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Outlanders

by Ted Hearne

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1.
blood blue hands in winter in twilight in winter and ice cracks under our feet as we run to the house in the winter light trees that look bigger that weren’t there and sirens screaming scheming we didn’t know how fast he would go red blue hands in winter in nighttime in December ice slides under our feet as we run to the house in the winter night all of his head in our hands like an eggshell screaming screaming we didn’t know how fast he would go (Meghan Deans, 2008)
2.
Ambitioning 04:32
everything we want everything we want everything we wanted to be we hated the sound of ourselves in their ears we hated the sounds we couldn’t yet hear we waited for all their invisible eyes but they never did see us, no they never did see us we jabbed and we needled but they were pretenders we kept our joy hidden, all sick with envy we drudged up the dirty last silt of our standing all knowing, unknowing suspending the speed of our comfort’s upending, wounded by no one, wrecked, we bruised easy everything we want everything we want everything we wanted to be
3.
I want never 04:05
my twin i know these bones i know this skin my twin i know these bones i know this skin i know this strand i know this tear your blush so close your breath nowhere i want never like i want with you you are so beyond
4.
5.
Is it dirty 07:31
Is it dirty does it look dirty that’s what you think of in the city does it just seem dirty that’s what you think of in the city you don’t refuse to breathe do you someone comes along with a very bad character he seems attractive. is he really. yes very he’s attractive as his character is bad. is it. yes that’s what you think of in the city run your finger along your no-moss mind that’s not a thought that’s soot and you take a lot of dirt off someone is the character less bad. no. it improves constantly you don’t refuse to breathe do you (Frank O'Hara, 1964; used with permission)
6.
7.
Protection 06:15
the outlanders circled around with sleds it gets warmer when it snows bracing for all the mistakes they would make I prayed while the sunset froze I kissed the cracks underneath their feet breaking waves shadowing the glass bracing against the thinning ground and prayed their souls to pass sometimes I just prefer the company of drowning two entire teams of horses a bottleneck of moldy ropes rusty clamps heavy chains and bullets sleeping cased in their guns as though protection could protect you as though protection could protect you the skid had none and the water was clean just below the surface I breathed a ripple of anticipation it snowed it snowed sometimes I just prefer the company of drowning sometimes I just prefer the muted sounds of bodies sunk into my back the ice was weak but now they’re home (Meghan Deans, 2008)
8.
9.
too late for courage too late for pain your memory has cursed you and just like i told you time stops for no man too late for alter egos too late to prove me wrong you’re only pretending to be exactly who you are and you’re still looking to be absolved
10.
I mean well 04:21
it’s not like I could have known, is it? the way you smiled all the time, just lighting up rooms in the bright white flight of daytime with your face so wide open I mean, well — it’s not like I should have known, is it it’s not like I should have known, is it? I mean how could I ever have known that you wanted things to be better, better
11.
12.
i know you really turned me around, i know one eighty three sixty or three fifty-nine each time? i don’t care where you drop me i don’t care i’ll come back around

about

OUTLANDERS is a personal compendium of songs I wrote from 2008-2010.... which I workshopped/performed/recorded/produced over the next several years with a band of my favorite New York musicians....and which have finally gelatinized into a complete album.

Love songs mostly.

Four interludes by friends (three remixes and one live improvisation) tie the room together.

***

credits

released January 15, 2016

OUTLANDERS was recorded by:

Ted Hearne, vocals, keyboards
Nathan Koci, accordion, keyboards, french horn, piano, vocals
Taylor Levine, guitar
Ron Wiltrout, drums
Leah Coloff, cello, vocals

***
Additional musicians:

Timo Andres, piano (We Didn't Know, I Want Never, 359 Each Time)
Gregg August, double bass (Protection)
Bill Carson, vocals (We Didn't Know)
Miki Cloud, violin (We Didn't Know, Is It Dirty, Shame Campaign, Heartened)
Chris Coletti, trumpet (Is It Dirty, We Didn’t Know)
Michelle Farah, oboe (Is It Dirty)
Kelli Kathman, flute (Is It Dirty)
Eileen Mack, bass clarinet (Is It Dirty, We Didn’t Know)
John Popham, cello (Is It Dirty)
Kris Saebo, electric bass (Is It Dirty)
Caroline Shaw, violin (Is It Dirty)
Erin Wight, viola (Is It Dirty)
Matthew Wright, trombone (Is It Dirty, We Didn’t Know)

***
All music by Ted Hearne, except four interludes:
"Seventeen" by Philip White; "Dirty to love" by Leah Coloff
"How it goes" by Taylor Levine; "Heartened" by Daniel Wohl

All lyrics by Ted Hearne, except:
“We Didn’t Know,” “Protection” and “I Mean Well” by Meghan Deans
“Song (Is It Dirty)” by Frank O’Hara
from Lunch Poems, ©1964 City Lights Books
used with permission

All tracks produced by Philip White, except:
"I Want Never" produced by Jacob Cooper;
"Is It Dirty" produced by Lawson White;
"I Mean Well" produced by Nathan Koci and Philip White;
"Dirty to love" produced by Leah Coloff;
"Heartened" produced by Daniel Wohl

Recorded at Oktaven Audio, Yonkers, NY; Greg Mayo Studios, White Plains, NY; Studio 691, Brooklyn; Issue Project Room, Brooklyn; Ted’s house, Brooklyn; Nathan’s house, Brooklyn; Bill’s house, Charleston

Mixed by Philip White
Mastered by Devin Greenwood at The Honey Jar, Brooklyn
Additional mixing and production by Jay Wadley and Lawson White
Engineered by Ryan Streber, Greg Mayo, Philip White

Album art by Gabriela Salazar [www.gabrielasalazar.com]

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Ted Hearne Los Angeles, California

Ted Hearne is a composer, singer and bandleader.

The New York Times has praised. Hearne for his "tough edge and wildness of spirit," and "topical, politically sharp-edged works." Pitchfork called Hearne's work "some of the most expressive socially engaged music in recent memory -- from any genre." ... more

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