I imagine The Meanest Boy's Will Marquis recording in a very old, very haunted cottage perched on a cove in northern California. When it rains, legend has it that Wilma Cotton, for whom the home was built for, roams the premises hoping to catch a glimpse of her wayfaring husband hiking over the ridge. It rains a lot.
In some respects, I hear glimpses of the overdiven, otherwordly melodies Liz Harris perfected as Grouper. At the same time, the handwoven vocal harmonies of the United Church of Brian Wilson (or, more appropriately, Van Dyke Parks). Like "I Don't," a Meanest Boys track on the last Bobkast, the ethereal folk of "Slow Hand" plays like an angelic float down your favorite creek. All forest sprayed sun and salamanders. "Nowhere to Go" is similar, although finds Marquis channeling like-minded experimental bedroom artist Luke Temple, whose Here We Go Magic is most certainly a touch stone, especially for those less than familiar with bedroom folk. While atmospherics play a heavy hand, its really all about the interplay of voice and guitar. That said, If I knew any better I'd think Marquis were cut from the same woolen clock as artists featured on Numero Group's (unsurprisingly) incredible Wayfaring Stranger: Guitar Soli compilation. Smooth, haunting and affecting like a strange breeze swaying curtains in the wind, The Meanest Boys are channeling something. It may be a confederate soldier. It may be a lonely postman. I'm really not sure.
The Meanest Boys- Slow Hand
The Meanest Boys- Nowhere to Go
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