Return Of The Frog Queen CD (1996)

Artist: Jeremy Enigk

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Product Overview


Label Sub Pop
SKU 60171321
UPC 098787032321
UPC 14 00098787032321
Format CD
Release Date 7/23/1996
Author Jeremy Enigk
Artist Influence Brian Eno
Artist Influence Daniel Lanois (Producer)
Artist Influence Fugazi
Artist Influence Jeff Buckley
Artist Influence Kate Bush
Artist Influence Minor Threat
Artist Influence Morrissey
Artist Influence Nick Drake
Artist Influence Peter Gabriel
Artist Influence Shudder to Think
Artist Influence The Beatles
Artist Influence U2
Artist Contemporary Belle and Sebastian
Artist Contemporary Bright Eyes
Artist Contemporary Cardinal (Pop)
Artist Contemporary Craig Wedren
Artist Contemporary Damien Jurado
Artist Contemporary Dan¡el Ag£st
Artist Contemporary Destroyer (Indie Rock)
Artist Contemporary Eric Matthews
Artist Contemporary Gavin Friday
Artist Contemporary Jason Falkner
Artist Contemporary M. Ward
Artist Contemporary My Morning Jacket
Artist Contemporary Richard Davies
Artist Contemporary Rufus Wainwright
Artist Contemporary Simon Joyner
Artist Contemporary The Decemberists
Artist Contemporary The Divine Comedy
Artist Contemporary The High Llamas
Technical Info
Engineer Craig Williamson; Greg Williamson; Jeremy Enigk
Producer Craig Williamson; Greg Williamson
CatalogID SPCD 323
Lable Name Sub Pop (USA)
Released 07/23/1996
Original Release 1996
Number of Discs 1
SPARE Code n/a
Length 29m : 23s
Mono/Stereo Stereo
Studio/Live Studio
UPC 00098787032321
Album Notes and Credits
Personnel: Jeremy Enigk (vocals, guitar, harp, piano, harpsichord, drums); Jeni Foster (harp); Carlos Flores, Ken Wright (violin); Sam Williams , Felicia McFall (viola); Joe Bichsel (cello); Robert Newland, Laura Sperling (flute, piccolo); Greg Lyons (trumpet); Chris Stover (trombone); Fred Hawkinson (bass trombone); Beverly Reese (glockenspiel, percussion); Anna Doak (upright bass); William Goldsmith (drums).
Audio Mixers: Craig Williamson; Greg Williamson.
Recording information: BObcat; Greg's House; Jeremy's House; The Ranch.
Photographer: Charles Peterson .
Arrangers: Mark Nichols; Jeremy Enigk.
Great surprise. Return of the Frog Queen comes out of nowhere, in no way the follow-up to Jeremy Enigk's two previous LPs with Sunny Day Real Estate. Enigk chooses a really remarkable path, taking his highly dramatic, angst-ridden singing to a totally new sound. Now he favors harshly played acoustics. Way more surprising, Enigk lassos a whole orchestra to flesh out the background of each song! Enigk still screams like the abandoned child of Plastic Ono Band Lennon and "Heart Shaped Box" Cobain, a real shake-up. Likewise, his orchestra has equally dangerous intents. The most startling musical moment of all 1996 is the second half of the otherwise buried "Shade and the Black Hat," where the pent-up frustration inherent in this whole LP is suddenly let loose like Enigk were the delirious keeper of Pandora's box. He pounds a piano and howls like his wife just left him for his best friend, as the violins, violas, and cellos scrape at their strings as if to break them, and the flutes, piccolos, trumpets, trombones, French horns, and clarinets blow like they were hired by a wolf to blast a few recalcitrant pigs' houses down. The waves of classical countermelodies are extraordinary, adding on to each other to create an "1812 Overture" anvil clarion call, a roar so dense, so overpowering, it's like gasoline exploding, even more so as they back Enigk's fevered wail as if he were long past desperation. There are many other smaller, striking moments -- many far sweeter, too, though always tempered by Enigk's dark voice -- found throughout the LP, such as the chorus of "Carnival," where the man and his players turn positively paranoid to the suddenly depraved strains of circus sounds. The overall songwriting is superb, too. A truly remarkable work that has done the unthinkable, Frog Queen breaks new ground yet remains a direct hit, with the passion, power, and rage of punk; the simple, appealing babbling of folk; and even the multidimensional, nasty din of modern Russian classical. Wow. ~ Jack Rabid
Artist Overview
In two separate stints in the 1990s, Jeremy Enigk fronted the Seattle quartet Sunny Day Real Estate and helped popularize both emo itself and specifically the genre's expressive vocal style. After a conversion to Christianity and during a band hiatus in 1996, Enigk released the first of several albums on Sub Pop and his own Lewis Hollow records that redefined his sound. While his octave-spanning vocal range remained his signature, his solo work foregrounded more subdued arrangements and a more mature aesthetic than his previous band's more high-octane output.
Professional Reviews
Alternative Press (10/96, p.85) - 4 (out of 5) - "...a rare example of bombast made majestic....songs unfold slowly, building on small hooks that somehow mutate into swells of melodic intensity..."
Magnet (p.114) - "[T]he album's pastoral sounds -- offbeat acoustic miniatures accompanied by 21-piece orchestra -- remain as different from Sunny Day's gushing dam-bursts a Barrett's Floyd was from David Gilmour's."
Disc 1
1 Abegail Anne
2 Return Of The Frog Queen
3 Lewis Hollow
4 Lizard
5 Carnival
6 Call Me Steam
7 Explain
8 Shade And The Black Hat
9 Fallen Heart
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