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Rejoicing in the Hands
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Prefixmag.com | by Nick Stillman The young man is completely an originalDevendra Banhart has already racked up his share of critical acclaim, so it's probably unnecessary to tell his story or list his virtues and points of separation from his (sort of nonexistent) peers. But how refreshing to hear Rejoicing in the Hands, his second proper album, in this cultural context -- an album just dripping with (surprise!) sincerity, devoid of irony or reference-heavy posturing. And not only is this album sans the requisite pomo dose of irony, it's also not at all a regressive "return" to idyllic, pre-irony '60s folk, which would be just as bad. At 22 years old, the young man is completely an original. Rejoicing in the Hands is mostly just Banhart and his acoustic guitar, a formula that, unless you're a Beck or Nick Drake type, is cornball shit waiting to happen. It's so easy to have this melancholic, acoustic singer-songwriter stuff sound cheesily sentimental (Red House Painters) or overwhelmingly underwhelming (the Mountain Goats). Yet, there are almost no inferior songs on this album (the album was culled from the 57 songs Banhart originally sumbitted; those that didn't make the cut should be released later......
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Rejoicing in the Hands
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The Cauldron (Cleveland) | by David ImburgiaIf his music were break-dancing, he’d sweep the competition effortlessly off their feetBelieve it or not, break-dancing and folk music have a lot in common. The basics of both are pretty much common knowledge (at least within their respective cliques), and you may even be able to impress friends and family with what you know of either strumming on some chords or doing a little soft-shoe. But the first and foremost cold hard fact of what it takes to genuinely succeed in both areas is criminally overlooked much too often: You must have your own distinctive style, or you won’t stand out. Applying that idea, Devendra Banhart may be the next important folksinger/songwriter of this millennium. And if his music were break-dancing, he’d sweep the competition effortlessly off their feet. Frantic strumming patters sliced up by horrendous vocal gasps followed by trembling whispers about warm, vivid imagery are peppered all throughout this young man’s new record Rejoicing in the Hands. His simultaneously nervous and joyous choppy toned vocals will burn themselves as a memory in your head, and his awkward yelps will most likely set him apart from any other folk musician you’ll hear.......
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Blurb for Other Music in-store
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Time Out NYSunday May 25, 2004The otherworldly talent that is Devendra Banhart drops in the night before the official release of his album, Rejoicing in the Hands (Young God), which we’re pretty sure is not a new term for “masturbation†– at least not in this case. Honestly, the record is destined to change more than a few lives this year; it’s the sound of a soul in love with the world, and love, and the art form of songs, and Banhart is one of the most convincing performers around. Better show up early....
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Rejoicing in the Hands
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The Ithacan, NY | by Andy CulpepperA breath of fresh airTo listen to Devendra Banhart’s new CD, “Rejoicing in the Hands,†for the first time is to be transported to his strange and unpredictable world. Listeners might laugh at his high, quavering voice and offbeat lyrics or feel a slight chill as eerie acoustic guitar melodies drift through the air. To listen to it a second time is to recognize a work of sheer gentle beauty and masterful songwriting. Every song on Banhart’s sophomore album is a sensitive and intimate gem. Even the liner notes include his original watercolor paintings and are hand-lettered with a touch of his careful love. Upon digesting the unique sonic experience, one is naturally curious about the background and character of this eccentric artist. Banhart started recording when he was 18, in his freshman year at the San Francisco Art Institute, where he studied sound, film, sculpture, drawing and painting. He used primitive equipment including a friend’s answering machine to record more than 50 songs before sending a demo tape to Young God Records, where he is currently signed. Twenty-two of these songs were selected for Banhart’s debut record, 2003’s “Oh Me Oh My …......
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REJOICING IN THE HANDS
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NOW Magazine Toronto | by Tim PerlichCreepy goodHaving not yet completely exorcized the tortured spirit of Karen Dalton, junior mystic Devendra Banhart still howls the cosmic blues with that familiar raspy lilt, but the lo-fi static of his previous recordings has been replaced here with the tasteful texturing of acoustic bass, drums and piano on some of his most self-assured sessions yet released. Rejoicing In The Hands maintains that captivating loner-stoner vibe, so there are bound to be comparisons to the work of fellow outsiders Skip Spence, Syd Barrett and even Marc Bolan, but Banhart's quickly developing an unsettling voice all his own. Creepy good. Expect Banhart's Nino Rojo follow-up to appear in late September. Rating: NNNN...