The Deer

Ben Franklin’s adage, “Early to bed and early to rise, makes a man healthy, wealthy, and wise,” has little credence for the artist who stays up late and sleeps in later, tempting moonlit moments of inspiration. “Into the night I’m staying/ It’s getting later, later/ I wake up on the farm / And I get made fun of,” sings Grace Park, the hummingbird-voiced songwriter behind local indie folk herd the Deer, on “Up Into Roses.”

Park lives, works, and creates at Thigh High Gardens, a 28-acre permaculture farm outside of San Marcos. The night owl can be found hooting in her home studio until the wee hours, then – in very un-farmer-like fashion – sleeping into the afternoon. Those nocturnal experiences served as inspiration for “Up Into Roses,” a standout track on the Deer’s new album, Tempest & Rapture.

“Staying awake and waking up hours later than the rest of the household is pretty alienating, and [“Up Into Roses”] discusses the seasonal affection of this broken circadian rhythm,” offers Park. “The farm workers and my husband think it’s real funny when I wake up at 1 or 2pm because I was up until 6am the night before.”

Feeling the tilt of planet Earth, Park spins those lonely feelings into a serenade of the seasons:

“Wintertime tells me lies/ Shows up then passes by/ Before I know it’s rounding summertime/ Enter the rite of spring/ Stripped down to stocking feet/ Tied to a fledgling tree and set alight.”

“Up Into Roses” blooms on the Deer’s brand-new third album, which bassist Jesse Dalton describes as the “soundtrack for doing the dishes after your brother’s and sister’s mass ascension.” Throughout the LP, Park, who fronted contemporary folk trio the Blue Hit before forming the Deer in 2012, sings her calls of the wild with melodic latitude reminiscent of Regina Spektor. Musically, the Austin quintet continues to evolve, fertilizing their earthy folk with elements of chamber music, psychedelic surf, and dream pop.

As spring runs into summer, the Deer will be in the headlights, touring nationally on Tempest & Rapture. On Thursday, they appear at the Kerrville Folk Festival’s mainstage alongside Matt the Electrician and Jimmy LaFave. Locally, their next stop is South Austin hangout Radio Coffee & Beer on June 11, where they’ll welcome a surprise sixth member you won’t want to miss. - The Austin Chronicle

This week’s Monday exclusive is once more an entire album, as Austin folk/dream-pop combo The Deer unveil their third full-length

Are you sitting comfortably? Good, because this week’s Monday exclusive is a full album and with 17 tracks, you could be there a while! So, without further prevarication or preamble, allow us to present Tempest & Rapture, the third long-player from Austin, Texas-based five-piece The Deer.

The Deer, who describe themselves as a “psych-folk surf-dream” band, came into being in 2012 when singer Grace Park was recording some of her solo work. She and Jesse Dalton (upright bass), Michael McLeod (guitar) and Alan Eckert (drums, vocals) evidently got along so well in the studio that they decided to make it a full-time partnership, and Grace Park & The Deer were born. They released their debut album An Argument For Observation under that name in 2013, before shortening it to simply The Deer for their second album, On The Essence Of The Indomitable Spirit, in 2015.

Now, having added a fifth member in the shape of Noah Jeffries on fiddle, mandolin and guitar, they’re ready to release Tempest & Rapture, of which they tell us: “Our most mature and collaborative effort yet, Tempest & Rapture solidifies the organic essence of who we are as songwriters and, collectively, as players. This new album both exemplifies and attests to the cohesive qualities of our musical chemistry, which can only be born out of a decade-plus long friendship filled with creative endeavours, tragedy, and endless artistic and cosmic exploration.”

You can hear the album below. We’d say it’s the folk (and indeed country) influences that come to the fore this time out, but you of course can make your own mind up… - Songwriting Magazine

The Deer, “Tempest & Rapture.” Initially assembled as a backing crew for sweet-toned singer Grace Park — their initial gigs had her name out front — this foursome featuring multi-instrumentalist Jesse Dalton, guitarist/producer Michael McLeod and drummer/keyboardist Alan Eckert is making music that stands out starkly amid the crowded Austin indie landscape. It’s telling that the band’s attempts at self-definition involve mishmash phrases such as “psych-folk surf-dream,” given that their collaborative family tree overlaps with the progressive bluegrass of MilkDrive, the electronica spells of Bayonne and the film soundscapes of Richard Linklater. “Tempest & Rapture” doubles down on their impressive 2014 album “On the Essence of the Indomitable,” marrying melodic-pop instincts to inventive arrangements and rhythms. The resulting songs go down easy even when the music is complicated. With 17 tracks that add up to nearly an hour, there’s a lot to explore here, and it’s consistently refreshing. - Austin American Statesman

Austin band, The Deer, is not-so-quietly making moves. Coming off of a great performance at Old Settler's Music Festival this past April, and having recently opened for Wild Child at Stubb's Waller Creek Amphitheater in November 2015, the band is rapidly propelling themselves into a new category on the local music scene. Recently, we had the chance to sit down with the band to discuss music, side projects, and what goes on behind the scenes. Grace (lead singer, keys, guitar) and Jesse (bass) both have the demeanor of genuine music appreciators. They are students of art, and you can see immediately that they are truly in it for the love of the craft of making music. The band talks about songwriting with a depth of appreciation and humility, praising earlier generations of musicians like The Grateful Dead in the same breath as contemporary giants like Sufjan Stevens and Fleet Foxes. And they are incredibly enthusiastic for their fellow local musicians whom they love, including Roger Sellers (Bayonne) and Wood & Wire, to name just a couple. Their attitude and appreciation are infectious. Though the members of the band grew up worlds apart — e.g. San Diego (Jesse) and Texas (Grace) — they had an active musical experience as part of their coming of age. Their parents and older siblings introduced them to a love of listening to records. And for the most part each began playing various instruments over 20 years ago. It's no accident that they are hitting their stride as musicians. We talked about what it takes to keep a band like The Deer alive in Austin. Grace pays the bills as a multimedia visual artist (her stuff is excellent) and handles at least three roles for The Deer — songwriting, singing, media, art design, posters. Jesse is a full-time musician playing up to seven nights a week in one form or another. He organizes the Monday night rotating bluegrass quartet at Radio Coffee and Beer down south on Manchaca Rd and regularly makes an appearance in the Wednesday bluegrass night at Tantra Coffee House in San Marcos. He has a similar jack-of-many-trades role with The Deer — booking, songwriting, composition, engineering, mixing, whatever it takes. These folks have more in common with entrepreneurs than they do with "starving artists." All the hard work and commitment is paying off. And The Deer are executing an intentional vision for the band. Growing slowly and building momentum, earning love and appreciation one fan at a time. The Deer celebrate the release of their third album, Tempest & Rapture, this Saturday night at The Parish. The double concept album blends an A side of straight-ahead folk and Americana (Tempest) with a B side of more experimental psychedelic sounds (Rapture), "two wings of the same bird," as lead singer Grace Park puts it. Look for an album review of Tempest and Rapture next week on The Sound Floor.

Here is a single from the forthcoming record, "Do Return." Described by the band as "an ornately layered, post-apocalyptic exploration of expression," the song is set to an original stop-motion film created by Park. - The Sound Floor

KUTX Artist of the Month

It’s a new month, which means it’s time for a new Artist Of the Month here at KUTX, and this month it’s The Deer, who are about to release their new album, On The Essence of the Indomitable Spirit. The title might be a mouthful, but the album is full of smart, concise pop/folk/rock that goes down easy – surprising for an album born from tragedy.

After her former band the Blue Hit disbanded, singer/songwriter Grace Park got together with three fellow students at Texas State’s School of Music (joined later by another from North Texas University) to record an album of her songs titled An Argument for Observation, released in 2011. They called themselves Grace Park & The Deer, and joining them on background vocals in the studio and on tour was Grace’s longtime friend Stephanie Bledsoe. Being together on the road bonded them like never before, so they were all grief-stricken when Stephanie lost her life to a farm accident in 2013. She was just 27.

Stunned, and not knowing where else to turn, they found new comfort in playing music, and composing and arranging more collectively. The end result was such a different animal that they gave it a new name; The Deer was born. While haunted by the loss of their friend, the band’s exact musicianship, Grace’s rich voice, their meticulous arrangements and a hopeful spirit also buoy Spirit’s sessions. Grace calls it the most “personally-invested project we’ve ever taken on”.

You can catch The Deer live on KUTX (and in person by signing up here to be the audience) in a special nighttime Studio 1A appearance on Wednesday 12/10, and archived on kutx.org after it takes place. Grace will also take over the airwaves on My KUTX, Saturday 12/20 at 6pm.


Check back here throughout the month of December for new features on The Deer and their new album On the Essence of Indomitable Spirit


Wednesday 12/3 Song of the Day “Farther”

“Farther” is a subtle, calming track from The Deer’s upcoming EP. The folk group’s sonics ebb and flow smoothly here, and it essential for any winter night.

Wednesday 12/10 8 p.m. KUTX After Hours (audience/extended session) in Studio 1A with THE DEER
Studio 1A is proud to host The Deer live in front of a studio audience. They will be performing and extended session for us, and you will find that recording right here.
Saturday 12/20 6 p.m. My KUTX guest DJ
My KUTX allows artists to share their musical influences by playing you some of their favorite songs. Check back here on Saturday 12/20 for a mix from The Deer! - KUTX 98.9

#2 The Deer

The Deer are an outstanding new folk outfit fronted by Grace Park, whose quiet soulfulness commands each song like the breeze guiding a galleon from one coast to the next.

There is nothing louder than it's softness. There is nothing more energizing than it's poise. See this band and feel the sea change within you. - Sonic Vault Austin

We’re going to talk about folk music and we’re going to talk about Art Outside. When most people hear about the festival, the first thing that comes to mind is typically the bass freak community that spends three straight days under the Dome Stage with the internal mantra beating “EAT SLEEP RAVE REPEAT.” Don’t get me wrong though, I enjoyed the curation that Art Outside put together this year. I’m particular about the EDM that I enjoy and am typically wary of anyone who introduces themselves as a DJ. We get it – you bought a MacBook and you watched some YouTube videos about how to use Ableton. But while the dome was four on the floor for hours on end, there existed another stage in the beautiful Apache Pass setting where the instrumentation was lighter, the sound less brain-rattling, and the lyrics poetic and witty. It was the folk-stage, conveniently placed next to the waffle and kombucha vendors.

The stage was adorned with beautiful and intricate wood carved lamps, soft glowing and pleasant to the eye. It became my refuge for the weekend. I should preface this by saying I didn’t spend my entire weekend at the folk stage. There was much to enjoy across the festival so I did. I did everything I possibly could. There was fantastic art everywhere, delicious food to be eaten, and all kinds of trouble to get into. I even suffered a minor concussion after an idiot in a furry costume climbed an inflatable human-ball, and decided it was a good idea to roll over the crowd at the Nahko and Medicine for the People show from behind. If you’re reading this, you should count your fucking stars that you side-swiped a grown man and not one of the five little kids within arm’s length of me, you thoughtless shit-pickle. I even pooped in a cup in the woods at 6:00 AM, but we’re not going to talk about that right now. We have folk-music to discuss. Also before I forget, thank you to the wonderful medics at the first aid tent. You guys were amazing.
Art Outside
Some of the really great acts from the folk stage were Sea At Last, and Sea Stars. Just as your brain just did whilst reading that last sentence, I also noticed that the word sea is present in both band names. I don’t believe in coincidence though, so let’s just chock it up to something neat and mysterious. Sea At Last delivered a powerful performance given such sparse instrumentation with complex drum compositions to match a tinny hollow body electric guitar. Even though the songs were pretty rock and roll at times, the vibe was still relaxed and the audience cheered with sincerity after each song rang out its last note. I also have mad respect for anyone who can successfully sing while playing the drums. Well done. Sea Stars played beautiful songs and were versatile in their song writing. Sea Stars impressed me in their ability to create atmosphere. Their songs traverse genre and do so quite tastefully. I also ran into the group in a vendor’s tent and they were some of the nicest musicians I’ve met to-date. I sincerely hope to see them in their native Seattle soon to see what the home crowd is like.

Of course all the acts were great, but the aforementioned folks really highlighted the stage beautifully and led to what I consider to be the most powerful performance of the festival when The Deer (formerly Grace Park and The Deer) took the stage and blew the crowd away. There were attendees stretched back far beyond the confines of the stage just to hear the crisp tones of Grace’s voice and the tastefully orchestrated music that carried melody and poetry across a surprisingly sonic landscape considering how simple their stage setup was. When they played a song dedicated to a bandmate who had passed into the great beyond in a tragic accident recently, they brought the crowd to literal tears. I haven’t been that moved by a performance in years and I was completely sober from beginning to end.

Overall, the folk presence was a perfect fit for the festival because it often served as a refuge from the more intense partying taking place elsewhere on the festival grounds. It was quieter at the Folk It Up stage, shaded by old trees with colorful and soft rugs to sit on rather than dust and dirt. I thought about that for a while – folk being the refuge for the tired and weary souled – and I was impressed with how beautifully that truth manifested in the weird microcosm of such a unique little festival. Truthfully, the environment itself plays such a huge part of Art Outside’s success. It’s not commercially fabricated. Most of it is hand made and assembled. And that’s what distinguishes Art Outside from everything else. It’s something that the Art Seen Alliance takes seriously and something I hope they feel proud of.
Art Outside
If you’ve never been to Art Outside, there are a few important points to keep in mind:

It’s not ACL nor should it ever be like ACL.
It’s not Bonaroo nor should it ever be like Bonaroo.
It’s not just a music festival. It’s full of interactive workshops, art installations, vendors of every sort, performance art, and general tomfoolery.
It is a beautiful place and is generally full of very kind and wonderful people. If you’re one of those people who make festivals a shitty time because all you care about is getting fucked up and putting another festy wrist-band on your stupid arm, don’t come. Nobody else will say it once you’re there so I’ll just say it now. Stay home and start prepping for Coachella next year, you dick.
There’s nothing negative to say about the festival at all, but only a sincere wish that they sort out a better port-a-potty situation soon. However, I do have mixed emotions about the future of Art Outside. It’s the kind of festival that keeps all of its prices low because it is so adored by its followers, which means it probably doesn’t make a ton of money. I worry about it because at some point somebody may decide that it needs to make more money, which inevitably means it will turn into a mud puddle of molly high twenty year olds who just couldn’t wait to see Phish play because they can’t stand their studio albums. These are the kinds of festival goers who love Skrillex, but don’t know or care who Elisha Gray is. But by the same token,I also love the idea of Art Outside getting a bit more funding so they can continue to bring in incredible performance acts and really establish themselves as a Texas festival that disproves the rest of the world’s assumptions about our state. Texas could use a better reputation and certainly deserves to have its positive qualities recognized.
Art Outside

Each person I chatted with who had been attending Art Outside since its inception had nothing but glowing reviews about how each year the festival learned from its prior experience and grew the weekend into a magical escape from reality. It is my sincerest hope that such a pattern continues. It speaks volumes about anything that creates loyal fans. Consider how Apple’s design and technology has changed the world. Consider how the World Cup momentarily brings nations together. Art Outside is a special event and a fine example in a world that desperately needs more environments in which art can be a dominant presence over advertising. May the odds be ever in your favor, Art Outside, and please continue growing your folk stage. I hate to be that guy, but I honestly can’t wait for next year.

Michael R. Walker hales from the flatlands of a wind-bleached Amarillo, TX. After departing this desolate place, traveling the world, and surviving a bout with amoebic dysentery he matriculated at Texas State University, obtaining approximately 2 degrees – respectively in Archaeological Iconography and Creative Writing. He loves bluegrass, whiskey, and would gladly sacrifice his friendship with you for a desperate love-spiral of pizza consumption. Michael currently works as a freelance web designer, plays guitar for the Austin band Ghostbunny, is a contributing author for Ovrld, and a poet/essayist for Velvet Dust Magazine. - Michael Walker, "Shows We Went To" on OVRLD

We love that Grace Park & The Deer came in last Tuesday! Grace Park, formerly Grace Rowland, is best known for her work with Austin band, The Blue Hit. In early 2012, Grace formed Grace Park & The Deer as an outlet for her original material. The band includes guitarist-sound engineer, Michael McLeod (Good Field), drummer and singer, Alan Eckert (Dimitri’s Ascent), bassist and singer, Jesse Dalton (Green Mountain Grass), and singer, Stephanie Bledsoe. The group call themselves stargaze/psych-folk and we’ve got to admit the haunting vocal harmonies and electric guitar give their sound a transcendental quality. Their self-produced debut album, An Argument For Observation features over twenty singers and musicians and is available for digital download or hard copy purchase now! The band will be playing Austin’s Swan Dive with Dana Falconberry and Jack Wilson February 14 at 9 p.m. Listen to their performance with us from Tuesday! - KUTX 98.9 Austin, Texas

Grace Park & The Deer – An Argument For Observation (Grey Spark Records)

Grace Park formed The Deer in early 2012 with lead guitarist Michael McLeod (Good Field, Richard Linklater film composer), Jesse Dalton (Green Mountain Grass) on upright bass, and Alan Eckert (Dimitri’s Ascent) on drums and backup vocals. Their debut album was recorded in McLeod’s home studio with over 20 musicians and a dozen singers all making contributions. With so much going on, “An Argument For Observation” could have sounded unfocussed and over-cooked, but, in fact, the opposite is true. It’s delicate and wispy, and ethereally beautiful, in much the same way Joanna Newsom records are.

The Texas group spent over a year on their debut, and the attention to detail is evident throughout its ten tracks. Produced by Park, she obviously knew exactly how she wanted her songs to sound, and I suspect she’s overjoyed with the results. There’s no hint of compromise, from the double tracked vocals and violin on opening track “All the Leaping”, to the stunning unaccompanied harmonies on the concluding “No Code”. In-between “Mary Sue” reels us in with a delightful vocal hook, “Army Ants” utilizes magnificent strings, and contrasts perfectly with Park’s confident delivery and “As Women Go” introduces a graceful piano and weathered guitar, and together they take the record in a rootsy Kate Bush direction. Faultless.
www.thedeer.org
www.graceparkandthedeer.bandcamp.com
Grace Park & The Deer CD Baby Page
Phil S. - Leicester Bangs

About upcoming album. - BobcatFans Magazine

From a Gorillamanse house show (http://gorillamanse.blogspot.com/) featuring Grace Park and The Deer on 4/18/2012. - KUT's Austin Music Map