If Sufjan Stevens covered Nirvana Unplugged whilst doing naked cartwheels, it might sound a little something like Daniel Harris. These are the words of a new Daniel Harris fan, whom he thanked with a hug and copy of his new album,
“Thirty-two bit isn’t really eight bits better.”
Consider this package a "thank you" in advance, and the music inside it a hug... without arms that is.
What you hold in your hands is a work crafted over an 18-month period of time, a sample of moments captured while playing in his bedroom, roommate's bedroom, living room, and yes, the bathroom. These bits and pieces of lo-fi pop were then extracted and produced by himself before being mastered by a master, Dave Harris (John Vanderslice, Pattern is Movement), who is of no relation.
"But how does the record sound?,” you might ask.
Here's the skinny on the aural experience of “Thirty-two bit isn’t really eight bits better:” With merely an acoustic guitar, a cello, a glockenspiel, a melodica, a banjo, and his own ingenuity, Daniel Harris crafts beautiful sound environments and experimental pop songs that range from melodic to melodic plus (the likes of Grizzly Bear or Sufjan Stevens). It's the kind of anti-folk/experimental pop that's perfect for headphones, loud stereos, or the steps of the Lincoln memorial in Washington, D.C., where he managed to play his way out of a potential arrest for "protesting" and converting a member of the D.C. police force into a fan. Hopefully, it'll convert you too.
“The record sounds rad.” –Andrew Thiboldeaux, frontman of Pattern is Movement
“I am really enjoying it.” –Chris Barth, frontman of The Impossible Shapes
“…It is really, really nice. I liked Elephant the most. It’s real good…Beautiful tunes.” –Ben Wigler, frontman of Arizona
“Very beautiful. Very different to my ears, sensitive and human. And brave I think. I love the love song in the early part. And the instrumental combinations throughout. A unique and magic sound here.” – political cartoonist and journalist Steve Brodner, The Naked Campaign (at The New Yorker Online), RollingStone, The Atlantic