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His Name Is Alive - Livonia LP NEW
4AD
A storied part of the early 4AD catalog, His Name Is Alive — the creative outlet of Michigan musician Warren Defever — was signed to the label in 1989, after founder Ivo Watts-Russell fell in love with their dark and fragmented sonic inclinations via cassette demos sent in the post. The project’s debut record, Livonia (named after Defever’s hometown), was released in June 1990.
While His Name Is Alive’s sound was in line with the gothic echoes of labelmates Cocteau Twins and Dead Can Dance, they also had a different, nonpareil quality, something existing on the boundary of this earth and another realm further underground. It was this otherness that piqued interest and proved the fulcrum of an unpredictable sound that often changed tack before listeners could second guess.
A product of nearly ten years of Defever’s home recordings, produced and mixed by Watts-Russell and his This Mortal Coil collaborator John Fryer, their debut Livonia cemented the band’s presence among the 4AD’s well-established ethereal lineage, reinventing and refracting the 4AD sound through a prism. A study in shadows, the album examined the dual themes of love and loss, being woozily delivered as if dreamlike. When reissued a few years later in the US, the album’s title track was added – a non-linear study in guitar distortion – which completed the record and is a track that now stands out as one of the band’s finest moments.
While His Name Is Alive’s sound was in line with the gothic echoes of labelmates Cocteau Twins and Dead Can Dance, they also had a different, nonpareil quality, something existing on the boundary of this earth and another realm further underground. It was this otherness that piqued interest and proved the fulcrum of an unpredictable sound that often changed tack before listeners could second guess.
A product of nearly ten years of Defever’s home recordings, produced and mixed by Watts-Russell and his This Mortal Coil collaborator John Fryer, their debut Livonia cemented the band’s presence among the 4AD’s well-established ethereal lineage, reinventing and refracting the 4AD sound through a prism. A study in shadows, the album examined the dual themes of love and loss, being woozily delivered as if dreamlike. When reissued a few years later in the US, the album’s title track was added – a non-linear study in guitar distortion – which completed the record and is a track that now stands out as one of the band’s finest moments.