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1.
Come to my table, Elijah, Elijah, dine with me, and if you'd let me... I'd sing for you. Come to my table, Elijah, Elijah, before you go, into a whirlwind, a chariot, of fire. And take it easy driving, the life you save may be mine, take it easy driving, the life you save might be mine... Come to my table, Elijah, Elijah, dine with me, and if you'd let me... I'd dance for you. Come to my table, Elijah, Elijah, before you go, into a sandstorm, a chariot, of fire.
2.
Midas Hands 04:02
And there he goes, revolutionizing the world even before breakfast, his head explodes! Scratching his neck, he impulsively writes down... Edison aspired to be Jesus, oh, Edison thought he was Jesus! Meticulous isolation, doors closed shut, and windows barred, gates locked. Mind and soul in his creation, no disruptive intervention, discretion. How can one address the contrast between spirituality and scientific development, without sounding even a bit cliche, try to convince me, I might choose to believe you! Edison aspired to be Jesus, oh, Edison thought he was Jesus! But why must ev'rything I touch die?! I suppose a man of steel can't afford to feel! Revolutionizing the world even before breakfast! Edison aspired to be Jesus, oh, Edison thought he was Jesus!
3.
Words 03:15
Woke to a smell of a fire, from my garden, it's probably just another kid, unfortunately prone to sin, I hate when they do that, it's hurting my flowers, wish they'd stop! Words, like drizzling dew drops, hastily imbibed, and swayed astray, it's all superficial, anyway, oh, so inveigh, and thoughts portray Words are a form of weaponry, use too many and you'll be in harm's way, so wisely compose your verses for He... Trying to experience ev'rything, trying to have a taste of it all, the well that never fills, to the top, hmm... All we do, is talk too much, too fast, and all that does is provoke the flames! Seeding, harvesting, seeding, harvesting, seeding, harvesting, seeding.
4.
In Cobwebs 03:31
Bare me children, spider wife, consume me later... Bare my children, spider wife... You're only fueled by the thrill of the chase, but you're wearing yourself out, you suave, slick-tongued leg ace, you're just revolving around yourself, aimless, hurt, defaced and encased, you unfortunate soul, you're nothing but a man, carrying your wandering legs to outdistance, with slight arrogance and persistence, adequate yet nonchalant, a thought which sets a tone, a thought which sets a path.... But you can't marry an entity, even if it says it'll love you forever, lest that might not be suffice for me, leaving me hung on a thread, with a sneeze and a cough that you just can't shake off! Bare me children, spider wife, consume me later...
5.
Once I was Cleopatra, let a serpent in my bed, yet in the morning I was surprised to find, the treacherous creature had bitten my side, why don't we learn? They're tearing down the buildings and the monuments, ah, my heart sinks! Intervene, interfere, as you used to! And in the evening, just as the sun sets down, in the west, beyond the waters, we've no light, with no light, to shine on the ruins of our shrine... I need some form of divine guidance, or some kind of assistance!
6.
Hold out your hands, 'twards the flickering candlelight, lips bear prayers, hush now. One day our light will shine out from the window pane. In the city centre, there are mothers looking for abducted children, by the fountain. One day our light will shine out from the window pane... One day these candles will be fixed in place at our window moulding!
7.
Intermission 00:46
If you flip this side, we might sing you something special, something you'd like. Russian folk songs maybe, that's just a hint, just flip, don't ask me, more songs are on the way, they weren't all written in one day... If you flip this side, we might sing you something special...
8.
Is this what hell looks like, it's worse than I've been told, and standing at the gates of the prison, I smell death, behold! Behold! Behold! And hold on, to your hearts. I wish it would be war again, just to remember the sensation that I felt then, though it's been so long... hmm... Cavalry men, and trenches, and trenches, fall back and fight, Virginia! Horse-back warriors, north, south, north, south, and fight! Oh, oh! Behold! Behold! Behold! And hold on...
9.
Woke to a smell of a fire, from my garden, it's probably just another kid, toying with a magnifying glass, I hate when they do that, it's hurting my flowers, wish they'd stop!
10.
He doesn't care how I wear my hair, or the length of my nails. 'Tis but a child's heart, I wear on my sleeve, like a child I believe. When you marry, I'll see you off, you're no longer a child, you're a wife. Maintain, sustain me, with your warm embrace, under your wing. And her hair was like a fence of barbed wire, or a knot of stringed thorns with the hurt of desire, and I rush my branch against this field of fire, it is stung, and it's torn, but the bird was just observing, she wanted to see if a lesson he's learning, so the bird hadn't flown down at the sound of his yearning! In the end I'll be like the rest of them, I would twist and break, be chained and partake, partake, the sky would open and the ground would break, my alliance with My Shepherd they'd attempt to take, tempt a heart devout and valiant, with jewels and what not, but I'm insipid, my alliance with My Shepherd they'd attempt to take.
11.
The physician rushed towards the fire! scent of fuel in the air, he covers his face with his shirt! "It's a second Titanic", they said, "the Titanic of the sky!" Gotta hold it in, gotta keep it together, Gotta hold it in, gotta keep it together! The physician rushed towards the fire, scent of fuel in the air.
12.
Microcosm 03:45
On top a pile of dirty clothes, you sat and shaved your head, and days on end, just kept thinking how you would have changed what you've said, or how you would have changed the world. And while in meditation, I am small and insignificant, elope, stray from your flock, a liberty stalk, but when your heartstrings tear, I want you to come find me. You see right through me, guess there's nothing to see, and you'll never know who I am, just pass by me, this was the most unkindest cut of all. Every move needs deliberation, instead of chasing time away, living day by day, splay, splay your wild and fey, and when you're done playing games, I hope that you come find me. You see right through me, guess there's nothing to see, and you'll never know who I am, and pass by me, and this was the most unkindest cut of all! He waits for nothing and no one in particular, he just likes the scent of freshly-mown grass, and lays down in the backyard.
13.
Police, at the door, knock, knock, knock, pummeling, where is the painting? Usually, we say, "good morning" before we come unannounced to someone's home, and accuse him of theft of some sort! A pastoral painting has been stolen, and forged, we've reason to believe it's here, in your possession. Consumption of big titles and caffeine, yearning to be a libertine, now I'm sated. 'Tis the perfect crime, I must be precise with time, ev'ryone needs a little taste of blood, sometimes, ev'rything will be alright... Now I'm done, I want to go home, I've got to get away, truly, I hope... ev'rything will turn out alright, in the end..

about

Two days after the release of their debut album, Daniel and Sara began to write another one.
Unlike their debut, which was written and recorded in three months, the duo decided to take their time with the second one - to enrich the compositions with more intricate chord progressions, time signatures and arrangements. The album eventually took about ten months to write and five months to record.
Even from the initial steps of composition, the songs on the new album sounded very different from those on their previous record.
The natural development, stemming from both Daniel and Sara's interest in new musical elements and the will to progress from their debut, brought to the blend more sounds. Due to that, the songs are actually shorter in length, in order for them to contain many elements and textures, yet not over-staying their welcome.
Besides the evident musical advancements, there is also a different direction lyrically. The duo concern themselves with darker-themed material, but allow themselves to be humourist at times.

credits

released July 30, 2017

Album cover directed by Daniel Goldstein, Keren Slomowits and Sara Umansky.
Photography, fonts and drawings by Keren Slomowits.


Engineering by Daniel Goldstein and Sara Umansky.

Produced and mixed by Daniel Goldstein and Sara Umansky.
Mastered by Daniel Goldstein.

The album was recorded, mixed and mastered at Daniel's house, January 21, 2017 - July 30, 2017.

The album was recorded @ 442Hz.


All lyrics were written by Daniel Goldstein, except:
12. "Microcosm" - written by Daniel Goldstein, Shahar Shem-Tov and Sara Umansky.
13. "Brief Excursions" - written by Daniel Goldstein and Sara Umansky.

All music was composed by Daniel Goldstein, except:
1. "Let the Prophet In" - composed by Daniel Goldstein and Sara Umansky.
3. "Words" - composed by Daniel Goldstein and Sara Umansky.
5. "Which Way to Mecca?" - composed by Daniel Goldstein and Sara Umansky.
12. "Microcosm" - composed by Daniel Goldstein and Sara Umansky.
13. "Brief Excursions" - composed by Daniel Goldstein and Sara Umansky.

All orchestral parts were arranged by Daniel Goldstein, expect:
3. "Words" - arrangement by Daniel Goldstein and Sara Umansky.
12. "Microcosm" - arrangement by Daniel Goldstein and Sara Umansky.

The orchestra was conducted by Daniel Goldstein.


Personnel:

Daniel Goldstein - Classical guitar (on tracks 1-8, 10-13), Lead vocals (on tracks 1-8, 10-13), Percussion (on tracks 2, 3, 4-8, 10-13), Harmony and backing vocals (on tracks 1-5, 7, 8, 11-13), Electric bass (on tracks 2-4, 6-8, 10-12), Triangle (on tracks 2-4, 10-13), Timpani (on tracks 4, 6, 8, 11, 13), Glockenspiel (on track 4), Cello (on track 5), Lap steel guitar (on track 8), Electric guitar (on track 11)

Sara Umansky - Viola (on all tracks), Violin (on tracks 1, 3, 4, 6-13), Lead vocals (on tracks 2, 4-7, 9, 10, 12, 13), Percussion (on tracks 2, 3, 5, 6, 8, 10-13), Harmony and backing vocals (on tracks 3, 5, 10-13), Classical guitar (on track 12), Electric bass (on track 13)

The Samuel Barbershop Chamber Orchestra:

Ayelet Hazan - Flute (on tracks 1, 2, 4-8, 10-12)
Estelle Akta - Oboe (on tracks 1, 2, 4, 6, 10, 11, 13), English Horn (on tracks 6, 7, 13)
Shahar Shem-Tov - Clarinet in Bb (on tracks 1, 2, 4, 6, 7, 10-13), Percussion (on tracks 3-5)
Naomi Hassoun - Bassoon (on tracks 1-4, 6, 7, 11, 13)
Daniel Yaffe - French Horn (on tracks 1-4, 6-8, 10, 12, 13)
Yotam Porter - Trumpet in Bb (on tracks 6-8, 10, 12)
Na'ama Matalon - Trombone (on tracks 2, 4, 6-8, 10, 12, 13), Percussion (on track 11)
Mika Rogow - Violin (on tracks 1, 2, 4, 8, 10, 13)
Eli Levi - Cello (on tracks 1-4, 6-13)

Guests:

Or Nakash - Violin (on tracks 1, 2, 4, 8, 10, 11, 13)
Daniel Vaksin - Harmony vocals (on tracks 2, 3, 8, 13)
Rachel Haklai - Harmony vocals (on tracks 1, 3)
Guy Nevet-Golan - Harmony vocals (on track 2)
Ben Goldstein - Percussion (on track 4)

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Daniel Goldstein and Sara Umansky Ra'Anana, Israel

The Folk duo of composer Daniel Goldstein (b. 1999) and violist Sara Umansky (b. 2001).
Their songs, influenced by classical music, as well as by The Decemberists and Roy Harper, and employ lush orchestrations, are each like a basket of homemade baked goods: comforting and made with love for appreciating stomachs... or, well, ears.

'Small, modest and beautiful' - Guy Tene, Lahiton, 30/06/2016
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