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I See the Sign is the third album by experimental folk artist Sam Amidon, released in 2010. The album features Amidon’s radical reworkings of traditional folk songs, with chamber-orchestra arrangements by composer Nico Muhly; multi-instrumental contributions from Shahzad Ismaily, and guest vocals by Beth Orton. It was produced and mixed by Valgeir Sigurðsson at Greenhouse Studios in Reykjavik and released on the Bedroom Community label.^[8]

Background and Recording[edit]

The songs for I See the Sign consist primarily of Amidon’s reworked renditions of traditional Americanfolksongs, drawing on shape note hymns, murder ballads, and singing games from the Georgia Sea Islands, as well as a cover of the R Kelly song Relief. The album’s recording emerged from the Bedroom Community label, with appearances from all of the members from the label at that time, and recorded entirely at Valgeir’s Greenhouse Studios in Reykjavik.

In a 2010 interview with Popmatters, Amidon described how the process started with himself and Ismaily and went from there: 'When Shahzad and I went into the studio in Iceland, we put many of the basic tracks down live together, with him playing bass or drums or percussion or strange noises or Moog or electric guitar, basically playing everything there was to play. Some he’d do live with me, and other parts he’d add later – he is able to play many instruments at once, but not all of them. He has many limbs. When he was playing his drum parts, I sat at a very large oak table in front of the drum kit and waved my arms in the air and drew diagrams for him to follow or disobey. After that point, it took on more of the shape of the way I made the last few records – Nico’s arrangements were added without my presence, I arrived last summer and there they were in all their mind-altering twinkling glory; and Beth Orton came with me to Iceland to sing on a number of songs and we did those together, and then Valgeir and I spent time carving things away from everything that had been added and figuring out what we had.'^[9]

Release and Reception[edit]

I See the Sign received a strong reception from critics and appeared on many year-end lists,^[10] including Ben Ratliff’s Top 10 in the New York Times, and an honourable mention in Pitchfork’s year-end albums roundup.^[11] Discussing the songs of I See the Sign in the Times, Ratliff wrote, 'Playing guitar or banjo as he sings, [Amidon] transforms all of them, changing their colors and loading them with trapdoors. He slows them down and rewrites their harmonies, making curious, arty, quiet pop in his own mood — ornery, sensitive, distant. I See the Sign is a seriously intelligent record, but never cute or overbearing; its Icelandic producer, Sigurðsson, has left it dry and full of space, so that you hear the seams.'^[12]Pitchfork’s review stated that 'interpretations are so singular that it stops mattering how (or if) these songs existed before-- all that matters is how they exist now.'^[13] The All Music Guide review says that 'Each of these collaborators adds to the album's rich, expansive, textural palette, allowing considerable psychological range within its generously subdued tone… But always at the forefront are Amidon's voice --which recalls Will Oldham in its restraint and slight rustic roughness -- and, especially, the songs he has chosen to make his own.'

Amidon toured the album extensively, both on his own and as a member of the Bedroom Community Whale Watching Tour, which brought together Muhly, Frost, Sigurðssson and Amidon to perform a concert of each other’s music collaboratively. The experiences of this tour and its concerts were documented in the film Everything, Everywhere, All The Time.^[14]

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Track Listing[edit]

1. 'How Come That Blood' - 3:32
2. 'Way Go Lily' - 4:18
3. 'You Better Mind' - 3:43
4. 'I See the Sign' - 6:16
5. 'Johanna the Row-di' - 2:28
6. 'Pretty Fair Damsel' - 3:07
7. 'Kedron' - 2:58
8. 'Rain and Snow' - 3:56
9. 'Climbing High Mountains' - 3:07
10. 'Relief' - 5:22
11. 'Red' - 3:46

Personnel[edit]

• Sam Amidon – voice, banjo, acoustic guitar, electric guitar
• Shahzad Ismaily – drums, vocals, bass, percussion, electric guitar, acoustic guitar, Mini-Moog Synthesizer
• Nico Muhly – string/brass/woodwind arrangements, piano, arrangements, Celesta, Harmonium
• Valgeir Sigurðsson – bass, percussion, synthesiser
• Beth Orton – vocals, nylon string guitar
• Ben Frost – electric guitar on track 11
• Additional engineering – Paul Corley, Paul Evans

Chamber Orchestra

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• Bassoon – Rebekka Bryndís Björnsdóttir
• Cello – Hrafnkell Orri Egilsson
• Clarinet – Helga Björg Arnardóttir
• Flute – Melkorka Ólafsdóttir
• Oboe, English Horn – Matthías Nardeu*
• Trombone – Helgi Hrafn Jónsson
• Viola – Þórarinn Már Baldursson
• Violin – Sigrún Eðvaldsdóttir, Una Sveinbjarnardóttir^[15]

References[edit]

1. ^Petrusich, Amanda (April 21, 2010). 'Sam Amidon – I See The Sign'. Conde Nast. Retrieved March 16, 2017.
2. ^Mathers, Ian (December 15, 2010). 'Sam Amidon – I See The Sign'. Popmatters Media, Inc. Retrieved March 16, 2017.
3. ^Strain, Lauren (April 19, 2010). 'Sam Amidon – I See The Sign'. Drowned in Sound. Retrieved March 16, 2017.
4. ^Male, Andrew (March 18, 2010). 'Sam Amidon – I See The Sign'. Bauer Consumer Media Ltd. Retrieved March 16, 2017.
5. ^milkman, the (October 9, 2010). 'Sam Amidon – I See The Sign (Bedroom Community)'. themilkfactory. Retrieved March 16, 2017.
6. ^Menconi, David (February 21, 2010). 'Sam Amidon – I See The Sign'. Billboard-Hollywood Reporter Media Group. Retrieved March 16, 2017.
7. ^Hoffmani, K.Ross (2010). 'Sam Amidon – I See The Sign'. RhythmOne Group. Retrieved March 16, 2017.
8. ^'I See The Sign'. bedroomcommunity.net. Retrieved 17 March 2017.
9. ^'You Better Mind: An Interview with Sam Amidon'. popmatters.com. Retrieved 17 March 2017.
10. ^'The Best Albums of 2010'. metacritic.com. Retrieved 17 March 2017.
11. ^'Albums of the Year 2010: Honorable Mention - Page 2 - Pitchfork'. pitchfork.com. Retrieved 17 March 2017.
12. ^'New CDs'. The New York Times. 12 April 2010. Retrieved 17 March 2017.
13. ^'Sam Amidon: I See the Sign Album Review - Pitchfork'. pitchfork.com. Retrieved 17 March 2017.
14. ^'Bedroom Community > Whale Watching Tour'. bedroomcommunity.net. Retrieved 17 March 2017.
15. ^'Sam Amidon - I See The Sign'. discogs.com. Retrieved 17 March 2017.

External links[edit]

This thoroughly modern folk singer continues his stunning recreations of classic folk, with help from Ben Frost, Nico Muhly, and Beth Orton.

Sam Amidon's idea of recomposition-- of excavating Appalachian folksongs; rearranging, repurposing, and creating a dissociation that feels uniquely contemporary-- isn't exactly unprecedented. Musicians-- like A.P. Carter, who scrambled up and down Clinch Mountain in the late 1920s, collecting local songs for the Carter Family's repertoire-- have been reinventing folk songs since before we knew to call them folk songs. That's part of what folk music is, and does. What separates Amidon from the scrum of revivalists and archivists is how modern these renditions are. I See the Sign, Amidon's third folk LP, doesn't contain any original tracks, but his interpretations are so singular that it stops mattering how (or if) these songs existed before-- all that matters is how they exist now.

Amidon grew up singing folk music in Brattleboro, Vermont; his parents were members of the Word of Mouth chorus, a community choir which performed sacred harp hymns in the 1970s. Culturally, folk music is inextricably linked to the south (and Appalachia in particular), but rural Vermont has birthed its fair share of traditional strummers (pick up Margaret MacArthur's Folksongs of Vermont for an impeccable primer). Amidon inhabits these songs comfortably, with an ease that belies a childhood spent with a fiddle in one hand and a banjo in the other.

Much of I See the Sign's success can be chalked up to its arrangements, which are fractured and frequently off-kilter; Amidon and his cabal of collaborators-- Nico Muhly, Ben Frost, Shahzad Ismaily-- have been merging chamber music with indie rock for awhile now (see also: Sufjan Stevens, Thomas Bartlett, Owen Pallett, Bryce and Aaron Dessner of the National), and their touch is nuanced and, on occasion, delightfully odd. Bits of percussion, distorted bursts of Moog, and hits of celesta pop up and recede, snapping into place like puzzle pieces. The arrangements are never bombastic (unlike what happens when, say, a pop artist gets paired with a philharmonic)-- instead, they're violent (the stabbing bass and scuttling percussion of opener 'Here Come That Blood') or stiff and lonely (the restrained electric guitar and puffs of strings on 'I See the Sign'). On 'You Better Mind', Amidon, harmonizing with Beth Orton, gets backup from threatening squeals of strings: 'You've got to give an account of the judgment, you better mind,' they caution. Their voices are grave, concerned.

As a vocalist, Amidon is preternaturally calm, and his flat repetition of certain couplets ('Found my lost sheep,' 'Loose horse in the valley') feels mesmeric and mantra-like. He's poised, but never cold, and I See the Sign can play like a gospel record, with all the attendant modes and lessons. These are songs to live by (or in), and these iterations-- despite their sophistication, despite his stoicism-- never feel like museum pieces or anything less than functional.

The only non-traditional track here is a cover of R. Kelly's 'Relief'. On paper, the choice feels a little like a trap (R. Kelly fills an odd role for overeducated indie rockers), or at least a posture-- and while it could be didactic or a lame grasp at irony, Amidon's rendition is stunning. 'What a relief to know that/ The war is over,' he and Orton sing, their voices earnest and tough, rising over the album's thickest, most optimistic swells. When Amidon finds an affirmation of faith-- 'What a relief to know that/ There's an angel in the sky,' he sings, grateful-- it's hard not to feel that liberation deep down in your gut.