LETTING DEAD DOGS LIE The new album from Los Angeles based singer-songwriter Corey Landis Therapy Dog has all the makings of a classic break-up record. It's an introspective song-cycle for anyone who's ever been damaged or dumped. A rainy-day record to check in with now and again, maybe even obsess over. Soaked in the kind of atmospheric resignation that made Springsteen's Nebraska a timeless record, Therapy Dog is Landis' fourth and strongest full-album release to date - and this is the first time Landis has pressed the music to wax. In addition to the downloadable version, there is a limited edition 12" vinyl available on Urban Myth Recordings - a singer-songwriter collective founded by Canadian recording artist Dan Bryk. Landis self-produced Therapy Dog, writing and recording nine songs from his living room in Silverlake over a staggering four month period from September to December 2012. The songs are urgent and intimate, at times painfully sincere, and peppered with wry observations like: "What you're doing with him / I'm doing with gin / the difference of course is / the next day / I can take an aspirin," from the album's closing track: "Honey I'm Home." Therapy Dog was performed on Landis' old Baldwin Acrosonic Piano, the kind he grew up playing in community halls as a boy in Ohio. "Every time the piano tuner shows up," grumbles Landis, "he tells me to retire the thing." The recording was done on an obsolete 4-track cassette recorder borrowed from fellow Anti-Folk artist Matthew Quinet from Austin, TX - the same model Tascam 4-Track Cassette Recorder used to record the aforementioned Nebraska. The hush of magnetic tape adds to the vintage sound of Landis' piano so much so that his working title for the album was Blood On The 4-Tracks - a nod to Bob Dylan's classic: Blood On The Tracks. But Landis' craft and sensibilities are more in the realm of post-pop masterpieces such as Lindsey Buckingham's Under The Skin and Ben Folds Five's Whatever And Ever Amen. The album's opener is the atmospheric "Natural Disaster." The song compares a woman's emotional path of destruction to an earthquake, a wildfire, a cyclone, and a tsunami. In each chorus Landis warns, "And me / I can't save you all," as the music rises, escaping on a weather balloon floating precariously above of the atmosphere. Evidently annihilation brings with it a strange euphoria. The second track "Leaving Everyone" begins with the foreboding lyrics: "I'm worried my head is next on the chopping block / as I see the others roll on by." The song somberly sets the scene of a group of friends whose relationships are all hitting the skids at the same time. "Everybody's leaving everyone," muses the central character, growing doubtful about his own situation. He admits, "Your crystal ball got cracked somehow / and all it's data has been called into question," which is a transformative lyric taking what was magical and turning it practical. The title track "Therapy Dog" follows. It is a sobering moment for the record as it is a song about standing up for one's self. It carries the tradition of classic Country storytelling, with lyrics suitable for a female country star - à la Tammy Wynette. "I won't be your therapy dog / I'm just not going to reach for your hand anymore / I just want to know I'm worth fighting for / should I be / all that and more / well I should / shouldn't I?" Landis switches to acoustic guitar for the track, adding light touches on trumpet. It is a song of acceptance more than of resignation. It feels robust and satisfied in spite of hard circumstances. The title track is the fulcrum on which the album hangs it's burdens. The fourth track "Wrong About Me" is the tearjerker. Stripped down to just piano and voice, Landis tenderly expresses the sorrow of unrequited love. It isn't about mere infatuation, but about the agonizingly gradual realization over a long-term relationship that it was never truly substantiated by the other person. "You've got the best view / and you're wrong about me / I'm right for you," he pleads. The song is one of Landis' mo
Wrong About Me
After the Coffee
Be Nice to Me
Honey, I'm Home
Each record is protected within its record sleeve by a white vellum anti-dust sleeve.
All items are shipped brand-new and unopened in original packaging. Every record is shipped in original factory-applied shrink wrap and has never been touched by human hands.