JOHN K. SAMSON TO RELEASE NEW SOLO ALBUMPROVINCIAL 
Full Length Album From Weakerthans’ Frontman Out Jan 24th

John K. Samson, singer-songwriter for critically lauded indie rock band The Weakerthans, will release his first full length solo album, Provincial, thisJanuary 24th via Epitaph Records. The record contains newly recorded versions of songs from Samson’s previous two acclaimed EPs, “City Route 85” and “Provincial Road 222,” alongside a collection of beautifully evocative new tracks. Provincial is now available for pre-order at the Epitaph Store.

Provincial travels four routes woven into the prairie landscape of Manitoba, the Canadian province where Samson lives. It finds familiar landmarks and forgotten ones; it mines the precise and particular. For a video glimpse of Provincial’s prairie roadmap, go to: http://www.youtube.com/watch?v=RfqLrWMMPZ4

“Heart of the Continent,” describes the sense of loss and despair that haunts the former site of a Winnipeg landmark, set against a backdrop of lilting country folk. The melodic rocker “When I Write My Master’s Thesis,” details a young academic’s struggle to hold his life together as he tries to complete his research of a forgotten institution in tiny Ninette, Manitoba, while "www.ipetitions.com/petition/rivertonrifle/" is a song in the form of an online petition to honor the valiant hockey player Reggie “The Riverton Rifle” Leach.

They are hymns for the departed and rockers for the living, songs about dying villages, Icelandic longing, snowplows, broken glass, satellites, hockey skates, and staff room romances. In creating these sonic portraits, Samson talked to relatives, friends and strangers; he visited archives, a tuberculosis sanatorium turned RV Park and a forgotten cemetery. The resulting album contains 12 fierce, tuneful, vivid stories united by a deep sense of place.

The Weakerthans were born out of the Winnipeg-punk-scene. The group’s breakthrough album Reconstruction Site and its celebrated follow up Reunion Tour deftly merged a melodic punk with Bob Dylan-Ray Davies lyrical insights, earning a wider fan base and establishing Samson as a songwriter of immense talent. Paste Magazine wrote of Reunion Tour, “If such a prize existed, it would be the leading candidate for this year’s Punk Pulitzer.”

It's hard to find an entrance point into Damien Jurado's discography. You could start from the beginning, 1997's Waters Ave. S., but that record is filled with the sort of angsty, electric Pac NW indie-rock that is largely uncharacteristic of his catalogue as a whole. You could start with his first folk-leaning LP, 1999's Rehearsals for Departure, which has one of the best and most tender songs he's written, "Eyes For Windows", or 2002's comparatively upbeat I Break Chairs, but there's not much to make either stand out from the pack. If nothing else, Jurado has been oddly cursed by his own consistency.

Produced by the increasingly ubiquitous Richard Swift, Saint Bartlett, Jurado's ninth record is, finally, a striking departure. So much so that only the sound of his voice keeps you from thinking this could be the work of someone else. The change is noticeable right off the bat, announced by the lushly stringed baroque pop of "Cloudy Shoes", and it continues throughout, with meditations on 1950s girl-group balladry, thorny Neil Young-esque guitar rock, and cavernous chamber-pop.

Swift deserves a fair amount of credit for the reinvention that's on display here, and his ear for instrumentation does wonders for these songs. The woodblock percussion that backs "Arkansas" gives the tune a slight ramshackle bent, while Swift applies the perfect amount of guitar fuzz to turn "Wallingford" into a gentle stomper. Most impressively, the application of subtle space in "Kalama" lends a new gravitas to Jurado's voice, effectively making him bigger than his own sound.