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Hey! Manchester Presents Slim Cessna’s Auto Club Featuring Breadfoot
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We’re delighted to be working with Slim Cessna’s Auto Club for the first time – plus guest Breadfoot!
In September 2016, Slim Cessna’s Auto Club released their new album, The Commandments According to SCAC. It has been 24 years since Slim Cessna parted ways with The Denver Gentlemen, that grand progenitor of the peculiar strain of Gothic Americana unique to the Mile High City, to form Slim Cessna’s Auto Club with a group of talented peers.
Many bands with a long and successful run like that would stick close to its roots. But rather than rest on well-earned laurels, the Auto Club challenged itself to break with well-worn modes of operating for the new record.
Wallace Stenger may have captured the spirit of the west in his 1971 novel Angle of Repose. Jim Thompson surely exposed the lurid underbelly of the Western experience. Cormac McCarthy definitely evoked the conflicted, tortured spirit of small town life on the frontier. William Faulkner and Flannery O’Connor informed all of them with a humour and soulfulness. It is that literary tradition that imbues the harrowing and celebratory sound and riveting stories of Slim Cessna’s Auto Club. And for a full 20 years it was largely in that realm of art that the Auto Club revelled and garnered a loyal cult following well beyond the boundaries of The Queen City of the Plains.
But no band can be satisfied with treading the same territory that it helped to define forever. The Commandments According to SCAC will be the first full-length album of original material released on the Auto Club’s own imprint, SCACUNINCORPORATED.
The title evokes the themes of cosmic punishment and redemption that have served the band’s songwriting engine so well in the past. But this set of songs sounds more hopeful and expansive, a quality that was always there but this time out the brighter sides of the songwriting are emphasised. Hints of this saw early full-flown expression on 2008’s Cipher and Unentitled from 2011.
With The Commandments, however, the Auto Club seems to step forward into the promise of its own possibilities. It remains capable of the heady darkness and celebratory intensity with which it made its name.
Now that charmingly dusky and spare sound breathes with a color and delicacy of feeling that perhaps sat in the background in times past. Maybe it’s partly due to the greater creative contributions from longtime collaborator Rebecca Vera and The Peeler or the inclusion of upright bass player Ian O’ Dougherty. But the core of the band’s songwriting and sound is anchored firmly in the vision of Slim, Munly Munly and Lord Dwight Pentacost.
Whatever the true source of this transformation, The Commandments According to SCAC sounds like a band marshalling its creative inspiration to mark out a new chapter of its existence. When you get to see the Auto Club tour following the album’s release, you’ll get to see an already mighty band reinvigorated by this new spirit as well as by the fire that has long burned in its collective belly.
Special guest is Breadfoot. Breadfoot was spawn of the East River Delta. He digs his whiskey neat and his coffee black. He is a one-man band whose idiosyncratic take on life and wide range of influences from The Carter Family and The Sherman Brothers to Tom Waits, fuels his unique brand of Tin Pan Americana.
Live, Breadfoot has been described by London Time Out as ‘gritty guitar picking and home-spun wisdom… a raconteur par excellence’. He has shared the stage with The Avett Brothers, Malcolm Holcombe, Regina Spektor, Kimya Dawson, Langhorne Slim, The Decemberists, Richard Buckner, Gary Lucas and the Larry Love Show Band (the acoustic branch of Alabama 3).
His most recent album Salvatella was released in August 2015. The new album from the opening solo acoustic salve of the title track to the final cymbal crash of the Dixieland inspired Still Can’t (Find My Heart) that closes out the side is his most adventurous to date. It has been described by Americana UK as ‘a refreshing alternative to some of the more archetypal Americana’.
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