Press for Birds Were Meant To Fly:


The Telegram Tribune: Picked as Local CD of the Week:

"Candle started with multi-instrumentalist Kevin Coons recording in his bedroom, writing songs about longing and desperation, faith and love. Coons, a significant part of local label Real Love, would soon see Candle expand to six members. While Candle's influences include some of the classics, including Bob Dylan and Neil Young, their sound is definitely shaggy-haired indie rock with sleep medleys and laid-back vocals. Trumpet, banjos and a glockenspiel add diversity to this mellow CD."


Press for Come Back Home:


The Daily Tar Heel:

"The split release is, I think, a grossly underrepresented format. And there are many ways to make a successful split...This split, which comes to us from the other coast displays the works of two California bands united by their affiliation with the Real Love record label, but more notably by the sharing of guitarist, Ross Major.

Iamb is the primary songwriting project of Major who on his two songs here offers atmospheric folk music that at times scoots toward Neutral Milk Hotel's legacy, but usually sits comfortably on a bench of droning sound backing otherwise standard acoustic instrumentation and Major's voice.

The b-side, "With My Heart," by Candle, the band fronted by Kevin Coons in which Major plays guitar, is a more accessible country-folk that is a familiar-sounding as it is well written. The spare arrangement complements Coons' talk-sung lyrics, accented by subtle harmonies from his bandmates.

I think what makes this split, and split releases in general, work so well is the do-it-yourself feeling one gets from a split. It feels like the two bands got together so intent on recording something for posterity — to preserve their ideas, to commemorate a friendship, whatever — that they come together, pooling resources to make it happen. That and the sharing nature of a split. Commercially the intent is to bring together to different fan bases to expose them to a new band they might like, and purchase records by. But more importantly, splits feel like works done from the heart."

RetroLowFi:

"Isn't the split 7" just an underrated format? I have a ton of them in my record cabinet, and I love each of them. Tullycraft/Rizzo, Scribble/Slackjaw, David Dondero and… someone else. Whatever. It's a cool format that gives you a quick experience from each group, and if you like one side of the platter, chances are that you'll enjoy the other side as well. It's a pretty inexpensive way to check out some neat sounds you might not have otherwise heard, and in our modern digital times artists just aren't drawn to 'em like they used to be.

Well, we could all learn a lot from this great split single by Iamb and Candle. I didn't know much about either project before I got this single in the mail, but now I'm anxious to hear more by both projects. Here's a bit about it:

Side A contains two songs by the experimental-folk porject Iamb, fronted by one Ross Major. The first track, "Three Years", is a rhythmically interesting rumination full of yearning, jangly mandolin and a slithering lead guitar part reminiscent of what a lo-fi All Things Must Pass might have sounded like, which leads directly into an ethereal tune known as "One Afternoon". Both songs merge seamlessly into their very own five minute listening experience, with gorgeous atmospherics delivered courtesy of Geore Major's cello playing. The side ends with the sound of a car starting and driving off as Iamb quietly rides off into a sunset after quitely emoting "You didn't say it back / And you still haven't yet". Yeah, we've all had afternoons like that, and "One Afternoon" is a pretty good sonic representation of what those days feel like.

At the start of side B, the aforementioned car drives by as Candle starts up their catchy and mournful "With My Heart". It's a slow-building number, and slightly more accessible to boot. It's got a neat-o chorus of people that join in with the emphatic refrains towards the end, plus it continues the theme of yearning for some intangible and unexplained form of love that we'd already heard from Iamb. The groups make good bedfellows, and it'd make sense as they seem to share some members. Thank gosh for liner notes, eh?

The Iamb / Candle Come Back Home 7" is a good idea, and I'm glad it exists. The groups go so well together, I almost can't imagine hearing them seperately. And that, my friends, is what a good split single is all about. Real Love records knows what they're doing, if you ask me."

Dusted Magazine:

"A loose group of central California-centric musicians populate the projects on both sides of this split, proffering a shambling, ecumenical sort of clean indie folk. They shine on...full of sleepy, heart-on-sleeve lyrics. Numbered, stitched-sleeve edition of 500 copies."

Scene Point Blank:

"Two artists from California team up for a split 7". Iamb is the work on single individual - Ross Major - with the help of several friends. On this 7" he offers two songs. The first, "Three Years," is a mixture of indie rock and folk, not unlike the artists of Saddle Creek Records. "One Afternoon," on the other hand takes a slower pace with the use of piano and the cello, the latter of which results in a rather depressive mood being evoked. The song kind of reminded me of the material of early Onelinedrawing. Candle takes over on the opposite side with "With my Heart." The band plays slow-moving alt-country in the vein of Limbeck and Roy.

Come Back Home a nice collection of country/folk music that will please anyone that is a fan of the genre."


Press for Miles and miles and miles:


Captain Obvious:

"Formed by singer/songwriter Kevin Coons in 2005, California alt. country band Candle has since grown into a quintet and has released a full-length album (2006's Birds Were Meant To Fly) and a 7" split entitled Come Back Home with labelmate Iamb. With their second full-length entitled Miles And Miles And Miles scheduled to be released on March 22nd, the band further harnesses their indie/folk appeal. Coons' supporting cast consists of a talented group of multi-instrumentalists, and the new album's landscape of sound is painted with a variety of brushes. With country-tinged female and male backing harmonies, fiddles, mandolin, trumpet, banjo, piano, and harmonica effortlessly intertwining to form a full yet loose sound, fans of alt. country will find a lot to love in Candle's music. On the slow-burning "Santa Cruz," lines like "There's miles and miles and miles and miles of highway/ stretched out between my house and yours" seem reminiscent of classic Whiskeytown, and fans of folksy indie fare will not be disappointed by Candle's seemingly effortless songwriting. You can reserve your copy of Miles And Miles And Miles at Real Love Records."


Faces In The Sand:

A lot of bands drop us emails… It's great. We assure you that we give time to listen to all of the records. I've been pretty fucked by my uni course the last couple weeks.. so I'm just dropping in to outline some of my favourites. I'll really try to get some coverage to the rest of you when I get some free time.

Candle – If you know me well enough you'll know I'm an absolute sucker for alt-folk. Californian's Candle are a multi-instrumental quintet built around the singer/song-writing brilliance of Kevin Coons. Their new album 'Miles and Miles and Miles' has everything that is great about Independent folk music: great songwriting, pretty melodies and even a stunning album cover. It really is just a joy to listen to. The Album is out March 22nd so pick it up, it's great!



Foggy Ruins of Time:

When I first saw Candle play in Santa Barbara last year I was very impressed and moved by their brand of pure folksy blues. They had a raw honesty that really spoke to me. Yet, I must admit when I bought their last album Birds Were Meant To Fly I was disappointed. The production was rather dreary and sucked the life out of most of the songs. Now their second LP on Real Love Records miles and miles and miles is coming out March 22nd and I cannot express how much of an improvement this record is over the last one.

No more is it obvious than on the reworking of the song "Say Goodnight," from the 1st album. The first version featured no drums, a more highlighted banjo and double tracked vocals from Kevin Coons. Don't get me wrong the song was the best on that album, but the new version will blow your socks off. Still featuring the banjo, the guitar this time adds a lot more atmosphere; the drums give it a kick, and guest vocalist Laura Mulderrig make the tenderness of the song all more apparent. The addition of female vocalist (and keyboard player) Rachel Spotten to Candle has done wonders to diversifying their sound. On "The Lonesome Wind," for example, Rachel's vocals gives song that extra emphasis that it needs to reinforce Kevin's fragile lyrics.

My biggest complaint last time around was the production and overall on miles and miles and miles there is a greater variety to the songs. Everything sounds brighter, more assured and songs like "Let Me Love You" soar to great heights. Taking a stepping style of singing during the verses, a beautiful little keyboard melody and a self-probing attitude of desperation, the song builds and builds to a crescendo then poignantly trails off. The song "Santa Cruz" shows that while making these songs there are certain instruments and instrumentation that work better than others. A reverb-tinged guitar plucks along to a chorus of singers and appropriately an organ keeps the pace building up like a church hymn. It's moving and everything adds up more than the sum of its parts.

I think the biggest compliment I can give Candle about miles and miles and miles is that it sounds like they are having a lot of fun and are more attuned to their own abilities as musicians, songwriters, and as a band. They see their strengths and are using them to the fullest.


The New Times (SLO):

Songwriter Kevin Coons, who fronts indie folk band Candle, has penned a spectacular collection of songs for Candle's second full-length CD, Miles and Miles and Miles. He's clearly soaked up and wholly assimilated the alt-country indie-folk milieu made famous by the likes of Whiskytown, Wilco, and their musical fathers Neil Young and Bob Dylan.

What began as Coons' solo experiment in 2005 has developed into a well-formed quintet of players working as an ensemble to create the kind of subtly lush orchestration that marks the best of the modern folk genre. This new album, recorded at Paul Frankel's Real Love Studio at Sculpterra Winery in Paso Robles, features Coons (voice, guitar, harmonica, banjo, keyboards, organ, and percussion), Ross Major (guitar, mandolin, piano, banjo, lap steel, organ, voice), Jon Wilson (bass, lap steel, guitar, percussion, voice), Rachel Spotten (voice and keyboard), and Frankel (drums and percussion) working with an impressive list of guest stars (playing fiddle, kapiano, trumpet, cello) as well as a chorus of voices.

Clearly a ton of work was poured into this album, and it paid off with a startlingly solid recording that displays production and musicianship that's worthy of Coons' frequently brilliant and always heartfelt lyricism: "You're a beautiful girl with the wind in your hair/ and the tears in your eyes and the weight of the air/ when you're looking for something or someone to lift up your head// When I'm right at your door with my hands in my pockets/ in a suit that I stole from my father's closet/ patiently pacing until you say 'come in.'"

Don't miss Candle's album release party on Thursday, March 27, at 7 p.m. at Downtown Brew. Opening acts include Threes and Nines, Almost There, and Cottleston Pie. This all-ages show costs $7 at the door.

THE TICKET:

Local CD Pick of the week: CANDLE — 'MILES AND MILES AND MILES'

It's fitting that the track "Eighth and Pine" starts out with the narrator waiting for a train. Because most of the songs on this somber, sleepy CD seem appropriate for a long journey on Amtrak's Southwest Chief, traversing forgotten towns, barren plains and lonesome desserts. The lyrics match, with songs of longing, parting ways and regret. The CD could use a couple of peppy tunes for balance. (This train trip can't be all mopey.) But the folk rockers keep it real with a combination of roots, country and indie rock. Already a musically talented band, the 5-piece is joined by guests offering violin, trumpet and cello.

RETROLOWFI

Sometimes I get so ensconsed by the fringe artists we tend to lean towards here at RetroLowFi, that I often don't quite know how to take it when we receive an album in the mail that the average guy in an indie rock record store would likely enjoy. I'm very used to putting my nose to the grindstone with every RLF submission and trying to figure out exactly how I'm gonna be able to "sell" it to the readers, even though we aren't really making a damned dime off of our site. We started RetroLowFi with only a few goals in mind: we wanted to tell people about records, films and books that they might not have otherwise heard of, and we wanted to get as many free records, films and books in the mail as possible while doing so. We tried to make some advertising revenue off of the site, but that never really panned out. And that was for the best, because that monetary situation means that we don't have to worry about pleasing sponsors. And we certainly don't have to care whether a label likes what we've said about their album. If a record label sends us a record and we don't enjoy it . . . tough luck. They had every opportunity to have a look around our site and see what we're all about before sending us some Norwegian polkabilly dance club music that we're going to openly dislike, you know?

With all of that being said, I've had some severely mixed feelings about the new album by Candle and how to approach telling you all about it. See, on the one hand, I do enjoy it. It's very well-recorded, and it sounds like many other records I own and enjoy. On the other hand, it sounds like so many records that I already own and enjoy that I don't feel terribly drawn to it. Is this one of those times that I don't worry about telling you how I as a music fan related to Miles And Miles And Miles and center on what Joe Average might think about it? Or do I base the review purely on what I already know about Candle and judge it against the grand scheme of their catalog?

Nah. Too much overthinking. I'm gonna do all of those things.

I like Whiskeytown, early Wilco, Comes A Time-era Neil Young, and I'm Wide Awake, It's Morning by Bright Eyes quite a bit. Miles And Miles And Miles follows in those aforementioned footsteps so well that the record has an instantly familiar feel to it. I don't mean that in a sarcastic way either. Those records I listed have one major thing in common: once you drop the needle on them and listen for roughly one minute, you've got a pretty good idea of what the rest of the album has in store for you. This new platter by Candle not only fits that bill perfectly, but it sits quite comfortably alongside the works I mentioned. And that would be great for Candle's main man Kevin Coons beyond one major factor: this is one incredibly accessible record . . . but it's out on Real Love Records, so it won't be as easily obtainable as it oughta be.

I'll level with you. I work in an independent record store, and I'm positive that if the average cat came boppin' into the store looking for, say, the new Band Of Horses album, and they heard the melancholy strains of the opening "Pennies In A Well" coming out of the shop's P.A., said customer would likely ask me who the hell this is and why I haven't already forced it into their hands. And it wouldn't just be them, either. Miles And Miles And Miles is the type of immediately accessible record that you could play for bored soccer moms that were looking to "expand their horizons", but it ultimately isn't a terribly groundbreaking album. It's just hard to find and not many people have heard of it.

Does this mean that Miles And Miles And Miles is any less of an album? Hell no. The thing is a solid listen from start to . . . just around the third quarter of the fifty-three minute album. See, by the time you've heard the pulsating gamechange called "Pretty Please", the explosive finale of the nearly-perfect "So It Goes", you've really been on an upward ascension of a very downbeat album. By the time the eighth track rolls around, you've got an incredibly final-sounding song in "Say Goodnight". And that would be a wonderful place for the album to end, frankly. Unfortunately, the album goes on for three more interminable tracks which aren't exactly awful, but they feel absolutely tacked on. Almost like bonus tracks, or as if the album was assembeled to be be heard on random, with utterly no regard for pacing.

Of course, that wouldn't matter much to the iPod generation, would it? Once they got through the tracks that liked immediately, they could just switch to the next track (or a different artist altogether) and not worry about the flow of the corresponding album at all. And dear readers, Miles And Miles And Miles is the type of album that is readily built for those everyday folks. And that's ultimately its biggest shortcoming. Here's a ramshackle alt-country collective that has refined and focused its sound within an inch of its life, yet it's on the smallest possible label. It's chock full of good songs even when the flow isn't terribly cohesive, and would fit into today's popular "indie" scene without even having to try. Of course, to the hardened record collectors, this album might seem just a wee bit old hat. Almost like an album begging for a five-star review in No Depression right after said magazine has folded. You've heard it all before, but you may not have exactly heard it done better. That won't matter to the jaded contigent that I speak of . . . as it'll just sound like a bunch of records that are already in their collection.

You know, I've already waxed wayyyy too poetic about Miles And Miles And Miles. Candle is a very good alt-country outfit that deserves infinitely more attention than they are likely to recieve for this album. Here's to hoping that the summer touring that Coons has slated for the band gets this album into the ears of the wider audience that it's begging for . . . the ones that won't dissect it for hours like I have. The ones that can just press the play button and enjoy a nice mellow record without having to think too hard. Candle has an audience, and I hope that they find them so that they can ultimately grow into their very own skin, instead of echoing the ghosts of alt-country past. Until then, Candle will just be our little secret, okay?


THE DAILY TAR HEEL (NC)

4.5 stars

The best folk rock uses simple production featuring talented instrumentalists and heartfelt, confessional lyrics, crafting the sound of a hardworking small-town band trying to hit the big time.

Candle deserves that chance at stardom.

On Miles and Miles and Miles, the versatile Southern California five-piece switches up the tempos track-by-track with ideal placement, providing plenty of variety to keep even the most dangerously repetitive numbers fresh.

Frontman Kevin Coons' Boy Scout vocals mix smoothly with the honey-tinged singing of Rachel Spotten, but his voice is equally appealing alone.

Coons' tales of love, loss and daily life are familiar, but in the same way a favorite meal is consistently delicious.

For Candle, all the pieces of the folk puzzle fit effortlessly, even though there were 1,000 pieces in the box.

-Edwin Arnaudi


WEST COAST PERFORMER

Miles and Miles and Miles borrows from the territory trod by K Records: easy-going lo-fi momentums, over- punctuated vocals and a rich blend of off-kilter instruments working through a traditional pop verse-chorus framework. It's an inspired album; adventurous and liberal in its exploration of folk and country roots. It's a wonder Portland's folk hero producer Adam Selzer isn't involved.

There are too many instruments to list, but some standouts are the plucky banjos, brushy drums, languid cello and violins, and a shy, understated trumpet. In the bouncy, up-tempo song "Pretty Please," the San Luis Obispo five-piece features the "Like a Rollin' Stone" Dylan-influenced surging Wurlitzer organ which fills the background like a wildfire of vibrant, smoldering notes.

Singer Kevin Coons has an earnest voice. Often backed by a Southern-fried female and a hollering male, Coons' vocals cut through the instrumental texturing like a faint recall to Pavement-era Malkmus. Lyrics touch on traditional Americana folk themes: rambling across the country, love and loss. In the slow-tempo, soulful burner "Hotel Eyes," a willful Coons sings, "So I met a girl / With hotel eyes / said you can't call me home / but you can stay for the night / And I turned in my keys / With bags at my side / I left her at this / I'll see you sometime."

Candle's listenability may be attributed to its familiarity — a listener of K or Bar/None Records should feel at home with the band's understated alt-country release, and a folk fan needn't worry about long stretches of inconsistent, meandering nonsense. Miles and Miles and Miles is tight, even considering the bulky textures and melodic tinkering. It's an album fierce on maintaining interest and not overstaying its welcome. (Real Love Records)


The Four Oh Five
This album seemed the perfect choice for my first contribution here. Not strictly 'new', it was released at the beginning of March, but since it's become a staple of my 2008 listening charts so far, it seemed fitting to try to extend it to further audiences.

The first time I properly listened to this album I was riding hundreds of miles across Europe, and ever since I have seen it somewhat as 'travelling music'. Even when you're not going anywhere, putting this CD on makes you feel like you're on a journey. The lilting tones of opener 'Pennies In A Well' merge beautifully into the rawer sounds of 'Let Me Love You', both songs being a perfect showcase to begin the album with - rich with singer Kevin Coon's heart-warming vocals, smooth lyrics and the beautifully balanced arrangement of acoustic guitars, harmonica and strings, these songs set a high standard for the rest of the album to follow - but follow it does.

A song that has stood out to me with every listen is 'Hotel Eyes'. Nearly rivalling even Conor Oberst's story-telling abilities, this is a sorrowful narrative of a girl like a hotel. Just reaching the six-minute mark and displaying a non-invasive and well-placed infusion of horns sometimes reminiscent of those used by Neutral Milk Hotel, 'Hotel Eyes' gives Miles and Miles and Miles another dimension.
Yet another example of acoustic folk song writing at its best, 'Say Goodnight' begins to wind down the album with a sweet-toned set of lyrics and a chorus enriched with the effortless voice of band member Rachel Spotten.

With fiddles, trumpets, banjos, pianos, mandolins, cellos and harmonicas all in place, there is no denying that Candle's most recent release is as diverse as song writing of this nature can be, and the result has been a flawless blend of calming melodies, unforced lyrics and lush orchestration. Also noteworthy is the fact that, although throughout the album the lyrical and melodic themes could often be classed as 'melancholy', the album is at no point depressing or over-emotional. Candle really have managed a perfect balance in this album and it is to their endless credit.

Since the album isn't widely available on the internet, the best way to get hold of this CD is probably - shock horror! - to buy it. Direct from the band's Myspace page you can be a proud owner of the CD for somewhere around £6 including postage, and they'll even post it out to you with a lovely little note and a nice drawing on the back of the parcel, though I never managed to work out what it is.
Get to it! Once these lovely noises have filled your ears you will never regret it.


HearYa Music Blog:
There are certain albums that I listen to over and over, but for some reason I don't mention on HearYa. Miles and Miles and Miles by San Luis Obispo band, Candle, are such a band. I find myself playing the album at work, while cleaning around the house, and often while relaxing with a cold one at the end of the day. Adjectives don't jump into my mind as I listen, but it's loose alt-country sound always greets me with a smile.

Miles and Miles and Miles isn't an album that gives you that "Oh shit!" moment. There isn't a standout track, but they put together a solid collection of tunes that serve as a nice soundtrack for a summer evening. If you read my review of The Sugar Oaks' Red Grapes in the City, then you can almost swap out the band and album names. It's perfect for lazy afternoons, ice cold drinks, hot days, warm sun rays on your face, burying your toes in the sand, and for easing your mind.

You'll rarely find them in a Google search because they aren't waxy enough, but click on the links below for tour dates. They are all over the place.

Live Reviews:

My Little Ghost Friend:

"Candle, Jon Crocker, Iamb and All Year Snowstorm all played an acoustic show outside UCSB's Storke Tower Media Library last night. I wish I had written about it when I got back last night, so you guys could maybe have a chance to get to their show at the Knitting Factory in L.A. tonight, but I was on my way home. I'm sure they played a great show this evening, if last night was any indication. Candle concluded the show, playing some of their alt-country-ish tracks from their 2006 Real Love Records release, Birds Were Meant To Fly. The guys usually play with drums (the drummer was relegated to playing Jon Crocker's washboard), but the acoustic set seemed to suit their music pretty well, allowing singer Kevin Coons' voice to stand out. LISTEN:
"The Wind Out There""
SLO Kinetic

An unexpected SLO-grown surprise, Candle seems to light up a room with their whimsical, sweet-bluegrassy-unassuming-alt-folk-roc k "whatever you want baby" . With a frontman that could be the product of a genetic experiment involving Emile Hirsch (a la Into the Wild), Bob Dylan and Jesus, a cherub-faced keyboardist and a banjo player that looks like Johnny Depp's little brother, Candle burned bright on Monteleone's Rock.