Me Moan Daughn Gibson

• 1 The Sound of Law 02:55
• 2 Phantom Rider 04:23
• 3 Mad Ocean 03:35
• 4 The Pisgee Nest 04:08
• 5 You Don't Fade 03:23
• 6 Franco 05:06
• 7 Won't You Climb 03:49
• 8 The Right Signs 03:56
• 9 Kissin on the Blacktop 03:45
• 10 All My Days Off 03:54
• 11 Into the Sea 04:41
• Total Runtime 43:35

Info for Me Moan

Carlisle, PA's Daughn Gibson first emerged - not withstanding Daughn's stint drumming for Pearls & Brass - in 2012 with the critically-acclaimed debut, All Hell, on which he shook the ghosts out of scratchy Christian folk records and baptized them as fierce Americana with his booming baritone voice. On Me Moan, Daughn's second album and Sub Pop debut, he truly reveals himself to the world. While the roots of All Hell's sample-based music remain, these songs are performed live, including guitars by John Baizley of Baroness and Jim Elkington of Brokeback.

„Is he a country singer? Is he a goth-rocker? Is he an electronic knob-twiddler? Is that even his real name? Yes, yes, yes – and no. Josh Martin named himself after Nashville icon Don Gibson, but he might just as well have called himself Knack Cave or Mafia Dear, because it’s impossible to separate out just one strand from his muscular blend of guitars and fiddles, beats and bass, and creepy baritone vocals.

‘Me Moan’ is Gibson’s second album, and comes out just over a year after his debut, ‘All Hell’. Last time we heard from him, he was crate-digging in Philadelphia record shops and stitching together oddly-matched samples (country, gospel, alt rock), then crooning like Johnny Cash over the results. On ‘Me Moan’, everything is bigger. The baritone is still there, but expanded from Cash only to a groaning, wailing one-man choir (‘me moan’, indeed). The pick-and-mix of musical elements – all played live this time – is even more mind-boggling: ‘Mad Ocean’ packs in bagpipes and glitchy drums, while ‘Won’t You Climb’ accompanies a keyboard solo with syrupy strings that’d be at home on a classic Perry Como number. Weirdest of all, perhaps, is ‘The Pisgee Nest’, a creepy-as-hell tale of small-town prostitution which kicks off like a dub remix of Snoop Dogg’s ‘Gin and Juice’ (yes, seriously) before a bent-out-of-shape guitar line ushers the verse in.

What makes ‘Me Moan’ special, though, is the thing which prevents all of these elements from falling apart. Gibson is a top-class songwriter and producer, with the ability both to write a killer hook and to make sure it sinks in by giving it the space it needs. The proof for this is all over the album: just take the galloping, key-changing chorus on ‘The Sound of Law’ that comes out of nowhere and strikes home every time, or the poignant, acoustic ‘All My Days Off’. If you took away the bass, the beats and the bagpipes, ‘Me Moan’ would still be a solid listen. As it is, it’s pretty much indispensable.“ (Time Out)

Daughn Gibson
Let’s get a few facts straight right off the bat. The name is Daughn Gibson – rhymes with Jaughn, or Raughn. He was born in the village of Nazareth, PA, and currently resides in the sleepy college town of Carlisle, PA, where he frequents local watering holes like The Cave and Alibis. He’s 6’5", hovers at 200 pounds, and has a head of jet-black hair thicker than a porcupine. He played drums in the group Pearls & Brass for a number of years, touring the US to small but enthusiastic crowds, and if you tag them as “stoner-metal” it will go to show that you’ve never actually listened to them. For a few years in-between, Daughn was a trucker, sure, but he’s also been packing boxes in an un-air conditioned warehouse, climbing up commercial broadcast towers with untested levels of radiation, working the register at an adult bookstore, doing sound at dive bars and collecting unemployment checks to earn a living. Daughn’s been around.

Daughn Gibson first entered the daydreams and fantasies of the general public in the spring of last year, care of his critically-acclaimed debut album All Hell. At once both foreign and familiar, Daughn’s music is immediately striking – through the use of dusty thrift-store records and cutting edge technology, Daughn shook the ghosts out of scratchy Christian folk records and baptized them as fierce Americana with his booming baritone voice. His songs are as frequently tender as they are prurient, as hopeful as they are brimming with despair. He treats the past with a respectful reverence while still being able to appreciate what some modern-day wunderkind is doing with electronic music across the pond. The only real starting point for the music of Daughn Gibson is Daughn Gibson.

It’s on Daughn’s second album and Sub Pop debut, Me Moan, that he truly reveals himself to the world. If All Hell was a gritty black-and-white movie, Me Moan is a widescreen IMAX 3D extravaganza. While the roots of sample-based music remain, these songs are performed live, lushly detailed and richly orchestrated. It’s going to take a few listens just to soak it in and process, but that’s alright – one always finds the time for something like this. To name but a small selection, live drums, pedal steel, horns, house strings, bagpipes and organs appear on this record, but never does it feel over-stuffed – every instrument or melody is perfectly in place. It’s worth noting that guitarists John Baizley (of Baroness) and Jim Elkington (of Brokeback) provide stunning performances on the record. You’ll throw it all to the wind during “Kissin on the Blacktop” and nurse your hangover with “Into the Sea”. You’ll protect your loved ones against “The Pisgee Nest” and hold them close during “Franco”. You’ll send “Phantom Rider” after your enemies and feel remorse alongside “All My Days”. Me Moan isn’t just Daughn Gibson’s primal scream, it’s a skirmish through the full spectrum of emotion, unfiltered and impassioned.

Like Cormac McCarthy or Robert Altman, Daughn Gibson is a uniquely American artist who throws his soul into his work, free of compromise, possessed by unique vision and so damn intense that he constantly teeters on spontaneous combustion. It’s not out of line to consider Me Moan as his Blood Meridian; his Nashville. All that’s left is for you to let Daughn in.

This album contains no booklet.