Elysian Fields - Press
Rhymes With Cusack
(August 2, 2011)
Brooklyn’s Elysian Fields is back with an album that not only reels the duo in to their popularized noir undercurrent, but brings them back to the States after a decade of dominating the European market. But what we see with Last Night On Earth is primarily a simpler and softer modern side to the group.
Last Night On Earth is everything you would want from Elysian Fields. The seductive flirtation with her vocals, the hypnotic squandering that if she snapped her fingers, the trance would still linger. “Chance” reminds us of her Bleed Your Cedar days and an alternative scene haunted by the likes of Curve and Doves.
Just outside the shoegaze genre, Fields has always went against the grain and provided an alternative to the alternative. Last Night On Earth does no different. “Sweet Condenser” is early dawn chamber folk that floats around the heavenly pop of “Sleepover” and the meditatively sobering “Church of the Holy Family.” The only edginess to the release is the brooding “Red Ridind Hood,” featuring Oren Bloedow’s gruffy baritone voice.
The band seems to still wear the scars of their exodus from Radioactive Records, but with Last Night On Earth, the group stears into a more focused territory of softcore odes with more timeless tunes than their dated ‘90s work. It might not appeal to the purist in Elysian Fields’ sound, but it does not veer too far off track to bridge their career together in a nice paste up of elegant songs and typical sway that the band knows how to capitalize on.
Pitchfork
(August 2, 2011)
For 15 years, Brooklyn's Elysian Fields have been reliable purveyors of dream-pop and alt-rock noir. Singer Jennifer Charles exudes a forbidding cocktail-dress cool; her slick presentation conceals uneasy psychological themes. Think Mazzy Star on a serious Bad Seeds binge. The band has collaborated with many leading lights of the American pop avant-garde-- Marc Ribot, John Lurie, John Zorn, and Mike Patton-- while guitarist Oren Bloedow has backed up demanding traditionalists like Dr. John and Lizz Wright. But Elysian Fields remain a cult act in the States, a condition that Last Night on Earth seems unlikely to change.
At heart, Elysian Fields are doing what they've always done: recruiting prestigious collaborators (the Antibalas horns, Jeff Buckley drummer Matt Johnson, and members of Bon Iver and Antony and the Johnsons) to back Charles' slinky chanteuse vocals. The group still gets the lead out sometimes: "Red Riding Hood" is a Grinderman-style seether complete with blues harmonica and a croaking Nick Cave impression, and "Chance" bounces on a glinting knife-edge of electric guitar. But more atmospheric styles have risen to prominence, like the foggy old-world folk of "Johnny" and the chamber-pop of "Chandeliers". Unfortunately, this mostly positive evolution comes with a problematic one in Charles' singing style, which is too blurry to work as a focal point.
I know this is sacrilege: Charles defines this band, and she can certainly sing. But the exaggeratedly breathy and heavily ornamented style she cultivates here overshadows the diversity of the music with a uniform cloud of affectations. Compare these frilly flutters and meanderings with early songs like "Star" and "Jack in the Box", where Charles carved a svelte, forceful path through the band's chugging alt-era grooves, to hear how her cosmetic decorations sap the music's elemental vitality. She sounds fresh and inspired when she sings a bit straighter, as on "Sleepover", a breezy concoction of guitars, horns, and martial percussion; the title track also accrues a spacious, soulful momentum. Between these dynamic bookends, solid musical ideas are too often dissolved in expressive scribbles. Last Night on Earth should do well with those already invested in Elysian Fields-- and they are legion, especially in Europe-- but newcomers may need to start with 1996's Bleed Your Cedar to figure out what the big deal is supposed to be.
— Brian Howe
Maximum Ink (June 16, 2011)
Wickedly blissful whisperings slide between sumptuous chamber-folk symphonies, bluesy goth-rock siroccos and coy, alt-pop ballets, “Earth,” works sensual memories beneath placid passions toppling headlong down mesmerizing torch songs, potent potions quenching thirsty bursts from dream-laden maidens. Stirring purrs and banshee sweetness catapult EF’s mythological waltzes into melodic exotica, an embroidered fairy-tale cabaret pried from childhood fears and sentimental tension. – John Noyd
Popshifter (June 14, 2011)
Jennifer Charles made me a fan the first time I heard "Mr. Cardiac," a song she sang on the first Firewater record, Get Off The Cross, We Need The Wood For The Fire.
Charles' breathy, sultry singing paired with Tod Ashley's brilliant, incisive lyrics was one of many high points on that record, and I had to hear more. A couple of years later, I found an EP of her band, Elysian Fields, a collaboration with Oren Bloedow and a revolving cast of Downtown New York luminaries, including Marc Ribot.
I enjoyed the record a lot, but somehow forgot about Elysian Fields afterwards. I was happy to be reminded of them when I found that Last Night On Earth was coming out soon. After listening, I regret having forgotten about them for so long.
Last Night On Earth is Elysian Fields at their best. Charles' exquisite voice and Bloedow's inspired music add up to a great record. The first song, "Sleepover," recounts a childhood memory with a moving, lovely blend of beauty and menace. "Red Riding Hood" similarly contrasts innocence and darkness, retelling the story with a disturbing sexiness that's incredibly effective and quite enjoyable.
From that point on, the record moves away from the harrowing and into more direct love-song territory, but as usual, the band provides these songs with a relaxed, sensual beauty that's an awful lot harder to explain than it is to love.
There is some slight seediness underneath later tracks, but even then, in what may be the album's best track, "Villain On The Run," it's a bit tongue-in-cheek, a perfect soundtrack for doing things you maybe shouldn't with someone you maybe shouldn't be with, and loving every moment of it.
Put simply, for fans of downtown New York wit and sophistication who enjoy more than a little sweet with their smart, Last Night On Earth is near perfect. – J Howell
Time Out New York (June 14, 2011)
The brainchild of guitarist Oren Bloedow and vocalist Jennifer Charles, Elysian Fields has been a mainstay of the downtown scene since the mid-’90s. Tonight the band turns down the lights for a complete performance of its newest album, the achingly intimate Last Night on Earth.
WNYC Gig Alert (June 14, 2011)
For over 15 years, Elysian Fields has managed to make a steady stream of great music that has not entered the realm of the musical mainstream. Despite overseas success, the band's genre-less sound — equal parts rock-and-roll, no-wave jazz, and folk-song — has been hard to commodify in the U.S. But that hasn't seemed to bother eclectic co-composers Oren Bloedow and Jennifer Charles. This Tuesday night at Elysian Fields, the duo releases its first domestic album in ten years, Last Night on Earth, which features this velvet cut, "Chance." To record the album, Elysian Fields employed the help of a long list of hometown buddies, including members of Bon Iver's band, John Medeski, and the omnipresent Antibalas horns. So expect a cameo-laden live show tonight at LPR. – Marlon Bishop
The Agit Reader (June 14, 2011)
Though they came up in New York, Elysian Fields (a.k.a. singer Jennifer Charles and guitarist Oren Bloedow) haven’t put out an album Stateside in 10 years. It’s not that they’ve laid dormant for the last decade—they’ve released three records in Europe—but the last time those of us on this side of the pond heard from them was with Queen of the Meadow, released in 2000 by the now defunct Jetset label.
Nevertheless, it is telling of the impression that record made that I’ve not forgotten the band over the past decade. That record was imbued with noir aesthetics indicative of the duo’s downtown upbringing, while Charles’ voice hearkened more than a little to that of Hope Sandoval. But instead of getting lost in hazy atmospherics that might have shrouded any distinctions, the Fields proved adept at shifts in subtlety and sonic texture. It was a beautiful and special record, no matter how shadowy it may have been.
Last Night on Earth was recorded last winter in a cold-water flat in Crown Heights. While the album shows that not a lot has changed in the last 10 years—the pair still has a penchant for macabre tones and Charles’ vocals remain as smoky and sultry—it isn’t as flawless as one might hope. The record leads off with “Sleepover,” a coming of age store whose nursery-rhymed structure is too heavy-handed. The grim blues of “Red Riding Hood” suffer for a similar fault, but the song rocks enough to make up for it. However, when the band lets songs like “Johnny” and “Old Old Wood” unfold naturally, the nuances of their craft shine. Both are acoustic numbers speckled with Brechtian touches, and as such, are at once delicate and potent. So while Last Night on Earth may disappoint in some respect, the Elysian Fields remain a band not to be overlooked. – Stephen Slaybaugh
Dischord (June 13, 2011)
Elysian Fields formed in 1995, based themselves in New York City, and consist of co-composers Jennifer Charles on vocals and Oren Bloedow on guitar and, erm, everything else. Their sixth full length studio album in the course of their sixteen year career comes to us in the form of Last Night On Earth.
Their music has, every now and then, been expressed as "noir rock" in many a critical music outlet, due to its sticky, sinister and peculiar inflections, be it sonically or lyrically. And that can certainly be seen here. Think of it like a mid-tempo Metric, tranquilized by their own stifling musk and taking on a sort of serene, beguiling sexiness in the process.
Now, after that brain power requiring, rambling analogy it's on the music. From the implied curiosity of the ‘Sleepover', to the sci-fi baiting, smoky-bar-room smooth jazz type grooves of ‘Last Night On Earth' and everything in between, the album is a joy of chilled out eclecticism and opaque slow jams. Whether it's the rolling snare trills and bluesy guitar stabs on the coyly explicit ‘Red Riding Hood', or Charles' pained cooing and the chiming acoustic blasts on mid-album track ‘Johny', the record is full of beautifully laid back songs and hidden meaning.
Last Night On Earth is a sexy little record, but it doesn't stomp it around your face whether you care or not, like some of today's more pampered popsters. No, it barely knows its own sultriness, and is more subtle than air. A delicate little thing and perfect as a mood setting kind of record, let's hope this isn't the last night on Earth. – Alex Nelson
Consequence Of Sound (June 13, 2011)
Brooklyn-based art rockers Elysian Fields have returned with their seventh album, Last Night on Earth, a sultry yet ethereal homage to a range of different influences, staying true to the band's form, yet allowing them to stretch musically. Singer Jennifer Charles and her kitten-voiced charms bring the goods, as does guitarist Oden Bloedow, along with a string of musical guests, including pianist/composer Ed Pastorini, Jeff Buckley's drummer Matt Johnson, The Antibalas horns, and string players from Bon Iver.
Like most Elysian Fields albums, the music centers around Charles' breathy vocals and the slinky, dark musicianship. But where Last Night on Earth differs is in the subtle exploration of various genres, all done up with poetic and visually-ripe lyrics. The album opens with the nostalgic "Sleepover", where the dulcet tones combine with the fondly frightening memories of childhood sleepovers. "Take me back home/I really am scared/Take me back home/I miss my mom and my bed," Charles recalls as the jangly guitar lifts the song up.
"Can't Tell My Friends" hops on an upbeat groove, drawing comparisons to trip-hop flirters Morcheeba, while "Sweet Condenser" borrows a page (pardon the pun) from Led Zeppelin with its slow, acoustic plucking, and breezy, summertime feel, backed by lazy strings that wave like a golden cornfield. The retro feel of "Villain on the Run" hits the sweet spot when the backup vocals reiterate Charles' purr in classic '70s style. "Chandeliers" is a soft and sweet piano ballad reminiscent of New Zealand-singer Bic Runga and her reflective acoustics.
Elysian Fields even explores their version of folk with "Old, Old Wood", a beautiful, haunting song that paints pastoral images in your head. Lines like "I forge a path through the thickets and vines" and "drink from the stream where the starlight plays" are gorgeously evocative. The album-closing title track opens with a dreamy, celestial soundscape, accompanied by waning flute and percussion to sway to. Its fervent imagery and hallucinatory vocals feel like slow-dancing during the last night on earth.
The only song that doesn't fit in with the feel of the album is "Red Riding Hood", but that's definitely not a bad thing as it's one of the best tracks here. Jennifer Charles excels at duets (see Lovage for a prime example of that), and "Red" sounds like a cooing temptress dueling with Nick Cave. The Grinderman-esque boom of bass and guitar pump the song forward on a sultry walk through naughty fairy-tale land, where the red-cloaked maiden cries out "My, what big hands you have" against a fading harmonica. Do not be surprised if this turns out to be the theme song for a werewolf show on HBO.
Last Night on Earth is rich and varied, yet leaves a peaceful, spirited feeling behind when it's over. Taking a cue from the cover, it's a gorgeous landscape of music best suited for drinking under the stars, a soundtrack for your mind to wander to. – Karina Halle
New York Times (June 10, 2011)
Elysian Fields (Tuesday) With Jennifer Charles’s smoky voice and Oren Bloedow’s electric guitar, Elysian Fields conjures a haunted, late-night atmosphere with songs full of love and trouble. At 10 p.m., Le Poisson Rouge, 158 Bleecker Street, near Thompson Street, Greenwich Village , (212) 505-3474, lepoissonrouge.com; $15. (Pareles)
Unveiled Arts (June 10, 2011)
Why go?
A veil of mystery has enshrouded Brooklyn's Elysian Fields since its founding by co-composers Jennifer Charles and Oren Bloedow sixteen years ago. What if I told you they are New York's noir-pop equivalent to Portishead (minus the synths), crossed with hints of PJ Harvey circa To Bring You My Love? Well, don't get to comfortable: Last Night on Earth, their first album in a decade, sees the Fields taking a surprising detour to the classic rock sounds they grew up with. The album's players include Thomas "Doveman" Bartlett, John Medeski, Jim Thirlwell and other indie-iluminati, many of whom will appear onstage. No shortage of surprises, or spine-tingling pop perfection, at LPR tonight. — Brian Fee for Unveiled Arts
Dalliance of Vivace (June 2011)
Hello, everyone. This is gonna be a good one.
Man, where can I start? Elysian Fields is a band based in Brooklyn, NY, founded by Oren Bloedow and Jennifer Charles. They've pretty much become my local music heroes, even though I've been a fan of theirs for less than a year. In 1996, they released their debut album entitled "Bleed Your Cedar", arguably the only one that could truly lean towards being labeled "rock". Since the days of yore, the band has made great strides of progress, both in the style of their sound and in notoriety. Never falling into the quandary of deciding what route to take in regards to their music, Oren and Jennifer have consistently made sure that each album had it's own distinct, fresh feel. This sentiment holds especially true for their newest album, "Last Night On Earth".
This record in nothing short of wonderful, and it deserves every ounce of glowing appraisal that I'm about to give it. "Church Of The Holy Family" was the first song I listened to, and it remains one of my favorite songs by the band, period. It gave my incredibly high hopes, and I'm so, so glad that I was not let down. "Red Riding Hood" feels like a complete nod towards their Bleed Your Cedar-era style of music, and one that is warmly welcomed. Some songs, specifically "Villain On The Run" and "Old Old Wood", took a while to grow on me, and I can't even tell you why, because I'm not sure. However, after playing this album for nearly the hundredth time, I feel like kicking myself in the ass for not being able to appreciate these songs early on. It's hard for me to do this, but I'm gonna go ahead and say that the best songs on the album are "Can't Tell My Friends" and "Chance". If I could, I would've listed just about all of them, but I wanted to talk about these two in particular: "Can't Tell My Friends" is the only Elysian Fields song that features an electronic backing, and it works better than I would've ever imagined. "Chance" is just a fucking fantastic song. It flows notably well, and I've never heard anything like it come from them before. I feel obligated to add that "Last Night On Earth" is an incredibly strong closing track, and undoubtedly one of the greatest songs on the album.
However, like every other album, it's not flawless. First off, "Sleepover" is a song that comes across much, much better live than it does on the album. When I heard it played live, the lack of drumming and the subtly of the background vocals actually strengthened the song. I was slightly disappointed when I first heard the version provided on the album; it's execution does not do the story justice, and it doesn't do well as an opener. Aside from all of that, I'd have to say that the weakest song would have to be "Johnny". In comparison to the other slower songs on the album, it simply does nothing for me. There are no small nuances that grab my attention, no subtle gradation to be found. It's very cut & dry, and while there's nothing wrong with that, it's something not typically witnessed in an Elysian Fields song. Despite my somewhat harsh critique, I still find myself listening to these songs often enough to recommend that everyone give them a fair chance.
All in all, I feel that one of the biggest drawing points for newer listeners is that Jennifer's voice oozes sexuality. It's sensual, it's seductive, and there is clearly something wrong with you if you don't get aroused feel the same way. Her feminine crooning meshes perfectly with the lyrical content of 99% of their songs; these two factors, along with the superb instrumental capabilities of Oren, form an illusory musical experience. As for what other specific qualities the band has to offer, that's for the listener to decide.
To wrap it all up, I'm giving this album a completely well-earned and solid... 9.3/10
Muruch (May 20, 2011)
Elysian Fields will release their seventh full-length album, Last Night On Earth, on June 14th. It's their first U.S. release in a decade, which makes me pity the rest of America. If you're not familiar with the music of Elysian Fields, you've really been missing out. The sultry voice of lead singer Jennifer Charles (also the voice of Lovage) is so distinctive that nowhere in my vast mental archive of musical references can I find one singer to use as even a flimsy comparison. Yet even the most gifted vocalist is useless without the right songs to sing and a strong backing band to accompany them. Fortunately, Jennifer Charles has always had both with Elysian Fields.
In the pre-mp3 era, I often discovered new music by buying random CDs from my local music store or discount clubs like BMG. Such was the case with Elysian Fields' brilliant 1996 full-length debut, Bleed Your Cedar, which I bought only because I liked the name of the band.
Elysian Fields' unique blending of eerie pop-influenced melodies and dark rock riffs – all wrapped up in Jennifer Charles' sensual siren call – made the album an instant favorite of mine. Over the years, I've also enjoyed the band's other releases (particularly 2000′s Queen Of The Meadow) and Charles' various side projects.
"Red Riding Hood" is by far the standout track on Last Night On Earth, putting a twist on the dark punch that made Bleed Your Cedar so intoxicating. Slinky and sinister rock mingled with funky, almost psychedelic blasts of guitar, an ominously seductive lyrical fairytale, guttural bluesy male growls and Charles' alluring croon make "Red Riding Hood" an irresistible masterpiece of a song.
Elysian Fields is so deliciously different from all other bands that even the softer tracks – such as the opener "Sleepover" and the title track finale – are mesmeric. Charles' voice makes the most gentle melody seem at least a little bit wicked.
Alibi Magazine (May 12, 2011)
Brooklyn duo Elysian Fields returns with an album brighter than the smoldering noir rock for which Jennifer Charles and Oren Bloedow are known. The effect is sweet and almost weightless, continuing in the direction established by 2009's The Afterlife. The lamentation of "Johnny" evokes earlier releases while "Sleepover" exhibits a sense of lightness and wonder à la Black Box Recorder. The deep bass of "Red Riding Hood" combined with evilly playful lyrics strikes a tantalizing balance between light and dark. Charles' humid vocals are as luxuriant as ever, like smoke from a Gauloise exhaled through a pair of nylons. (CA)
