Kramies

Photo by Ellie Nonemacher“It’s rare to find dream-pop that resolves with such assured optimism, in which you can sense experience shifting into its proper place… Kramies seems to have mastered the talent of simply breathing it into shape” – Misfit City

Dutch-American singer-songwriter Kramies has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens.

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Discography

 

Of All The Places Been & Everything The End


October 2018

Created in collaboration with Jason Lytle (Grandaddy), Todd Tobias (Guided by Voices) and Jerry Becker (Train), Kramies’ epic new EP, Of All The Places Been & Everything The End, transports the listener through an enchanted forest of the imagination. Profoundly coloured by Kramies’ time staying at an ancient castle in Ireland, the music is steeped in fables, myths and eerie reflections, resulting in his most vividly realised release to date.

A prog and folk-influenced mini opus akin to Mercury Rev’s classic Deserter’s Songs, the EP covers more ground across its 23-minute run-time than many albums double its length. Given it was the site of the music’s gestation, it’s fitting that the eight-minute epic ‘Ireland’ is the EP’s swaying centrepiece. Single ‘Everything The End’ is an enchanting, unearthly tale of time and loss, coloured by melancholic optimism. And ‘The Hill Dweller’ brings the EP to a goosebump-raising conclusion with its sleigh bells and strings, as Kramies intones, “Now I’m home…”

 

I Wished I Missed You (Single)


October 2017

In the spring of 2017, Kramies travelled to Shankill Castle, Ireland where he started writing new songs for an upcoming album. While writing, he created a selection of B-side songs alongside songs for a new album. A few of these B-sides were demoed in this historic castle while using simple equipment to capture the ancient environment. Kramies’ new single “I Wish I Missed You” is one of these songs.

Into The Sparks (Single)


May 2016

A duet with French singer-songwriter Alma Forrer, ‘Into The Sparks’ is a gorgeous anti-gravity ballad. Kramies and Alma’s voices reverberate amidst open acoustic guitar chords, backed by aching synths. The release also includes a stripped back acoustic version of the single.

forêts antiques


October 2015

Recorded live on April 8th 2015 at The Grand Théâtre in Angers, France

On a spring evening in 2015, the setting sun cast deep shadows over The Grand Théâtre in Angers, France, where Kramies was due to play to a sold-out crowd. As the 700 ticket-holders took to their seats and the theatre dimmed to a single amber light, Kramies walked on stage to perform his haunting, romantic songs. This is a recording of that night.

forêts antiques is the new live EP by singer-songwriter Kramies, featuring recordings of tracks from his acclaimed EPs, plus a previously unreleased song.

The Fate That Never Favored Us


March 2015

Ahead of his forthcoming French tour, dream-pop troubadour Kramies has dropped another gorgeous track produced by Jason Lytle (Grandaddy). ‘The Fate That Never Favored Us’ is a lilting, swaying cosmic waltz, delicately built around melancholy acoustic guitar and eerie synths, through which Kramies weaves his languid vocals. As with so much of his music, Kramies delivers soundtracks to moments rather than mere songs.

The Folklore Sessions


May 2014

The Folklore Sessions is the free new EP by dream-pop singer-songwriter Kramies, featuring acoustic versions of songs from his two acclaimed Hidden Shoal EPs The European and The Wooden Heart, plus the beautiful piano talents of Grant Wilson (from Syfy’s Ghost Hunters). While his previous EPs mined a wonderfully rich seam of atmospheric yet epic songcraft, The Folklore Sessions demonstrates that Kramies’ songwriting is just as stunning without the undeniable production talents of Jason Lytle (Grandaddy) and Todd Tobias (Guided By Voices, Robert Pollard, Circus Devils). With just his voice and acoustic guitar, plus languid piano backing by Grant Wilson (of Ghost Hunters TV show fame), these stripped-back versions of The European’s ‘Antiquarian Days’, The Wooden Heart’s title track and ‘Sea Otter Cottage’ are given vivid new life through Kramies’ genuinely affecting performances.

The Wooden Heart


October 2013

The Wooden Heart is the luscious and expansive new EP from Colorado-based dream-pop artist Kramies. The EP features the production and instrumental talents of Jason Lytle of Grandaddy fame, along with the inimitable production and additional instrumentation of Robert Pollard co-conspirator Todd Tobias. The Wooden Heart mines a wonderfully rich seam of atmospheric yet epic songcraft that Kramies has made his own. From the throbbing ambient introduction of ‘The Beginning’ through to the delicate folk of ‘The Ending’, Kramies’ new EP covers vast emotional and musical terrain during its 23-minute run-time. The title track’s windswept grandeur is married to an emotional directness that demands your attention and doesn’t let go, ‘Sea Otter Cottage’ sways and swoons with an almost unbearable poignancy, and ‘Clocks Were All Broken’ both alludes to and embodies this music’s timeless appeal. In addition to Todd Tobias’s production (on ‘The Beginning’, ‘The Wooden Heart’, ‘Upon The Northern Isles’ and ‘The Ending’), The Wooden Heart EP also features the production and instrumental talents of Jason Lytle of Grandaddy fame (on ‘Sea Otter Cottage’ and ‘Clocks Were All Broken’). Rounded out by the beautiful artwork of French photographer Jérôme Sevrette, The Wooden Heart EP is a lovingly constructed work of art.

The European


November 2011

Produced by Todd Tobias (Guided By Voices, Robert Pollard, Circus Devils), The European sets Kramies’ gorgeous voice and acoustic guitar within a glowing tableau, epic in scope yet delicate in detail. The EP fades into view with ‘Intro’, a simple cyclical pattern of guitar, piano and vocals gradually subsumed by drones and distortion. This leads into the majestic, glacial sway of the title track, guaranteed to make the hairs on the back of your neck stand on end. Then, ‘Inventors’ is the album’s dark, shadowy heart, a ballad of subtle intensity. Single ‘Coal Miners Executive Club’ is an emotionally resonant vortex of swooning pop built around an absolutely heartbreaking chord progression on synthesizer, carried skyward as layers and layers of instruments build and build. And the closing ‘Antiquarian Days’ is a fitting fade towards a sepia horizon, burbling loops and chiming guitars accompanying Kramies’ gentle lament.

Biography

Dutch-American singer-songwriter Kramies Windt began writing songs at the age of 14 after buying his first synth, acoustic guitar and four-track cassette recorder at an estate sale in his home town of Cleveland, Ohio. Even though he was never really exposed to any music other than old Dutch Christmas records his family had lying around when he was a kid, their haunting sound would shape the direction of his future songwriting.

Kramies started forming and playing in bands around the age of 16, and by the age of 19, the bands he formed became based around the songs he was writing. The bands took on many forms, playing the underground music scene from Ohio to Chicago. Come the late ’90s, Kramies developed his own sound, based around old-world imagery of cobblestone streets, old trains and castles, and romantic, poetic moments. Kramies and his band went on to open for Spiritualized, Grandaddy, Yo La Tengo, Calexico, Stereolab, Dirty Three and Red House Painters.

Come 2004, Kramies decided to focus on writing and recording in the studio, and began working with producer and engineer Todd Tobias (Guided By Voices, Robert Pollard) and guitarist David Paolucci. Working with Todd and David, Kramies released two albums to critical acclaim: Golden Like A New Thing (ACM, 2008) and Castle of Ghosts (ACM, 2010).

In 2010 Kramies began writing the songs for his first Hidden Shoal release, The European EP, in his coat closet in Colorado. The songs were demoed on four-track, painting a vivid sonic picture of the direction the release would take, drawing on the haunting old-world imagery he loved so much as a kid. The demos were sent to David Paolucci to start working on guitar parts in Ohio. Kramies then toured Ireland, playing really old pubs and small concert halls, which brought new ideas and layers to the songs. The European EP was recorded in June and July 2011 with Todd Tobias, with prominent, swirling guitar work from Dave Paolucci.

 

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Reviews

  • Kramies ‘Of All The Places Been’ Reviewed at Fuzzy Logic

    “There’s a bunch of videos out there. Some of them are good. Some of them are a cut above. I like to think my picks for Video of The Day are a cut (or two) above.

    The last day of the year is a heavy kind of day. It’s a time when many folks think of the entirety of the year, and think about regrets of both the last year and in general. It’s not all gloom, though, as December 31 also represents the start of the beginning. Disappointment mingles with expectation on the day the curtain falls on the year, and I think this Kramies song captures that unique interplay of live wire emotions to perfection. “Of All The Places Been” is a haunted, haunting crawl through memories and into the great unknown of things to come.

    The song’s video is sheer perfection, peppered with ghosts and representing the weighted memories of the song beautifully. Listening to this makes for a heck of a way to wrap up the year, not to mention kicking off the new year.”

    Fuzzy Logic

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  • Kramies “Of all the Places Been & Everything the End” Reviewed at A Decouvrir Absolument

    [Translated via Google. Read the original here.]

    “Note from the one who writes

    Kramies, do not be surprised at how I write or where my writings go, since the time, you know my vagaries and other meanders. My crazy head often goes on paths lost but has the gift of falling back on its paws (a salute to your cat), everything may seem fogged, but you know me, I do not know how to write the cold and the opaque materials, but if writing the invisible and the emotion of their lights, this criticism is not one, it is a journey in the hollow of your disc, others will weave more formal criticisms, applied, me, while listening to you I do not know how to fly.

    Prologue

    I use ink, I always use ink and paper with Kramies, as if I had to prepare a ritual, I never do it directly on the screen, no, I preserve the poetry of calligraphy, the scale of a page and even the sound of the pen on the sheet, I allow myself erasures, I allow myself the margins. A ritual, an intimate ritual between my words and me where the songs of the singer-singer play to upset the text, to animate the thought, something impossible on a keyboard (may be still a Pleyel), but flourishing, empirical, on the notebooks. I use ink, since it is dream material, to emerge multitudes of images, often I sleep my soul in a landscape that he paints, somewhere where he takes me, a wind flush with Irish soil, a golden ship of colonial empire, a wedding banquet, a journey of looks. I use the ink drawn from the veins, the most intimate of me, beyond flesh and bone, travel without time or earth, closed eyes and open visions. Kramies is an upside-down Charon, which takes you to the shore of births, which brings you back to life in all its truth, imagination and purity, the jubilation that was thought to be omitted, the thrill that it was thought smooth, eyes wide when they discover a passion. I use ink on several small blocks of notes, and everyone brings his magic on this magician, it is sometimes messy, the dream is it ordered?

    Intro

    I was listening to his record, when I fell asleep, awake, I was kidnapped years of me, pen in hand, one day in Paris, I was 36, I think, still fresh Fine Arts, I was taken hostage by an illumination, beauty. There are not always clear reasons for these errors produced by his ethereal music, I will logically find myself in a plain of the green Erin to name Celtic deities, both ocean and rock, whose shiny and pale beauty Irish people who were happy, although dark, would have made me fall in love with them, but in these melodies there is art without law, sensuousness without norms and rules, the free lightness of the mind, its malleability to flow from aKramies “” Reviewed at color has a sound, a flavor has a name, there is this magic of unreal, of dreamlike that only lands when it touches the bank of the heart, there is confinement in us, in our experiences, which progressively divide the surpluses and reach the matter of pleasure, like a fountain of youth in our emotions, a return to the moment when, without knowing it, we were dazzled. Strangely, I went somewhere else, almost the opposite, without knowing at the beginning why, but I also remember having sometimes had the image of the “Castle of the Pyrenees” of Magritte while listening to Simon And Garfunkel, this world is too much large to provide only one image per hymn.

    “Of all the places i’ve been & Everything the end”

    Room Italy, Denon Wing, first floor, room 711, (also named Room of the Mona Lisa) In August 2006, it is here that you just deposited me at the first chords, at the precise moment of the marvelous, at the dawn of your disk. There is a shaggy crowd chaotically aligned whose varying heights describe mountain ranges on the red ocher wall, the Japanese touch despite their traditions and phobias the bodies of Europeans, it is a mass of cameras and cameras. first laptops, the flashes make storms on the small surrounding frames. It is a golem of back, frozen of the look on the smile of the Gioconda, in a silence almost violent, inconvenient, who waltzes slowly, caught in a traffic jam of sheep, the blinkers fixed at the corners of the frame of the Mona which seems to each cliché more minute, this is the cruel reality, this pardonable stupidity to have eyes in this space for the cold enigma of commissures, I can probably put on this image thousands of songs of washed varieties , or even the white noise, a feedback. Kramies is elsewhere. I turn my back, in front of the work of Leonardo, is placed the immense and imposing “Wedding of Cana” of Veronese, shimmering, splashing, but that nobody looks, disdain of the Mona Lisa, stupidity of the world, me, I have just drowned in it, between the guests at the wedding, without being welcome or repudiated, just brought me Kramies. My soul is frozen on this hand that arises behind the shoulder of the flute player, in the shadow of the luthiers, in the middle of everything, in the shadow of the light of Christ, hand that breaks the whiteness of the tablecloth , who really has a body, which widens like a sun, that’s it, the moment Kramies, this little detail in the shadow that defines the world, these little strokes of brushes that alone, divert the Real to the dream, the transition to beautiful and loving dimensions, this is the beautiful reality, the one that has no definition. Kramies is the hypnotic detail, which attracts to us the impalpable happiness of infinite possibilities, the super power of all power. Kramies, it’s these five fingers apart from everything, without proper space or time, an almost unconscious detail that spells the world, that catches your eye and all that lives behind, a micro world where the possibilities are effect dominoes, soft borders, malleable like a childish legend, and all that surrounds each of these phalanxes is a universe as useless as it is unbelievable. At Kramies, I gave him the name of mage, troubadour, names of rivers and ether, I defined it as the intimate part of dreams and as the universality of dreams, I give him from now on the state solid of beauty, the gaseous state of art. It does not matter which sixty or so characters in the scene (though I’ll let the luthiers and this flutist to at least connect my fickle ideas about it), and most importantly, no matter the Mona Lisa, imports this crowd that unknowingly , adulating something else, is already part of his only presence of the songs of our singer, since each of those who will listen to this record will have a scene to tell, a story lived in another way, in the aura of Kramies, imports this hand, the unforgettable world where lives Kramies. It is the other side of the Mona Lisa, the hidden face of the idol, this grand, boundless Biblical painting as it feeds on dreams, it is the magnitude of a masterpiece as much as the detail of five fingers, in other words, the other universe, that of hidden, intimate poetry, inside us. The interior is a comfort zone that we color according to the need, nothing to us, this secret garden, this vital space of one, where we allow birth and non-existence by need of being well, the search for happiness, even if outside the clashes, here, inside, we pretend, but we smile (better than Mona Lisa, this said), we painted the walls as we like them, often transparent from within and opaque from the outside, it was furnished with our cradles and unmade beds, family tables, and a record player where our singer soothes our doubts of infinite possibilities, erasing the why with why not, here psalms, here hymns, here love letters. With each disc, it defies a little more the gravities and the matters, it offers impalpables armors and castles without fixed residences, natural medicines that one wants to believe, and too bad if it lies, one is well in, he distills alcohol from rattling and ropes to blind our realities, of course, but does not one need more and more unreal? Kramies is an invitation to shut your eyes, to give up weightlessness, to remove flesh and bones, to touch the very essence of us, this hand on the white tablecloth, the only importance that exists-resists, Kramies paints the soul, with a deep sound, with a volatile word, with a light yet powerful guitar, stunning our return to the true world, keeping us flying, above the wounds. Kramies is the detail of a rustle of leaves in the tree, there, close to this Irish castle where he has just found yet another breath on his guitar. He opens the doors of other universes, but remains impassive, the minute detail on his large canvas, a brown hand detached on the tablecloth of the wedding. Of course it will be necessary to speak about these songs, one to one, something that I leave to professionals better endowed than me, who will be to you to say that the slow rhythm is also rhythm of walk half-funereal, half bellicose, rhythm imposed by its guitars who bend their strings like a heartbeat, each time pushing a little more on the melody, that one feels the Irish patina for the cold in the depths, and then that it took a step further, side by Jason Lytle, to the pinnacle of dream-folk, or so many other labels for an artist who deserves them all and more, the clever use of keyboards in the background, fantastic and whimsical backgrounds, the voice technique of shaking sentences that reinforce the feeling of walking, me, I stayed on a detail, like this hand decades ago in Paris, a detail of weight, Kramies, simply, makes me believe in the divine, has the eternal youth, the dream on earth as in heaven, in my interior, art.

    Outro

    You see, Kramies, once again I wandered as one drifts, from Paris to Ireland, from a hand of a Veronese painting to a branch of an Irish castle, it’s so hard to stay real to your listening, it is so difficult to have your feet on the ground, we even take pleasure to return to our realities with your images, we feel invincible souls, I told you in private l love that propels your music, since love is pleasure, the step forward you make with each new sound gift, this diaphragmatic uprising that I discovered by discovering your sparks, and the happiness of freezing your soul with everything that moves. This hand of the “Marriage of Cana” had yet to do with you, but the magic is to know you everywhere, as a new emotion, without name yet, without legal definition, tell you that every little detail can lock up your magic, along with life, and this, my friend, is art.”

    A Decouvrir Absolument

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  • Kramies “Of All The Places Been & Everything The End” Reviewed at Americana UK

    “Since signing with Australian label Hidden Shoal Records, Colorado-based Kramies Windt has forged a critically, if not necessarily commercially successful career by drawing on his European (Dutch) background, adding this to his own Appalachian roots and teaming up with indie producer, Grandaddy’s Jason Lytle. The result is a unique blend of the new world and the traditional; the medieval hipster who, through the delicate spells he weaves, creates a mellow trip to a sonic netherworld.

    In the way of musicians of Kramiss’ artistic spirit, this much anticipated six track EP was conceived within the walls of an Irish castle. Creating the right mood is of course vital, and on his return Kramies, along with Lytle, Todd Tobias of Guided by Voices and Train’s Jerry Becker emerged with this enigmatic and ethereal soundtrack to a melancholy Middle Earth. At 23 minutes, “Of All The Places Been & Everything The End” seems longer than it is, but strangely, that works to its credit. It plays like a single nu-folk epic rather than a collection of separate tracks, almost unnoticeable as they blend into one another, like a mythical Pink Floyd. At the centre of the EP, introduced by the sound of crunching footprints on frosty gravel is the eight minute highlight ‘Ireland.’ The mix of dynamic production, acoustic and electronic instrumental work and Kraimiss’ powerful vocal conjures the atmosphere of another era, the storytelling the struggles of generations lost.

    ‘Of All The Places Been & Everything The End’ meanders through a representation of all that Kraimiss is as an artist, proving again that few can capture the essence of this particular brand of folk with this much grace.”

    - Americana UK

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  • Kramies “Of All The Places Been & Everything The End” Reviewed at Soul Kitchen

    [Translated via Google. Read the original here.]

    “There are EPs that overwhelm more than an album, Of All The Places Been & Everything The End of Kramies just released at Hidden Shoal is one of them. The friend Kramies opens his grimoire to the illuminated melodies that throw us intoxicating fate. He deserts his native Colorado to dream on the haunting Irish moor with six titles that smell of peat and whiskey. His hypnotic voice envelops and bewitches us as the mythical banshees would do . After a walk of 8’25 on Ireland , the heart of this magical album, comes a short piece on the piano, The writings echoing the little musical laundry of the new title of Jason Lytle , Color of Dirt which will appear on a disc, 3ingle with Little Wings and … Kramies to be released on November 16th . And as Christmas is coming soon, Kramies in collaboration with Jason Lytle ( Grandaddy ), Todd Tobias ( Guided by Voices ) and Jerry Becker ( Train ) offers us an exclusive dream video of The writings and his magical piano.”

    Soul Kitchen

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  • Kramies ‘The Hill Dweller’ Reviewed at Culture Collide

    “Embedded in all music is a sense of place, and we at Collide relish in creative endeavors that take this idea to new heights. One such artist is singer-songwriter Kramies, who decided to make an Irish castle home while recording his newest EP, Of All The Places Been & Everything The End. The result is a gorgeously cinematic collection of songs that pull directly from the vast landscapes and ancient stories of Ireland. The latest single “The Hill Dweller” feels like an extended coda, as was its original purpose. But deciding to make it a fully fledged tune brings something quite extraordinary to the EP’s ending. Arcing continuously upwards, the song is less the push and pull of the standard verse / chorus structure and more a story churning towards a crescendo. Employing lush string arrangements, horns and a myriad of found sounds, the tune is truly transporting.”

    Culture Collide

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  • Kramies “Of All the Places Been & Everything the End” Reviewed at The Grey Lantern

    “Denver based Dutch American singer-songwriter Kramies has released his new EP Of All the Places Been & Everything the End. Produced-by and featuring Jason Lytle of Grandaddy, Everything The End is an entrancing, romantic voyage of melancholic dreams. This journey begins with gothic organs and off kitter chords casting their eerie shadow, in The Woods, The Storm, The Tale. This short interlude bringing us into All The Places Been. Reverb heavy guitar and Kramies’ choral voice carry us through the 1:40 introduction which feels wonderfully compact. Before it breaks open to a dawn where dark clouds still linger.

    The eight minuite epic Ireland is the centrepeice this EP is built around. The writing process for these songs began while Kramies was residing in the grounds of an Irish castle. Returning home, he enlisted the help of producers Jason Lytle of Grandaddy, Todd Tobias (Guided by Voices) and Jerry Becker of Train.

    The Writings takes us on a bridge of piano and harpsichord to the folksy guitar of Everything The End. However Kramies sublime talent for changing the mood of his sound with the faintest of touches reminds you to look over your shoulder. This enchanting yet unearthly tale of time and loss is also one of optimistic imagination.

    Finally comig in from the cold with The Hill Dweller, Kramies declares himself at home and at peace as strings slowly build to reach a cinematic climax. This EP is a mini opus akin to Mercury Rev’s Deserter’s Songs and one that feels remarkably tight. Never drifting away into the self-indulgent. An impressive piece of work, this collection of songs is the perfect way to soundtrack the long winter nights.”

    The Grey Lantern

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  • Kramies ‘The Hill Dweller’ Reviewed at God is in the TV

    “The Dutch American singer-songwriter Kramies has been making dramatic dream-pop for ten years now and if ‘The Hill Dweller’ – the first single to be taken from his forthcoming EP, the enigmatically entitled Of All The Places Been & Everything The End – is to be our yardstick, then the Colorado-based musician is continuing in that grand tradition. Drenched in luxuriant strings and quietly understated horns, ‘The Hill Dweller’ is a gorgeous slice of orchestral yearning.

    Speaking about ‘The Hill Dweller’, Kramies says “It was the last song I wrote while staying in the castle (in Ireland). It was meant to be an ending to another song, a kind of hidden track that would connect the storyline of the EP. After sending just the acoustic and vocal tracks that I recorded in a farmhouse in Ireland to producer Jerry Becker of the band Train, I kind of just let it go. When Jerry sent the finished track back to me I was blown away. It had grown into its own setting and instantly became clear that this would be the final track to the new EP.” (SG)”

    God is in the TV

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  • Kramies ‘Everything The End’ Reviewed at Austin Town Hall

    “There are two big reasons to share this new track from Kramies. The first, is fairly easy, as Jason Lytle of Grandaddy worked on this song, so that sort of cements the important if Lytle believed in it enough to work on it. Second, I feel like I’ve really been missing a good quality sad-bastard folk songwriter since the passing of Nicholas John Talbot; I’ve been searching for something, something ethereal that helps you escape your everyday world. I think the care given to this track, from the way the vocals were recorded to the atmospheric touches that bring the song to life, helps establish that mood. This tune appears on Of All the Places Been & Everything the End, the new LP dropping on October 19th.”

    Austin Town Hall

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  • Kramies ‘The Hill Dweller’ Reviewed at Half-Life Music

    “After all the years that made him tired, Kramies is home. The Hill Dweller is a teaser for a new EP that’s out in October. It’s a brief, but beautiful invocation of place. A physical place. The Irish castle where much of the music was created. A place of the imagination. Ancient forests. Sacred wells. Fairy forts. And a place of healing too. “The cold that used to weather my bones is gone”. The Hill Dweller is just the taste of the dream folklore that Kramies conjures up so well. For the rest, we have to wait until October. But just in case you can’t last, there’s an exclusive interview with the man himself here.”

    Half-Life Music

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  • Kramies ‘The Hill Dweller’ Reviewed at Vents Magazine

    “While wandering through landscapes that have been deepened by antiquities and fables, American dream-pop troubadour Kramies spent time residing on the grounds of an ancient castle in Ireland. There, over the weeks and within the castle walls, Kramies started the writings of what would become his newest gathering of songs titled Of All The Places Been & Evening The End.
    Upon returning home, Kramies teamed up with producers Jason Lytle of Grandaddy, Todd Tobias of Guided by Voices and Jerry Becker of Train to create one of the most nostalgically powerful and emotional folklore journeys in his collection. Tipping the balance between eerie reflections and fairytale laden myths, Of All The Places Been & Everything The End finds you moving within a forest of imagination as the beautifully architected story ends leaving you enchanted and bewitched.
    A prog and folk-influenced mini opus akin to Mercury Rev’s classic Deserter’s Songs, the EP covers more ground across its 23-minute run-time than many albums double its length. Given it was the site of the music’s gestation, it’s fitting that the eight-minute epic “Ireland” is the EP’s swaying centrepiece. Single “Everything The End” is an enchanting, unearthly tale of time and loss, coloured by melancholic optimism. And “The Hill Dweller” brings the EP to a goosebump-raising conclusion with its sleigh bells and strings, as Kramies intones, “Now I’m home…””

    Vents Magazine

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Music Videos

Licensing

Kramies’ music is  available for licensing (master & sync cleared) through Hidden Shoal. Please contact us with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.

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