The band is described, along with Low and American Music Club, as one of the linchpins of the slowcore movement, a subgenre of Indie Rock characterized by downbeat melodies, slow tempos, and often minimalist arrangements. The genre was shaped by musical influences like Folk Rock, Contemporary Folk, and later on, Indie Folk, creating a subdued atmosphere that clashed against most of the comparatively brash Alternative Rock that was popular at the time. Kozelek used this group primarily as a vehicle for his very personal and emotional songs of despair, pain and suffering.
While in Atlanta, Kozelek became friends with Anthony Koutsos, a drummer. He then moved to San Francisco, adding guitarist Gorden Mack and bassist Jerry Vessel to complete the line-up for Red House Painters. After forming, the group played the San Francisco scene extensively, and recorded demos from 1989 to 1992, building up an impressive amount of material. Once they were signed to 4AD Records in 1992, they put out five-and-a-half LPs worth of material in two-and-a-half years--between September 1992 and March 1995, they released three LPs, one double LP, and one EP on 4AD.
Their first 4AD release was an album made up of select demos titled Down Colorful Hill. It was a compilation of haunting melodies complemented by Kozelek's eerie yet rich and emotional vocals. In 1993, the group came out with two self-titled records (now commonly referred to as "Red House Painters I" or "Rollercoaster" and "Red House Painters II" or "Bridge" (based on their cover artwork), solidifying Kozelek's reputation as a talented songwriter with their harrowing autobiographical tales of his troubled life and errant living with no punches being pulled. The music, which ran the gamut from beautiful acoustic folk-rock to intense, dissonant, lengthy soundscapes, effectively conveyed the sadness of the lyrics.
In 1994, they released an EP entitled Shock Me and in 1995, the introspective Ocean Beach, which saw Kozelek's songs becoming more acoustic-based and folk influenced, and featured far less of the lengthy, dreamlike epics of the group's first two albums. His lyrics also showed a considerable shift in tone, as he increasingly began to write about the power of memory and the significance of geography, a subject that would become an obsession in his subsequent recordings.
While Kozelek was beginning work on a solo project, he parted ways with 4AD Records after a somewhat tumultuous relationship. Entitled Songs for a Blue Guitar, which was released on Island Records subsidiary Supreme Recordings in 1996. It was more of a guitar-driven rock album that they released under the Red House Painters name to give the album more publicity. A year later, they came up with Old Ramon, arguably their most accessible, optimistic recording to date. However, major label mergers during the late 90's would leave them without a record label, and it wasn't until 2001 that they were able to release the album on Sub Pop.
Prior to the release of Old Ramon, Kozelek released a solo six-song EP entitled Rock 'n' Roll Singer in 2000. The record was comprised of three original acoustic compositions with minor full-band arrangements and three covers: two AC/DC covers from the Bon Scott era and one John Denver cover. Following the release of the first solo EP, Kozelek released his first solo album six months later. The record, entitled What's Next to the Moon, was released in January of 2001, but would greatly surprise fans. What's Next to the Moon was comprised entirely of shimmering, melancholy acoustic AC/DC covers from the Bon Scott era. The record was also greatly uncharacteristic of Kozelek (though he was prone to enjoy covering songs by his favorite artists) in that it is the shortest full length to date clocking in at just over thirty minutes. Even the first Red House Painters album with only six tracks was more than 45 minutes in length. Both solo albums were released by Badman Records.
4AD would release the best-of package, "Retrospective", on a double-disc in 1999. Kozelek subsequently organized and appeared on a John Denver tribute album, played a part in Cameron Crowe's film Almost Famous and also appeared as a rock musician in the Steve Martin vehicle Shopgirl. He contributed to both a benefit album for AIDS and an album of classic rock covers.
In 2003 Kozelek and Koutsos, along with Geoff Stanfield and Tim Mooney, reformed as Sun Kil Moon, releasing the acclaimed album Ghosts of the Great Highway on Jetset Records. In a 2005 interview with The Onion's AV Club, Kozelek confirmed that he considers Sun Kil Moon essentially the Red House Painters, but that he changed the band name to grab the interest of critics who had gotten bored with, or stopped paying attention to, the Painters. The move was successful, as Ghosts of the Great Highway would be his best-selling album yet, while garnering extremely positive reviews.
Evil
Red House Painters Lyrics
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Warm southern sun shines through
Station wagon windows like solar energy
And when in the night your brother turned to me
And said, "God, do you look evil in the dark?"
That made me feel good
Cold catholic church heaven in stained glass windows
Like rock candy and when on Sunday their daughter turned at me
And said, "Mom and dad, is it a boy or a girl?
Mom and dad, is it a he or a she?"
That made me feel good
The song "Evil" by Red House Painters tells the story of two separate incidents that evoke a sense of discomfort and unease, yet paradoxically bring about feelings of contentment and satisfaction in the singer. The first verse describes an experience in the warm southern sun, looking out of the windows of a station wagon, while traveling with a group of people. The singer is singled out by one individual who tells him he looks evil in the dark. This eerie comment apparently pleases the singer, suggesting that he takes on a darker, more menacing persona in the shadows.
The second verse recounts attending church in the midst of a Midwestern winter, surrounded by stained glass windows. The daughter of the family the singer is with asks her parents whether the new baby will be a boy or girl, and this again elicits a sense of pleasure, even though the topic of conversation is somewhat unsettling. The song appears to suggest that there is something cathartic and satisfying about these situations, despite how uncomfortable they may seem.
The meaning behind the song's lyrics is not entirely clear; however, it seems to be a reflection on the complex nature of human emotions and the ways in which certain experiences can bring about unexpected reactions. There is a sense of darkness and unease throughout the song, yet the singer seems to find comfort in these feelings.
Line by Line Meaning
Sad reminders of what seems years ago
Reflecting on past events that still elicit emotional pain
Warm southern sun shines through
Describing a picturesque scene
Station wagon windows like solar energy
Drawing a comparison between the car's windows and a renewable energy source
And when in the night your brother turned to me
Recalling a specific moment with the artist's partner's brother
And said, "God, do you look evil in the dark?"
Recounting an unsettling statement made by the brother
That made me feel good
Contrasting the singer's positive emotional response to the brother's comment
Sad reminders of mid-west winter snow
Another memory of a cold and unpleasant time
Cold catholic church heaven in stained glass windows
Imagery of a church's stained glass windows
Like rock candy and when on Sunday their daughter turned at me
A simile is used to describe the daughter's action
And said, "Mom and dad, is it a boy or a girl?
Quoting the daughter's question
Mom and dad, is it a he or a she?"
Continuing the daughter's inquiry
That made me feel good
Again, the artist's response to the situation is unexpected
Lyrics © Kobalt Music Publishing Ltd.
Written by: Mark Edward Kozelek
Lyrics Licensed & Provided by LyricFind