OWEN ANNOUNCE NEW ALBUM, THE KING OF WHYS OUT JULY 29TH ON POLYVINYL RECORDS

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OWEN ANNOUNCE NEW ALBUM, THE KING OF WHYS
OUT JULY 29TH ON POLYVINYL RECORDS
LISTEN TO FIRST SINGLE “LOST”
PREMIERED ON [NPR MUSIC]
Polyvinyl Records and Owen are thrilled to announce the July 29th release of The King of Whys, the forthcoming record from acclaimed musician and songwriter Mike Kinsella. Produced by S. Carey over 18 days last winter at April Base Studios in Eau Claire, WI, the album is Owen’s most inspired and evocative thus far, interpolating a group dynamic into what has long been an intensely intimate sound. It also marks the first work in Kinsella’s two-decade-plus career to be made entirely outside of the greater Chicagoland area. Lead single “Lost” is premiering today on NPR Music, who write that “the lush and lively The King Of Whys feels different and familiar at once,” with Kinsella exhibiting a “renewed sense of purpose.” The King of Whys will be released outside of North America via Wichita Recordings.
Stream “Lost” on NPR Music via SoundCloud
“With acoustic guitar, pizzicato strings, upright bass, piano and pedal steel, Kinsella’s free-floating thoughts and soft-spoken melodies sound more grounded than ever.”
– NPR Music
Pre-Order The King of Whys via Polyvinyl Records
Where Owen’s prior outings were almost entirely performed by Kinsella on his own, Carey brought in some of the Badger State’s finest players to add new flesh to his bare-boned songcraft. Kinsella, as usual, is up front on guitar, vocals, bass, drums, and bells, accompanied by Carey (keyboards, vocals, drums, bells) and such WI musicians as Zach Hanson, who also served as engineer on the record, violist Michael Noyce, pedal steel guitarist/keyboard player Ben Lester, horns player Andy Hofer, and bassist Jeremy Botcher, all of whom share credits including Bon Iver, S. Carey, The Tallest Man On Earth and more. Together the combo crafts an expansive but still grounded backdrop for Kinsella’s candid confessionals.
Photo Credit: Shervin Lainez
For more than two decades, Kinsella has been a central figure in Chicago’s indie rock universe, serving multiple roles in a string of bands whose influence continues to resonate across a span of genres and musical approaches. A founding member – with his brother Tim – of Cap’n Jazz, Joan of Arc, and Owls, Kinsella’s own vision first manifested via American Football’s cathartic rock, but for most of the years since 2002, through Owen’s raw homespun offerings. Adopting the solo singer/songwriter persona freed Kinsella from a lifetime working in collectives, giving him complete control over every aspect of his creativity.
Owen’s lo-fi, largely acoustic bedroom recordings have evolved over eight albums and myriad EPs into a more orchestrated approach reflective of Kinsella’s growing strength as a songwriter. The sheer songcraft on The King of Whys more than warrants the expanded production, Kinsella dissecting his own foibles and familial relationships with caustic wit and a mordant sense of self-awareness. “Lovers Come And Go” and the elegiac “Saltwater” see the songwriter processing his experiences as he approaches the big four-oh, using his art to learn how to be a better father and husband.
The King of Whys also touches on universals like addiction with “Empty Bottle,” the place where so many long dark nights of the soul begin, whether it’s the venerable Chicago club or a just-finished fifth. Songs like “A Burning Soul” – a scathing looks at how his dad’s alcoholism has affected his own young family – and the closing “Lost” are haunting and poignant, alighting upon such common themes as love and loss, rebirth and redemption.
An intimate singer/songwriter album recorded under contemporary circumstances, The King of Whys utilizes progressive techniques, song structures, and time signatures, but Owen’s introspective humanity is timeless. Having made music for a very long time, Mike Kinsella continues to push himself towards transcendence with honesty, artistic ambition, and a sense of real circumstance.

 

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