaffected motif. Theirs is a sound that’s conveyed simply, drawn together by the solitary strum of acoustic guitars, a bit of banjo playing, and the occasional keyboard. Strains of cello and violin creep into the arrangements as well, but for the most part, it’s the Hungrytown twosome -- singer-songwriters Rebecca Hall and multi-instrumentalist/arranger Ken Anderson -- that color these songs so purposely and poignantly.

Further West, the Vermont-based duo’s latest LP and third to date, continues their well-stoked brand of durable folk, sounding for all the world like a collection of traditional tunes hewn either in a hollow or in the highlands, in a different different age than this.

Hall’s voice is lilting and engaging, creating a sound that echoes with purity and passion. Songs such as “Further West,” “Sometime,” Day for Night,” and “Troubles in Between” -- and indeed, practically every number in-between -- could have been drawn from either England or Appalachia, with roots that were hewn in-between. The music requires a closer listen of course, which, in turn, insists on quiet contemplation as an absolute necessity. Still, the time spent offers an ample return, given these lovely melodies and a sound so soothing and engaging, it practically begs a quick return. Kudos then to Hungrytown for taking a time-tested approach and effectively making it their own.
Lee Zimmerman - No Depression

(translation from Dutch)
Hungrytown is a remarkable folk duo. Rebecca Hall began as a jazz singer, Ken Anderson a drummer for a variety of garage bands. When a mutual friend who died young bequeathed to them her guitar and collection of folk albums, a spark was kindled. Multi-instrumentalist and singer Anderson and writer Hall together form Hungrytown, a special folk duo with literary texts, beautiful arrangements and remarkable vocal harmonies, with Hall as the lead singer.

Her singing is unexpectedly reminiscent of Karen Carpenter of the Carpenters, but Hungrytown's music is just a bit more intelligent and subtle. As previously stated, attractive arrangements, brilliant guitar playing, and above all, very good songs. Sometimes recalling British folk, at other times reminiscent of the Appalachians or the Byrds, it falls somewhere between folk rock and old time folk. Hungrytown is simply unique. Pure class. - Moors Magazine (Netherlands)

Sometimes gigs are like buses, you wait ages for one & then two turn up at once. This weekend found me on an all too rare chance to see live music on successive days. Two husband and wife duos, two very different sets but both perfectly suited to their individual audiences.

First up, Friday 18th September saw me making the trip along the M4 for my first visit to the Valley Folk Club at Pontardawe. The club has been going for approximately 45 years, 30 of which have been at it's current Ivy Bush Hotel home.

In that time, many illustrious guests have performed at the club, the latest of which were American Folk duo Hungrytown.

If you're not familiar with them, Hungrytown are Rebecca Hall and Ken Anderson, Rebecca comes from a Jazz background, whilst Ken was a part of the New York garage band scene. The loss of a friend to cancer brought them into the world of folk and they haven't looked back since.

The duo's Valley Folk Club gig was an entirely acoustic affair, with no amplification of any kind. Any doubts about this were soon dispelled as Rebecca's clear voice soon had a packed room enthralled.

Unsurprisingly, songs from Hungrytown's latest album, Further West, featured strongly and it was a pleasure to hear the Valley Folk Club members harmonising so well on songs like Don't You Let Me Down. In between the songs we heard stories about Rebecca and Ken's nomadic life and their time living in New York City, including the time their van caught fire whilst touring in the Pacific North West and how they came up with the band name. For me one of life's great pleasures is to find an interesting looking road and following it just to see where it goes, Rebecca and Ken found one such called Hungrytown Road whilst recording in the Bluegrass Country and decided to adopt the name. They never did find out whether a settlement called Hungrytown ever existed.

Live, Hungrytown are every bit as good as they are on album, Rebecca's voice and Ken's playing are a pleasure to listen to and it was great to witness them feeding off the energy of an appreciative audience as they did at the Valley Folk Club. Hungrytown are touring the UK until the middle of October, if you can, go and see them. Personally I look forward to catching up with them when they return to the UK in September 2016.
David Chamberlain - FATEA

Isn’t it great when an album grabs you with the first note? Well, maybe the first passage anyway, but the really great thing about this album is that it just may keep you with it through each and every song. This Vermont duo worked its magic on me with their brilliantly restrained and stylistic female vocals and male harmonies. Then there are the haunting acoustic guitars supplemented by violin and cello. Rebecca Hall sings with a classic British folk style, part Mandy Morton, part Jacquie McShee, and she nails every single line, digging deep in your psyche. There are twelve songs here and any Folkworld fan who is a true fan is going to want to listen to all of them, whether you prefer British, European, or American style, and whether you are traditional or modern. This has it all working.
David Hintz - FolkWorld

. . .
There were many times that my hair stood on end while listening to [Further West]—and it wasn’t my first listen, but my umpteenth. Once, during this listen, I was brought to tears. And I think that comes of listening all the way through to an honest work without any distractions in a quiet room. Listening this way is a great gift you could give to yourself. I’ve also enjoyed this album thoroughly while driving down the highway or cleaning up my sewing room. There is no filter here between you and Hungrytown – it’s a plain speaking, but also lushly orchestrated record which is a combination that is so uniquely Hall and Anderson working together, both bringing their strengths to bear on their newest work.
. . . - Jeni Hankins

Rebecca & Ken play a delicious blend of acoustic based folk music with harmonies to die for. Often delicate, often reflective their music comes from the heart and the soul. Their latest album Further West is an album of journeys, journeys of the heart as well as the miles. - http://macwoodfleet.blogspot.co.uk/2015/12/my-discovery-of-2015-hungrytown.html

The most elegantly arranged and arguably best album by poignant Americana songstress Rebecca Hall and multi-instrumentalist Ken Anderson’s plaintive folk noir band. - New York Music Daily

Further West is the third album from Vermont-based duo Rebecca Hall and Ken Anderson. They are well supported here by long-time collaborator, cellist Suzanne Mueller, and fiddler Lissa Schneckenburqer.

The album opens unusually with the haunting waltz of the title track, with Hall's striking vocals casting a seductive spell. 'Hard Way To Learn' is driven by Schneckenburger's fiddle and Anderson's clawhammer banjo, telling the tale of a runaway mother who comes face-to-face with life's hard realities.

'Don't You Let Me Down' is classic mountain folk, whilst the lovely ballad 'Day For Night' ponders the changing landscape and dying American dream.

A convincing a capella take on Woody Guthrie's dustbowl classic 'Pastures Of Plenty' follows. It's a beautiful cover, but the real strength of this album lies in the authenticity and honesty of their own lyrics, mainly penned by Rebecca Hall, tethered to the superb musicianship on display from all four.

The traveling songs 'Don't Cross That Mountain' - all fear and danger on a disastrous journey, 'Highway Song' - life viewed through a window, and 'Static', fueled by crackling radio, make an engaging trio.

'Ramparts And Bridges', penned by Mueller, is a poignant and elegant reference to Edna St. Vincent Millay's sonnet 'On Hearing A Symphony Of Beethoven'.

Further West is a wonderfully realised collection of chamber-folk-pop and is an understated treat. - R2

A collection of songs with a certain amount of grit and a bit of an edge that I am sure will pass into the tradition in the future – in fact, my partner is already eyeing a couple up to sing at future folk club singers’ nights. - FolkWales