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  • Wed Sep 03, 2014 - Los Angeles CAThe Echo with Christopher Denny
  • Thu Sep 04, 2014 - San Diego CACasbah with Christopher Denny
  • Fri Sep 05, 2014 - Phoenix AZLast Exit with Christopher Denny
  • Sun Sep 07, 2014 - Dallas TXThree Links with Christopher Denny
  • Mon Sep 08, 2014 - Austin TXLambert’s with Christopher Denny
  • Wed Sep 10, 2014 - Birmingham ALThe Bottletree with Christopher Denny
  • Thu Sep 11, 2014 - Atlanta GAThe Earl with Christopher Denny
  • Fri Sep 12, 2014 - Nashville TNThe High Watt with Christopher Denny
  • Sat Sep 13, 2014 - Carrboro NCCat’s Cradle with Hiss Golden Messenger
  • Sun Sep 14, 2014 - Washington DCDC9 with Christopher Denny
  • Mon Sep 15, 2014 - Brooklyn NYRough Trade NYC with Christopher Denny
  • Wed Sep 17, 2014 - York PACentral Market House with Christopher Denny
  • Thu Sep 18, 2014 - Arden DEThe Gild Hall with Christopher Denny
  • Fri Sep 19, 2014 - Philadelphia PABoot & Saddle with Christopher Denny
  • Sat Sep 20, 2014 - Philadelphia PABoot & Saddle with Christopher Denny
  • Mon Dec 01, 2014 - Toronto ONHorseshoe Tavern
  • Wed Dec 03, 2014 - Philadelphia PAUnion Transfer

Strand of Oaks

Artist Biography

From the first bars of HEAL, the exhilarating melodic stomp of "Goshen '97" puts you right into Tim Showalter's fervent teenage mindset. We find him in his family's basement den in Goshen, Indiana, feeling alienated but even at 15 years old, believing in the alchemy and power of music to heal your troubles. "The record is called HEAL, but it's not a soft, gentle healing, it's like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst parts. And that's how I got better." HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria, confusion and clarity. It is deeply personal and unwittingly anthemic.

Showalter was on tour, walking back to his hotel on a mild autumn night in Malmo, Sweden, when he first felt the weight of the personal crisis that would ignite him to write HEAL. "It was a culmination of pressure," Showalter recalls. "My marriage was suffering, I'd released a record I was disappointed in, I didn't like how I looked or acted...so I'd gone on tour, I was gone about two years! I didn't take time to think about failure, but I knew I was going deeper and deeper...I was thinking, I have this life, but it's not my life, I haven't done it right..."

When Showalter returned, he wrote 30 songs in three weeks, a process that proved difficult, but cathartic and at times even invigorating. Previous Strand Of Oaks records were more skeletal, raw examples of folk-rooted Americana with occasional rock and electronic currents, that have now come to the fore. HEAL's sound is a bold new beginning, a thrilling full-tilt sound that draws on Showalter's love of '70s, '80s and '90s rock and pop, with the singer and guitarist playing the intense valedictory confessor. "It's sad but it sounds like a celebration, like I'm crying and laughing and sticking both middle fingers in the air all at the same time."

Crucial to HEAL's scaling-the-walls of sound was the man who Showalter chose to mix the record, the stellar alt-rock icon John Congleton. Showalter also re-connected with Ben Vehorn, synth expert and studio engineer extraordinaire, and Verhorn's drummer pal Steve Clements who provides HEAL's thunderous, sinewy drive. Songs such as "Shut In", "Plymouth" and "Woke Up To The Light" have a classic construction and mood, recalling '70s power-pop/ballads and the melodic, yearning ache of Big Star's late, great Chris Bell. Many of the songs on HEAL reveal an electronic undercarriage and towering drums that push the album's wired dynamic to its stretching point, especially on "For Me", which expertly bridges the album's twin decades of influences. And if "Goshen '97" recalls the molten energy of Dinosaur Jr, that actually is J Mascis on lead guitar.

Title track "Heal" climaxes with Showalter's fabulously brazen guitar solo, electronically tweaked for maximum impact. Despite the initials, the album's smouldering seven-minute epic "JM" is not a Mascis tribute, but to the late Jason Molina, about having his music as comfort no matter how bad things get.

Which brings us to another crisis, this time much more serious and immediate. HEAL was scheduled for mixing on December 26, 2013. Driving on the freeway on Christmas Day, Showalter and his wife hit a patch of black ice and crashed their car head on into a semi-truck, and were very fortunate to walk away with their lives. Showalter suffered a, "pretty severe," head trauma, "which affected me much more than I realized at the time." Fearing delays, Showalter didn't let Congelton know about it, so the mixing session went ahead. "Being on the verge of death, and my thoughts being so closely tied to that, changed the album's direction," Showalter claims. "Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at that exact moment, somewhere between almost dying and being absolutely fearless."

HEAL is not just a saviour for its creator, but for anyone who needs reminding of music's ability to heal, or just thrill. Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 21 might get his chance. Finally, he and Strand Of Oaks have much to celebrate.