Everyone's Got A Camera

David Poe

"‘Biting commentary on the fast paced nature of modern life delivered over a warming, alt-folk soundscape .... One of the top singer-songwriters of our time." - Backseat Mafia

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God & The Girl

David Poe

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"One of the finest songwriters on planet Earth." Metro UK

"The intensity of his writing and vocal delivery is undiminished ... His melodies and his acoustic guitar work were so gentle and elegant that the depth to which his words cut the heart came as a surprise. " New York Observer

"A tremendous album." Huffington Post

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Shadowland: Music For Pilobolus

David Poe

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Shadowland: Music For Pilobolus

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Soundtrack to the award-winning dance piece by Pilobolus, on tour since 2009. Orchestral and electronic music and songs Not Enough Night, Like A Storm, New Friends, The Elephant, Mangez La Femme and JOY.

Shadowland must be seen to be believed. A short excerpt is here: http://youtu.be/QgvmlqqkofM

The dancers of Pilobolus often work behind huge,

Soundtrack to the award-winning dance piece by Pilobolus, on tour since 2009. Orchestral and electronic music and songs Not Enough Night, Like A Storm, New Friends, The Elephant, Mangez La Femme and JOY.

Shadowland must be seen to be believed. A short excerpt is here: http://youtu.be/QgvmlqqkofM

The dancers of Pilobolus often work behind huge, diaphanous screens of light. A collaboration between the company, Spongebob Squarepants writer Steven Banks and David, Shadowland tells a coming-of-age story about a girl who dreams of a bizarre world where the grass laughs, flowers are hungry and God turns young girls into dogs.

“A completely new show, Shadowland will become, without doubt, one of the more important theater events of the new season" said Absolute Madrid upon the show's premiere in Spain. They were right. Shadowland premiered to rave reviews in 2009 and has been on tour since, visiting every continent, garnering awards and performing for sold-out crowds, including a performance for Her Majesty Queen Elizabeth II featuring David's big pop song JOY that was broadcast worldwide.

The New Yorker: “In choreography, if you can’t be a genius, then you must be ingenious. Balanchine is a genius, Robbins is ingenious. Pilobolus Dance Theatre, I would have said a year ago, is simply ingenious. Now I’m not so sure that the gift of ingenuity isn’t capable of once in a while surpassing itself, so that we are shaken out of admiration into awe.”

Musically, this quick-moving piece exhausted David's proclivity for genre-jumping, and the project presented a natural opportunity for him to sing and write in a variety of voices, including a rare, full-throated performance on New Friends; a snarl on The Elephant; a faux-accented French on the bizarre "Mangez La Femme" that answers the long-standing question of how Maurice Chevalier would sound if he took psychotropic drugs, and JOY, one of David's most-downloaded songs, which features a vocal sample of his mom.

Shadowland represents the last of the unwieldy eclecticism that marked much of Poe's previous work -- a new approach to songwriting was beginning. This record was the way out, a celebration of tone, a clearing house for what was to come next.

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The Copier: Music For Cedar Lake Contemporary Ballet

David Poe

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"The dancers periodically sweep across the stage as one, just as the lights sweep overhead like the advancing bar of a copy machine," wrote The New York Times. "Both have a dehumanizing effect, but just as Mr. Poe injects pockets of hopeful longing into passages of insistent hubbub, Ms. Johnson finds ways to emphasize the lovely fragility of the

"The dancers periodically sweep across the stage as one, just as the lights sweep overhead like the advancing bar of a copy machine," wrote The New York Times. "Both have a dehumanizing effect, but just as Mr. Poe injects pockets of hopeful longing into passages of insistent hubbub, Ms. Johnson finds ways to emphasize the lovely fragility of the individual."

Music for piano, string quartet, brass and plastic, composed for New York City dance company Cedar Lake Contemporary Ballet's premiere work The Copier, choreographed by Jill Johnson.

This instrumental score begins with a rhythm created by a cantankerous computer printer, fills up with the sounds of New York and new Poe collaborator John "Scrapper" Sneider on trumpet, then ends on a solo piano piece, Clean Bird +1, that is among Poe's most evocative compositions.

In studios formerly occupied by photographer Annie Leibovitz, Cedar Lake Contemporary Ballet performed William Forsythe protege Jill Johnson's extraordinary dance piece under an enormous, moving bar of light while audiences walked around them -- an installation approach to performance that revolutionized the American dance world. The Copier premiered in New York in the magical summer of 2008 and was still being talked about in "Best Of" lists at year's end.

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Love Is Red

David Poe

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A live studio recording made in Berlin. Sim Cain, drums; John Abbey, bass. Features So Beautiful, Wilderness, Love Is Red.

For reasons never explained nor questioned, David's music proved more popular in Europe than in the US for some years. After the release of his second effort The Late Album, he toured relentlessly on his own and in support of

A live studio recording made in Berlin. Sim Cain, drums; John Abbey, bass. Features So Beautiful, Wilderness, Love Is Red.

For reasons never explained nor questioned, David's music proved more popular in Europe than in the US for some years. After the release of his second effort The Late Album, he toured relentlessly on his own and in support of Tori Amos, Beth Orton, The Jayhawks, Joan Baez, Chris Whitley, Glenn Tilbrook, Vanessa Carlton, Lloyd Cole, Golden Smog and many more.

So it was that the decision was made to record a live album. The trio of Poe, Cain and Abbey tended to kick the shit out of the songs in a way that studio recordings failed to capture.

When a European tour that was to be recorded for posterity didn't materialize, the band decamped to Berlin, set up in a heavy metal band's rehearsal space pocked with WWII-era bulletholes and played its current set into ancient microphones that had been liberated, around the time The Berlin Wall was falling, from an East Berlin radio station.

Caught between traditional conceits of the live album and David's insistence on recording some new material, these sessions didn't quite capture the arc of the band's typical live set, but they did render a few gems: Doxology and So Beautiful indicated more confidence in traditional song forms, re-workings of older work like Settlement proved what the songs could be, and the words of new work Love Is Red and Wilderness (the latter reinforced with incendiary performances by drummer Sim Cain and bassist John Abbey) showed that Poe had advanced as a lyricist: "if the trees are the lungs of the world, the city is her cigarette ... you are clean, quiet as snow, darker than a forest ... you are my wilderness."

Harp Magazine called Love Is Red "the make-out record of the year." The Washington Post said it was "like visiting a sex museum." The Village Voice christened David "the major domo of songwriters" and Time Out! New York called him "the perfect man."

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    Settlement (live)

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