John Moreland doesnโt have the answers, and heโs not sure anyone does. But heโs still curious,basking in the comfort of a question, and along the way, those of us listening feel moved to askour own. โI donโt ever want to sound like I have answers, because I donโt,โ he says. โThese songsare all questions. Everything I write is just trying to figure stuff out.โMoreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers themost comprehensive insight into the thoughts and sounds swimming around in his head to date.A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling livesconfidently in a space of its own, enriched by tradition but never encumbered by it...
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John Moreland doesnโt have the answers, and heโs not sure anyone does. But heโs still curious,basking in the comfort of a question, and along the way, those of us listening feel moved to askour own. โI donโt ever want to sound like I have answers, because I donโt,โ he says. โThese songsare all questions. Everything I write is just trying to figure stuff out.โMoreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers themost comprehensive insight into the thoughts and sounds swimming around in his head to date.A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling livesconfidently in a space of its own, enriched by tradition but never encumbered by it. Thesongwriting that has stunned fans and critics alike since 2015โs High on Tulsa Heat remainspotent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020โsacclaimed LP5.The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Morelandโsmeditative songs, while performances on The Late Show with Stephen Colbert, CBS ThisMorning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, whilethe Tulsa-based Moreland is grateful for the respect and musical conversation heโs now havingwith people around the world, he is also more focused on the idea of just talking to one personโโor even himself. โThrough the years, Iโve felt like Iโm increasingly talking to myself in my songs,more and more,โ he says. โMaybe in the past, I wasnโt aware of it, but now, I am. I think doing thathas helped me be less hard on myself, which makes you more generous and compassionate ingeneral.โThat helps explain why even if Moreland is reaching out to someone else, there is no judgment.โIโm in the same boat with whoever Iโm talking to,โ Moreland says. Morelandโs songs do feel intimateโโlike overheard conversations or solitary meditations. โI wantto talk one-on-one to someone in a song,โ he says. โI donโt want to address a group, really,because I think thatโs when itโs easy to start pontificatingโโand it gets less honest.โOn Birds in the Ceiling, Morelandโs singing contributes to the feelings of hushed intimacy.Wielding a warm, sandpaper soul voice, Moreland got used to singing loudly as he began playingin bars, fighting to be heard over chattering crowds. โWhen I first started singing, I was very self-conscious about it,โ he says. โI think I tried to affect my voice more. Singing loud could be asecurity blanket sometimes. On the new album, on a lot of the songs I was definitely making aconscious effort to sing quieterโโalmost whisper.โProduced by Matt Pence and Moreland, Birds in the Ceiling is dynamic: a folk record that refusesto stay in its lane. Itโs the second album for Pence with Moreland, who sees the formerโโa Denton,Texas-based engineer, producer, and drummerโโas an ideal musical partner. โWe have a lot ofthe same influences, and I have been really influenced by his bands,โ Moreland says. โIt feelsreally effortless
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