Leigh Marble | Where the Knives Meet Between the Rows

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Recording “Knives” in the studio (documentary clips) Music Video for “Walk”

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Rock: American Underground Rock: Folk Rock Moods: Mood: Brooding
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Where the Knives Meet Between the Rows

by Leigh Marble

Marble, not exactly known as a sunny songwriter before, goes from drizzle to downpour on "Where the Knives Meet Between the Rows".
Genre: Rock: American Underground
Release Date: 

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  Song Share Time Download
1. Walk
4:46 album only
2. Jackrabbit
4:23 album only
3. Goodnight
3:37 album only
4. Evil
4:39 album only
5. Nail
7:28 album only
6. Holden
5:36 album only
7. Pony
2:36 album only
8. Inebriate Waltz
4:48 album only
9. Greener Pastures
5:40 album only
10. Cars
4:23 album only
Downloads are available as MP3-320 files.


Album Notes
“A steam-blowing, soul-searcher of a record.” - The Celebrity Cafe

On his third full-length, Portland, Oregon-based artist Leigh Marble delivers “Where The Knives Meet Between The Rows”, a ten-track follow-up to Red Tornado, which Portland alternative weekly Willamette Week proclaimed "a burning, angst folk-rock masterpiece." Further extending beyond the pop-rock and folk of “Red Tornado”, “"Where The Knives Meet Between The Rows” delves deeper into an indie-fied spectrum of soundscapes and experimentation, without losing the lyrical depth or sonic power of Marble's previous work.

“The blend of a bristling intelligence and pulsating humanity.” - Willamette Week

The album also features guest appearances by longtime friend Erin McKeown, as well as by Portland musicians Jesse Emerson (Amelia, The Decemberists), Matt Harmon & Kali Giaritta (of The Ascetic Junkies), and Rachel Taylor Brown.

Leigh Marble - vocals, guitars, pump organs, floor toms, percussion, synths
Ben Macy - piano, keys, accordion, harmony vocals
Jason Russell - drum kit
Peter David - bass

“Wielding far greater gravity than anything the local singer/songwriter has produced before...a bleak, morose—and, subsequently, gripping—listen.” - Portland Mercury



to write a review

New York Music Daily

Leigh Marble’s Greatest Gloomy Moment
This review first ran in the New York Music Daily blog, 4/25/12, at http://newyorkmusicdaily.wordpress.com/2012/04/25/leighmarble/
Don’t let the presence of somebody from the Decemberists scare you away from Portland, Oregon songwriter Leigh Marble’s new album Where the Knives Meet Between the Rows: there’s nothing remotely indie about it. The playing – especially the terse, elegantly biting piano – is strong and so are Marble’s tense, brooding vocals. And there’s even a savagely amusing, glammy song here titled Holden (after the Salinger character) that mocks the deliberate ineptitude that defines indie rock and the trendoids who make it: “Oh you sweet dumb creatures, missing half your features, disfigured by design, singing with half a heart…” It’s got a singalong outro to rival the cruellest thing Elvis Costello ever did to an audience.

But that’s a rare light moment here. Marble wrote the songs on the album during a harrowing period after his girlfriend had been diagnosed with breast cancer. But rather than bailing, Marble did the noble thing and married her; after treatment, she regained her health, and he got a good record out of it. Unsurprisingly, it’s pretty gloomy – is there a silver lining to mirror what ultimately turned out to be a win-win situation for Marble? Not really. This is his third album, his first since 2007 and by far his darkest.

The first two tracks are free downloads. The opening cut, Walk has an ominously strolling, noir vibe anchored in the low registers of the organ, piano and synth. “Gonna walk until my heart stops pumping,” Marble insists. Is the surprisingly peaceful interlude midway through a sign of better days to come? Nope. The second free download, Jackrabbit sounds like Big Star taking a mighty stab at 70s stadium rock: it’s a cynical, suspensefully imagistic look at the psychology of corruption, whether political or otherwise.

“I know you wanna leave me, well I wanna leave me too,” Marble intones on the terminally depressed, country-tinged lullaby, Goodnight. The understatedly desperate Evil features boomy Mo Tucker drums, cello and accordion: the way Marble uses macabre imagery to set up a scenario that will resonate with anyone who doesn’t have health insurance is artful to the extreme. He follows that with the equally bleak Nail, a dirgey piece of gothic Americana:

So keep your eyes on that nail in the coffin
On the thread as it winds off the bobbin
And there at the end of your rope
You’ll test the aerodynamics of hope

Pony, a snidely vicious drunken pickup scenario, is the closest thing to Lou Reed here – and contains the funniest reference to Pringles in rock history. Inebriate Waltz, a homage to 19th century Portland poet Sam Simpson – who died after a fall on the sidewalk outside his favorite hotel bar – returns to a bitter, doomed, bluesy noir ambience. The snarling, slow, bluesy Greener Pastures evokes Steve Wynn in a particularly gruesome mood; the slow, final cut, Cars (an original, not the Gary Numan new wave hit) quotes Pink Floyd as it imagines a painfully banal apocalypse. Dark songwriting doesn’t get any better than this. RIYL: Tom Waits, Leonard Cohen, Tim Foljahn, Mark Sinnis, LJ Murphy…and Lou Reed of course.