The Threshingfloor

DEE’s music and lyrics are often dark, dense, and profound and “The Threshing Floor” album is no different.  It’s too easy to get lost in the enigma of these songs that don’t separate too much from each other and DEE’s garbled, condensed vocal style make it all the harder to get it all.  So his is music that you need to read along to.  (But lyrics not included.)  Musically this album is perhaps more organic and maybe even more acoustic than many of his other album’s but it still plays dense with beds of dark underlays supporting more lightly delivered stringed instruments.  Middle eastern sounds again find their way blended into some of the songs the first being the title track.  Biblical allusions and proclamations abound such as in “His Rest” which draws its story from an old testament tale, possibly from the Song of Solomon, and which captures a mystical quality of hope and seduction.  “Truth” brings in an almost electronic drum vibe that does help distinguish it from the other songs and then veers into choral calling weirdness.  The final album track, “Denver City”, picks up the tempo and adds the electrics for an unusually fun and celebratory sound that you don’t often find coming from DEE.  It’s a fine way to end the album.  3.75 stars though for not having songs that maintain really strong distinctions.

This is simply a fantastic album. I got into Wovenhand (and by extension 16HP) when I got "Consider the Birds" a year or so ago, and in the process became enthralled and engrossed by pretty much everything that Edwards has put out. If he's anything he's predictable in being unpredictable, and through all of that always excellent. "Ten Stones" (the last album) was a departure from previous albums, more rock oriented, lighter in tone, and while good I think the weakest album in the Wovenhand catalogue. I saw Wovenhand on the tour supporting that album, and they were the best band I've ever seen live, and by far the most intense, quite impressive considering that Edwards spends the entire show sitting on a stool, but the man brings an intensity and sincerity that is almost scary. A thing I noticed at the show was that the music was typically "heavier" than on the albums. That sound continued on this new album, but within it comes layers of complex sounds and experimental workings, you'll hear Middle Eastern sounds along with American Indian, all woven together within a fabric of smoke filled Americana and driving rock, and Edwards unique voice holding it all together. You can't speak of his work without bringing his lyrics into it, and as always he delivers (although it would have been nice to have had a lyric booklet included) Edwards makes no apologies of his faith, and he deals with it with both praise for his God, and also with the very human man fighting for his soul, this is soul shredding and throwing on the floor in honor and wonder music folks, no mindless praise chorus's here. This fact will probably always be a detractor for some people. Don't let it be, you're an idiot if you let it get in your way. Matter of fact Marduk (a Satanic black metal band from Sweden) did a cover of one of their songs off of Mosaic and their singer has gone on record naming them on of his favorite bands and "really Christian and really dark, darker than most black metal" so obviously someone of drastically different beliefs can appreciate what excellent work this band does (Irish metal band Primordial used lyrics from 16HP's "Black Soul Choir" as well.) So if you take nothing else from this review than take this, this album is excellent, it's as good as anything Edwards has ever done, and you owe it to yourself to buy it, both for your own sake and to support real artists. You won't be sorry.

A friend of mine back in Denver sent a copy of Wovenhands Mosaic to me and it blew my mind, being a fan of brooding textures in music this was very welcome. Then I went out to discover all of his other music including 16 Horsepower. This new recording does not disappoint. Wovenhand continues to create hauntingly rich musical tapestries which conjure up vivid landscapes in your mind that go well with the lyrical aspect of it. The Threshing floor has a rustic out on the plains in the mountains feel where everything is a bit more clear, as if the music is kind of reflecting that reality. DEE reminds me of a wise prophet who comes up out of the desert to tell us what he knows or what he`s found and wants us to know as well. Well anyway buy the cd or mp3 its a great recording.

all around great stuff here. record still in heavy rotation. never ceases to please. quick shipping to boot. good good good

generally not a fan of this type of music, yet i can't stop listening to Wovenhand's version of this genre. i could listen to the song The Threshingfloor over and over again on repeat. oh, and the New Order cover is better than the original, by far

On the heels of his other releases from his current incarnation and cleverly employing a member of his former band 16 Horsepower, Edwards creates a visceral gem. Tied to his roots and yet pushing the inner landscape, Edwards offers a glimpse of what makes him tick and we are better for it. The grinding power of the later Horsepower is quiet but the beautiful dissonance is ever present. Hats off to Mr. Edwards for some intense late night wanderings.

I absolutely love this album. The vinyl is fantastic and comes in a beautiful sleeve. This is my third favorite Wovenhand album so far.

This album veers of from the heavy monotonous sound of the later albums and brings in the softer more arranged nuances of Consider the Birds.

Quando penso al sound americano degli ultimi vent'anni mi vengono sempre in mente certi nomi. Grant Lee Phillips (con i suoi Buffalo), Howe Gelb, Micah P Hinson, la coppia Burns-Convertino e altri della stessa risma. E ovviamente penso a David Eugene Edwards che con i suoi 16 Horsepower prima e Woven Hand poi ha dato una personale rilettura dell'american sound. Ci trovo le pulsioni desertiche care a Gentle Giant e Calexico, il suono potente e arioso dei Grant Lee Buffalo, la tensione emotiva e "vissuta" del miglior Micah P Hinson. C'è la rabbia, la fatica, la desolazione dell'America rurale più nascosta e meno conosciuta. Ci sono i demoni religiosi vissuti con sentimenti forti ma contrastanti tipici della provincia americana e che Edwards conosce molto bene. Woven Hand per me è tutto questo. E "The threshingfloor" è una delle cose più belle realizzate da Edwards. Quindi lo trovo meraviglioso.C'è il country, il folk, il roots rock vissuti con una tensione unica, con accenni psichedelici, con furia espressiva vicino all'hard. C'è tutta la voglia di Edwards di condividere i suoi tormenti e i suoi dubbi. La sua voce è davvero sofferta. Nessuna teatralità (geniale) alla Nick Cave, nessuna spinta verso un polveroso blues urbano che magari non ti appartiene come in certe pagine di Mark Lanagan (musicicsta che adoro sia chiaro) . Solo urgenza espressiva. Magnifica.Buon Ascolto.

Wer Woven Hand kennt und mag, kann auch bei dem neuen Album von Mr Edwards und seiner Band bedenkenlos zugreifen. Es geht zwar ein bisschen ruhiger zu als auf dem Vorgängeralbum Ten Stones, aber es war ja auch nicht zu erwarten, dass nun jedes Album die Richtung des Vorgängers aufgreift.Was als markantes Merkmal natürlich bleibt, ist die Stimme von David E. Edwards, wie immer auch gern mal im "Vintage-Style" aufgenommen. Er gibt nach wie vor den manischen Prediger, und das macht sich bei der sehr dunklen, atmosphärisch dichten Musik richtig gut. Gerade in den ruhigen Momenten entfaltet die Platte m. E. ihre Stärken (Singing Grass), auch wenn es schwer ist, bei einem so geschlossenen und stimmigen Werk einzelne Songs hervorzuheben. Und für überraschende Momente ist auch gesorgt, wenn zum Beispiel beim Song Raise Her Hands indianische Gesänge eine fast schon schamanistische Stimmung heraufbeschwören.Ein weiteres Highlight ist für mich die Coverversion des New-Order-Titels Truth. Hier verleihen Woven Hand dem Song eine enorme Intensität - großartig (und es ist nicht so, dass ich das Original schwach finde)!Schön also, dass Woven Hand in schöner Regelmäßigkeit nach wie vor tolle Alben produzieren. Bleibt zu hoffen, dass das Ganze auch noch live auf deutschen Bühnen vorgestellt wird, denn dort entfaltet sich die Magie der Songs dank des Charismas von David E. Edwards noch ein stück direkter als auf CD. Kauftipp!

Die neuen Wovenhand-Alben "Refractory Obdurate" und "The laughing stalk" haben mich schon beim ersten Mal anhören überwältig. Die beiden entfaltet eine Sogwirkung, die sich von Song zu Song zu einem wahren Berserkertum steigern und David Eugene Edwards, der sich nur mehr DEE nennt, ist seit Neuestem sowas von cool!!!Diese genialen Werke haben nur einen Nachteil: Alles andere (ältere) von Wovenhand klingt nicht so toll, wenn man es unmittelbar danach anhört.So hat mich das ein paar Jahre ältere Album "The Threshingfloor" beim ersten Anspielen sehr gelangweilt.David Eugene, damals noch nicht DEE, trällert in besten Religionslehrer-Manier auf "The holy measure" allen Ernstes Sätze wie .....Lord Jesus keeper of the law, I am with him in the garden, he is, he is, he yeah,to the proud heart hardened."So mau waren seine Texte noch nie. Man stelle sich das in der eigenen Sprache gesungen vor und bekommt eine Vorstellung davon, warum seine Musik in englischsprachigen Ländern nicht ganz so gut ankommt.Dann ein paar akustische Ausflüge zu indianischen und arabischen Welten, bedeutungsvolle Worte...Zitat:"Risha" arabic for feather" (Orchard Gate) Okay, er findet fremde Kulturen und Klänge interessant, aber irgendwie schrammt das nahe am Ethno-Kitsch, dachte ich mir.Und zum Schluss als unpassende Draufgabe das besoffene "Denver City". Wie durcheinander war unser Höllenprediger zum Zeitpunkt dieser Aufnahmen? Zumindestens mit mir schien plötzlich wieder alles in Ordnung zu sein. Ich war endlich fähig, Wovenhand mal nicht so gut zu finden, so wie es sich für Menschen gehört, die mit Psalmen und Morgengebeten nichts am Hut haben, gerne eine klaren Kopf bewahren und sich das Wovenhand-Virus als temporären Schnupfen erklären.Yeah! Einmal anhören und dann verstaubt "The Trashingfloor" im Regal, dachte ich voller Vorfreude. Doch zuvor wollte ich das Album ein letztes Mal hören: Als Berieselung beim Wohnungsputz! Sowas Lästerliches hätte ich mit "Refractory Obdurate" und "The laughing stalk" niemals gemacht!Drei Stunden Wohnungsputz später und nach dreimaligem Anhören die erschütternde Erkenntnis: Die Songs haben sich in mein Unterbewusstsein eingeschlichen und irgendwann war ICH es, die ..."Lord Jesus keeper of the law, I am with him in the garden, he is, he is, he yeah,to the proud heart hardened.", trällerte.Und oh Gott, oh Gott... das wunderbare "Singing grass", zu dem Pascal Humbert (ja, den genialen Kontrabass-Spieler von 16 Horsepower!) die Musik gemacht hat und nicht zu vergessen, das New Order - Cover "Truth", viel besser gespielt als das Original und echt guter Text, vor allem, weil er von New Order ist. Zumindens diese Bosheit schaff ich noch.David Eugene Edwards hat in einem Interview gesagt, dass er nur der Botschafter ist, durch den Gott spricht. So gesehen war es Gott. Er ist in meine Gehörgänge gekrochen, während ich beim Wohnungsputzen war ?! Und er ist es, der mich dazu zwingt wieder viele Sternchen zu vergeben. Oh nein! Einen nehm ich weg, das schaff ich noch.

Si la démonstration musicale d'Eugene Edwards est de nous faire comprendre qu'il y a quelque chose de supérieur derrière toute création eh bien c'est hautement réussi avec cet opus. Je trouve notamment la première partie très envoutante avec des incantations (qui viennent puiser au répertoire celtique ou indien) qui m'émeuvent tout simplement, cela sans même rentrer dans la compréhension des paroles. Après Singing grass, la musique investit des bases plus folk ou gothic avec un Terre Haute sublime et un Denver City qui clôt le chapitre sur une note hyper réjouissante. Un album hors norme, indispensable!