Drugdealer filters melodic pop songs through a whimsical psych-folk filter and meanders in light spirit thru classic California harmonies. Contemplative instrumental seques and muted electronic overlays give way to Beach Boy sing-alongs and reality contortions.
It's a legit campfire classic.
Favorite track: Were You Saying Something?.
This kaleidoscopic album of retro influences, incredible guest stars like Weyes Blood and Ariel Pink, and atmospheric vibes makes "The End of Comedy" an underrated modern classic! Highly, highly recommended!
Favorite track: Sea of Nothing.
The End of Comedy is the debut album by Drugdealer, a new project conceived and conducted by Los Angeles artist Michael Collins (formerly of Run DMT, Salvia Plath) who guides a group of Angelenos through a whimsical world informed by Jean Baudrillard, social media perception, Sergio Leone’s spaghetti western vistas and Collins’ endless travels.
The End of Comedy is a collection of vignettes - lucid, lysergic and organic - featuring homespun explorations of Carol King-esque piano ballads, Bacharach-ian orchestration, the psych-folk of Ultimate Spinach and Hendrickson Road House and even New York City subway jazz, all pulled together by Collins’s deft AOR auteurship and keen sense of humour.
Throughout the record, Collins eschews the spotlight in favour of letting the ensemble shine. There are guest vocals from Ariel Pink (”Easy to Forget”), Danny James (“My Life)” and Natalie Mering of Weyes Blood, who brings Laurel Canyon balladry to the table on “Fictional Pictures.” Not to mention a bona de who’s who of Collins’ mates, including members of Regal Degal, Holy Shit!, Mild High Club, Mr. Twin Sister and pals from Mac DeMarco’s band.
All of these collaborators contribute essential bits and pieces that create the foundations of a beautiful, absurdist collection of songs that plays like a short lm in which Collins journeys far and wide, popping in to various abodes, embracing friends old and new and casting a spell on them and us in turn.
released September 9, 2016
All songs written by Michael Collins except "Easy To Forget" (co-written with Ariel Pink and Alexander Brettin), "Suddenly" (co-written with Natalie Mering), "The End of Comedy" (co-written with Charles Free) and "Theme For Alessandro" (co-written with Benjamin Brown.)
Natalie Mering: vocals on tracks 3, 8
Benjamin Brown: guitar on tracks 3,6, 7, 9
Joseph Mcmurrary: drums on tracks 3, 4, 7
Ariel Pink: vocals on track 4, bass on tracks 3, 4
Jackson Mcintosh: vocals, guitar and bass on track 2
Danny James: vocals on track 10
Izak Arida: bass on tracks 5, 8, 9
Alexander Brettin: guitar on tracks 2, 4
Brooks Kossover: flute on track 5
Eric Cardona: saxophone on track 3
Josh Da Costa: drums on track 9
Baasil Bluntstone: vocals on track 5, whistling on track 2
Mixed, edited and approved by Shags Chamberlain in Highland Park, Los Angeles.
Mastered by David Ives.
Artwork and design by Robert Beatty.
Recorded in many places: Leaving Records HQ in LA, the telegraph house in Oakland, Drones Club in Montreal, Ariel's house in LA, the Brown residence in Berkeley, Mac Demarco's house by the water in NY, the Glen cabin of Vancouver, the Copycat in Baltimore, Danny James's place in Oakland, Natalie's house in NY and more.
supported by 39 fans who also own “The End of Comedy”
I am setting Watching Him Fade Away because it ties the album up perfectly. Each track on the album is golden, evoking emotions about family that have come and gone through life. So much incredibly heavy sorrow, this album lightens the load with empathy, forgiveness and gratitude. 可愛梨
supported by 35 fans who also own “The End of Comedy”
Very relaxing, interesting tunes. I looked into these guys after listening to Sketches of Brunswick East, and was pleasantly surprised by this album. I can't say I find it too extraordinary, but it is still a good album I'll definitely listen to every once and awhile. It has some unique tricks up its sleeve, and I hope MHC's other music is just as innovative. BJC