TO TRACE A RAVELING handprinted cover PREORDER

$30.00
  • TO TRACE A RAVELING handprinted cover PREORDER
  • TO TRACE A RAVELING handprinted cover PREORDER
  • TO TRACE A RAVELING handprinted cover PREORDER
  • TO TRACE A RAVELING handprinted cover PREORDER

Order your handprinted record and ill make it and send it to you. (allow one week)

This LP is Mississippi Records number 007.
Originally released in limited edition in 2006 with silkscreened covers.
50 copies were recently discovered misprints that had blank covers.
I am hand painting them using a tracing of the original cover image.
Each copy is newly numbered to reflect the 2020 edition of unique cover illustrations.
Included are the original Stumptown printed inserts.

The music contained is from two import only cds- Tracer ( Compass Tone Japan) and A Raveling (Acuareladiscos).

CREDITS
Tara Jane O'Neil- Acoustic Guitar, Guitar, Guitar [Screwdriver], Bells, Wind Chimes, Melodica, Sampler, Glockenspiel [Toy], Singing Bowls, Drums, Voice, Electric Piano, – Tara Jane O'Neil (tracks: A1 to A3)
Featuring – Kai Davies (tracks: A1 to A3)
Mastered By – Jon Cohrs (tracks: B1 to B4)
Recorded By, Performer – Tara Jane O'Neil (tracks: B1 to B4)

Here is what the Michael Byrne at the Willamette Week had to say in 2006:
To Trace a Raveling, a vinyl-only split release of Tara Jane O'Neil's Tracer EP and her most recent EP, A Raveling, is a confounding little combination. A Raveling is nearly what its title suggests it is: a small loose thread in the collected works of one of our city's best songwriters. It is as consistently stripped-down as anything I've heard from O'Neil: Here we hear four songs of naked guitar humility and a voice that is, as always, as clear and unshakable as it is fragile and personal. Anything extraneous to that—spare strings, sweet melodica drones—is, well, extraneous. The collateral moments of experimentalism that marked her last release, 2004's You Sound, Reflect—the extended pulsing tone that opens "Take the Waking" or the discordant strings that open "Love Song Long"—are hardly missed here. O'Neil is saved from the Natalie/Sarah/Tori pile of overpolished songstresses simply by that uniqueness of voice, and just plain old good songwriting.

Yet, the experimentalism is here—in marvelous form—on the record's flip side, Tracer, which is, essentially, one devastatingly beautiful song in three movements. It opens with chiming bells and barely formed guitar melodies that come together in disparate moments of pure song before dissolving back into extended dissonance and resurfacing again in simple vocal melodies. The folks at Mississippi Records deserve massive credit for putting these two otherwise import releases together on one record, perfectly illustrating the diverse capabilities of Tara Jane O'Neil. As abbreviated as it is, this pair leaves us wondering where she will go next. Above that, it leaves us wondering what the line is between experimentalism and bare songwriting—and the hope that they're, in the end, not that different after all.