Album review: Desertshore | Migrations of Glass


Desertshore is a band featuring Phil Carney (ex Red House Painters) collaborating with classically trained pianist Chris Connolly. Previous albums featured heavy contributions from Mark Kozelek, but here his presence is limited to a little bass on Crosstown Seven (an instrumental version of Katowice or Cologne from a previous album).

Summery strum Until Morning Comes is pretty but slight, in an almost Nick Drake way, while piano ballad Forevermore shows off some downright lovely instrumentation. The eleven minute Tempest Armada is undoubtedly the centrepiece, a mixture of Sun Kil Moon and down-strummed, Robert Smith-style guitars with a Spanish accent thrown in for good measure, before transforming into a marvellous post-rock workout.

Carney’s resonant guitar work comes into its own on Echoes de Honfleur and Mesa Verde, while Enduro Nocturno has an almost chirpy melody. The Morning Is Open drinks from the same pool as much of Dakota Suite‘s material.

Although there is a feeling that a certain vocalist is missing in action, as erstwhile incomplete albums go, it’s a pretty enjoyable one.

Killian Laher


1. Glasslight
2. Until Morning Comes
3. Crosstown Seven
4. Forevermore
5. Tempest Armada
6. Echoes de Honfleur
7. Enduro Nocturno
8. The Morning Is Open
9. Intermezzo
10. Mesa Verde

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