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Peter Oren identifies one of his major influences as Bill Callahan, which is a good way to get interested attention round here. Oren does have a whole lot of baritone character in his voice, and he uses it to sketch out songs about our present era, the Anthropocene. Also on board are a crack group of Nashville session musicians. Released by Western Vinyl.


  • LP £20.99
  • Not in stock / Usually ships in 2-3 days ?
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  • NormanPoints: 210 ?
  • WV159LPC1 / Limited indies only coloured vinyl LP + insert on Western Vinyl
  • Includes download code

This item needs to be ordered in from a supplier.
Usually ships in 2-3 days but delays are possible.

  • LP £19.49
  • Not in stock / Usually ships in 2-3 days ?
  • Shipping cost: £3.15 ?
  • NormanPoints: 195 ?
  • WV159LP / Black vinyl LP + insert on Western Vinyl
  • Includes download code

This item needs to be ordered in from a supplier.
Usually ships in 2-3 days but delays are possible.

  • CD £11.49
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  • Shipping cost: £1.00 ?
  • NormanPoints: 115 ?
  • WV159CD / CD on Western Vinyl

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Usually ships in 2-3 days but delays are possible.


REVIEWS

Anthropocene by Peter Oren 1 review. Add your own review. 8/10
1 person loves this record. Be the 2nd!

8/10 Staff review, 08 November 2017

I have a question for Peter Oren. My question is… can he please explain this lyric? It goes like this: “I came to at half past two to a diesel engine’s roar”. Has anyone ever woken up and thought, damn, that specifically diesel-run vehicle is giving me grief? No. Oren is unprecedented in this. A country singer with a keen descriptive voice, he makes detailed worlds with plainspoken and smooth-running stanzas, adding musical flourishes that flesh out the world but never busy it. ‘Anthropocene’, in this sense, feels vaster than a lot of the record’s it goes out to imitate.

He mentions the master Bill Callahan as an influence, and beyond the voice -- too bold and deep for this world but totally calm about it -- it makes some sense. His lyrics swim across his songs with complete ease, rarely looking back and instead finding poetic observations in every passing image. Musically, though, they diverge: the title track becomes just about the most serene and symphonically built song of its ilk I’ve ever heard, its strings screaming out in ways his nylon-string guitar can only jealously sit and watch at.

It’s honestly ridiculous that he’s only two records in when he’s capable of making a record this confident and world-built: the band behind him have already developed a folksy formula that shimmers and elucidates, offering darkly-toned and sweetly melodic environments for him to render through his omniscient baritone vocal. I'll let him have this one: he probably does describe them as diesel engines.


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