Shoeshine Blue began years ago as a lo-fi literary blues act. Songwriter, Michael Apinyakul's uncanny abilities with a cassette 4-track earned him critical praise from both the press and studio engineers with the album, "Talk Real Slow". Since then Shoeshine Blue has evolved into something else entirely. Falling somewhere between classical and blues, folk and gospel, old time and indie. Alone, Apinyakul displays a fast, dark, and emotive finger picking style as if Mississippi John Hurt listened to Dead Moon, but more often Shoeshine Blue consists of a larger lineup of violinist Shawn Mclain (Blind Pilot), bassist William Joersz (Nick Jaina, Run On Sentence), guitarist Mitch Willett (of Blue Honey and Bycarus Erie) singer Ali Wesley (Super XX Man), and drummer John Vecchiarelli of more bands than I can count, plus his own wonderful songs. This bare bones, tonally complex combo, produces wistful backdrops for lyrics full of political fervor, high romance, and heartland poetics. Shoeshine Blue is about to release their new full length album,
"HOWL AT THE WOODEN MOON"
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ABOUT HOWL AT THE WOODEN MOON:
"Howl At The Wooden Moon" is an album written and recorded during a period of war, broken love, sketchy loans, and automated joy. All a songwriter needed to do was build a good mirror, hold it up, and let the world writhe in the ecstasy of its own truth. But it's not easy. In the high stakes game of writing good songs, there's no room for lies or lazy observations. "Howl At The Wooden Moon" is Shoeshine Blue's best and most honest contribution. It is a love letter to the natural world, a love story between two people, and a keen eye on the moment. In other words, a monument to all things doomed and beautiful.
Songwriter, Michael Apinyakul, made a departure from the last Shoeshine Blue album, "Talk Real Slow", where he produced, recorded, and played most of the instruments. Howl at the Wooden Moon draws from a larger pool of Portland's talented musicians. Recorded to half inch 8-track at Telltale Studios in Portland Oregon, and engineered by Antreo Pukay, the album has a honey-glow sound, reminiscent of the great folk and psychedelic albums of the 60's and 70's. Lyrically sharp, simply layered, and accidentally gospel.
