I really wanted to put this record here, but never took the time and now that this humble blog has such good health thanks to you, it seems a good opportunity to claim it without fear that you seem a real Mars, because it really is a very strange album. I came to him through one of my musicians favoriots, the great Will Oldham, aka Bonnie 'Prince' Billy, in an old interview I read said that this gang of Oakland (California), made him fear that he conquered , mainly by the treatment given to the voices. A man and a woman whose vocal tones complement each other perfectly. Threatening him with a bell and scary at the same time and she with extreme intonation and ghostly, as expressionist yodeling somewhere between Joanna Newsom, Kate Bush and Grace Slick, lead singer of Jefferson Airplane mythical. No wonder you listen to these songs you produce that feeling the illustrious bearded artist. But the most peculiar of this duo expanded to a quartet format when entering the study, is its sound, its impressive array of theatrical styles and that tone in addressing each piece. The instruments that accompany the tunes sound like they would the spirits of a forest trying to drag sweetly lost souls in new directions, and the fifteen tracks that make up this conceptual work are based on traditions hard to understand, rinocnes full of light and dark paths. An outbreak piscodélicos folk belonging to another world, where traditional opera excerpts, Swiss folk music, poems, flutes, animals, kids, screaming, mystery, family love, death and any feeling with which one can relate. In short, a record that helps the listener remember when I was younger and I was going through his head just before sleep when the eyelids began even heard as background to prepare your closet monster show or simply the voice of his father reading a story. In my case I have to say that I found the point on the first listen, oddly enough background to read "The Melancholy Death of Oyster Boy ', a book of short stories by filmmaker Tim Burton, which I think is ideal if you have with this album as the soundtrack and with whom I went blind to the wee hours of the morning with that glorious background composed pieces as enigmatic as "Eyes of a bird", surpassing the seven minutes with a touch stale between acoustic and epic, beginning with children and those that clutter dense polyphony to which are added elements of neurotic percuisones to mediated passing seconds, "Poem 2", atmospheric and spectral, like a singing sea nymphs, "A mother of a piano, classical baroque pop consciousness that opens the lungs and releases the energy on a gloomy," Lucy Belle ", half of the musical of the actor Ryan Gosling with Dead Man's Bones and more melodramatic Xiu Xiu," Joshua "pure seventies nostalgia for pastoral purposes to the chagrin of a violin and starts moving his refrain nervous, "Nop of Time", which looks like a lullaby and is written and performed by a child of seven years, so sweet, but disconcerting when the batch, since you do not know if it gives a bad vibration in the background, "Still here", which at times has a reasonable resemblance to Tom Waits with the impressive baritone voice of promotions over-excited, "Higher", with it acting as a soprano and atmosphere reminiscent of that served as a head piece to the brilliant film 'Baghdad Café', the evocative readings of "Carousel with Madonnas" of Zygmunita Koniezcyniego of and "Eternal" by Brigitte Fontaine with lyrics translated from Polish into English and French, respectively, and "Old and Light", which overlooks the influence of Bjork slightly to close this amazing third step (to this day his discography includes six pitches to the market). Faun Fables is formed by Dawn McCarthy, Nils Frykdahl (also a member of Sleepytime Gorilla Museum, Idiot Flesh missing), Meredith Yayan and Kirana Peyton.
FAMILY ALBUM (2004) 
I really wanted to put this record here, but never took the time and now that this humble blog has such good health thanks to you, it seems a good opportunity to claim it without fear that you seem a real Mars, because it really is a very strange album. I came to him through one of my musicians favoriots, the great Will Oldham, aka Bonnie 'Prince' Billy, in an old interview I read said that this gang of Oakland (California), made him fear that he conquered , mainly by the treatment given to the voices. A man and a woman whose vocal tones complement each other perfectly. Threatening him with a bell and scary at the same time and she with extreme intonation and ghostly, as expressionist yodeling somewhere between Joanna Newsom, Kate Bush and Grace Slick, lead singer of Jefferson Airplane mythical. No wonder you listen to these songs you produce that feeling the illustrious bearded artist. But the most peculiar of this duo expanded to a quartet format when entering the study, is its sound, its impressive array of theatrical styles and that tone in addressing each piece. The instruments that accompany the tunes sound like they would the spirits of a forest trying to drag sweetly lost souls in new directions, and the fifteen tracks that make up this conceptual work are based on traditions hard to understand, rinocnes full of light and dark paths. An outbreak piscodélicos folk belonging to another world, where traditional opera excerpts, Swiss folk music, poems, flutes, animals, kids, screaming, mystery, family love, death and any feeling with which one can relate. In short, a record that helps the listener remember when I was younger and I was going through his head just before sleep when the eyelids began even heard as background to prepare your closet monster show or simply the voice of his father reading a story. In my case I have to say that I found the point on the first listen, oddly enough background to read "The Melancholy Death of Oyster Boy ', a book of short stories by filmmaker Tim Burton, which I think is ideal if you have with this album as the soundtrack and with whom I went blind to the wee hours of the morning with that glorious background composed pieces as enigmatic as "Eyes of a bird", surpassing the seven minutes with a touch stale between acoustic and epic, beginning with children and those that clutter dense polyphony to which are added elements of neurotic percuisones to mediated passing seconds, "Poem 2", atmospheric and spectral, like a singing sea nymphs, "A mother of a piano, classical baroque pop consciousness that opens the lungs and releases the energy on a gloomy," Lucy Belle ", half of the musical of the actor Ryan Gosling with Dead Man's Bones and more melodramatic Xiu Xiu," Joshua "pure seventies nostalgia for pastoral purposes to the chagrin of a violin and starts moving his refrain nervous, "Nop of Time", which looks like a lullaby and is written and performed by a child of seven years, so sweet, but disconcerting when the batch, since you do not know if it gives a bad vibration in the background, "Still here", which at times has a reasonable resemblance to Tom Waits with the impressive baritone voice of promotions over-excited, "Higher", with it acting as a soprano and atmosphere reminiscent of that served as a head piece to the brilliant film 'Baghdad Café', the evocative readings of "Carousel with Madonnas" of Zygmunita Koniezcyniego of and "Eternal" by Brigitte Fontaine with lyrics translated from Polish into English and French, respectively, and "Old and Light", which overlooks the influence of Bjork slightly to close this amazing third step (to this day his discography includes six pitches to the market). Faun Fables is formed by Dawn McCarthy, Nils Frykdahl (also a member of Sleepytime Gorilla Museum, Idiot Flesh missing), Meredith Yayan and Kirana Peyton. 
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