The ninth studio album from Calexico, The Thread That Keeps Us is a timely snapshot of the Arizonabredband: a family portrait capturing their stylistic variety and unpredictability while still findingsolace in limitless creativity. In bringing the album to life, vocalist/guitarist Joey Burns and drummerJohn Convertino found a spiritual home in unusual surroundings-not in Arizona, but on theNorthern California coast in a home-turned-studio called the Panoramic House. Built from debrisand shipyard-salvaged timber-and dubbed “The Phantom Ship” by the band-the grandiose houseand its edge-of-the-world-like ambience soon made their way into the songs. The specter ofCalifornia also had a powerful effect: as both dream state and nightmare, its infinite duality ismirrored in the music, giving Calexico a new direction and new edge. With less polish and more gritthan ever before, The Thread That Keeps Us both honors enduring traditions and reveals Calexico’sconfidence in songwriting, ultimately setting a whole new standard for the band.
As heard on the album’s lead single and opening track, the drama of the landscape directly impactedthe making of The Thread That Keeps Us. Driven by sing-song melody and galloping rhythms, “End ofthe World with You” discovers an unlikely romanticism in volatile times. With its lyrics illuminating”Love in the age of the extremes,” the track is the perfect intro to an album that endlessly exploresthe contrast between bright and dark, hope and fear.
Working with their longtime engineer Craig Schumacher, Calexico co-produced The Thread ThatKeeps Us, gathering musicians from across the globe to dream up an earthy yet expansive soundspiked with jagged guitar tones and flashes of distortion. “There’s a little more chaos and noise inthe mix than what we’ve done in the past,” Burns points out. Although that chaos has much to dowith “where we’re at right now as a planet,” it also echoes Calexico’s dedication to constantexperimentation. “Whenever we’re writing and we come up with something that feels too familiar,someone will end up saying, ‘That feels good, but let’s keep going and see what else we canuncover,'” Burns says. “It’s been really important to the arc of this band’s evolution for us to alwayskeep on trying new things.”
Like “End of the World with You,” much of The Thread That Keeps Us captures the anxieties andunease of living in tumultuous times. But while the album draws a kinetic energy from all thatuncertainty, its lyrics unfold with a literary nuance and sense of setting and character. “Instead ofwriting straight-up protest songs, I want to tell stories,” Burns says. Largely inspired by hiswanderings around Northern California during the album’s production, the narratives embedded inThe Thread That Keeps Us reflect on displacement, transitory existence, and-in Burns’s words-“returning to your home after being gone for some time and seeing how things have changed, andmaybe not in the best way.”
As the exact embodiment of that theme, “Thrown to the Wild” delivers one of the mostmesmerizing moments on The Thread That Keeps Us. With its gritty but poetic storytelling, the songopens on a downtown bus station late at night, its sleepy rhythms and atmospheric haze intensifyingthe bleakness of the scene (sample lyric: “Home’s waiting like a motherless child”). From there,”Thrown to the Wild” slips into a glorious frenzy of hummed harmonies, sprawling guitar lines, andJacob Valenzuela’s sorrowful trumpet playing, the effect both hypnotic and jarring. “We wanted thesecond part of the song to just open into this sea of chaos,” says Burns, adding: “Sometimes chaoscan be a good thing.”
Eclectic in sound and feeling, The Thread That Keeps Us also offers the measured fury of “Bridge toNowhere,” the triumphant grooves of the Spanish-sung “Flores y Tamales,” the meditative rhythmsand jangly guitar riffs of “Another Space.” On “The Town & Miss Lorraine,” shimmering tones anddelicate mandolin melodies play against the darkly cinematic mood of the lyrics (“Sliding into thesea/With cynicism and rum/Watching Miss Lorraine/Smoking alone with the moon”). The mostbrutal track on The Thread That Keeps Us, “Dead in the Water” builds a thrilling menace from itssnarling guitar riffs, frantic piano rhythms, and piercing lyrics penned for what Burns describes as”the antagonist to the story of the album-a kind of monster” (“Don’t try to look away or stop mein my path/I make the law and I decree a new kind of wrath”). And woven throughout The ThreadThat Keeps Us are a series of instrumental interludes, including the lilting folk of “UnconditionalWaltz” and the dreamy psychedelia of “Spinball.” “Going into making the album, the only thing Ireally knew for sure was that I wanted there to be moments that felt free and spontaneous-justthese moments of no time, no lyrics, no agenda,” says Burns.
One of the most stirring tracks on The Thread That Keeps Us, “Girl in the Forest” spins a gentle fablefrom its near despair over the state of the planet (“Well the world was spinning so fast, nobody tookthe time”). “That song wouldn’t have been written unless I was sitting next to my daughter Twyla,who was humming along as I was making up this melody,” says Burns. “For months we triedfinishing the lyrics together; I was leading with this idea about environmentalism and protesters inthe forest, and I thought there could be some sort of spirit who appears. And then my daughter toldme, ‘Yeah, that’s cool-but maybe it’s just a girl who’s friends with all the animals.'”
With “Girl in the Forest,” The Thread That Keeps Us displays a sensibility that’s long informedCalexico’s songwriting: a transcendentalist infatuation with the wild beauty of nature, a fascinationdeepened during their time at Panoramic House. “Being up there on the mountain and taking walkson the shore, and even swimming in the cold water, we couldn’t help but be inspired by nature,”says Convertino. “Our love for our earth, our home, and the future of our children came into focuseven more, giving the inspiration and desire to give back something that’s positive and beautiful andlife-affirming.”
In that life-affirming spirit, Calexico decided to end The Thread That Keeps Us with a moment offragile optimism. Described by Burns as “a love song for my kids,” the piano-laced, sweetly swaying”Music Box” speaks to preserving dreams in a troubled reality. “Right now we’re at the edge ofanother potential crisis unfolding, and it’s haunting every night as you put your kids to sleep,” saysBurns. “But at the same time, you look into a child’s eyes and you see something hopeful, even ifthey’ve maybe heard little pieces of what’s going on in the news. I think that’s pretty much the casewith this band: we still have hope, and we’re still so excited to be making this music together.”
CALEXICO ARE: Joey Burns, John Convertino, Martin Wenk, Jacob Valenzuela, Sergio Mendoza,Jairo Zavala Ruiz, and Scott Colberg.
DePedro is the pseudonym that the singer/songwriter/guitarist Jairo Zavala used in the late 2000s after accumulating an impressive arsenal of solo material during his stints with Calexico, Vacazul and 3000 Hombres. DePedro, a name chosen by Zavala for its Spanish and Mediterranean timbre, reflects the Madrid native’s love of latin folk, flamenco, afro-beat and rock, as well as the pre-WWII blues that filled the homes of his grandparents. Zavala’s eponymous debut album under that moniker arrived in 2008 on EMI.