MALA
GOLDEN GIRLS you believe in visions and prayers but you don’t believe in what’s really there you’re a young man on a dance floor a young man in a young man’s world get on the dance floor
2
FÜR HILDEGARD VON BINGEN now she’s leavin’ congregation left the abbeys, suffocation she’s been dreamin’, relocation from the mystic, regulations now she’s workin’ at the station as a vj, on rotation in the up town
4
NEVER SEEN SUCH GOOD THINGS never seen such good things go so wrong and everywhere we turn they’re playing our song should have known someone so much like me would give me hell and send me to my knees love, you’re a strange fella sure leave your mark indelibly love, you’re a strange fella won’t you leave your mark on me if we ever make sweet love again i’m sure that it will be quite disgusting race to the end
6
THE BALLAD OF KEENAN MILTON, MALA
8
YOUR FINE PETTING DUCK i’ll take you back ‘cause I don’t really love him give me that what you give me give me all your loving i’ll call you and hope that you won’t say if he ever treats you bad please remember how much worse i treated you if he doesn’t try his best please remember that i never tried at all if he makes you cry a lot please remember that with me you never stopped i never held on long enough to let you go come back, baby, i never really loved him i’ll take you back, i never really loved him if he don’t give enough time please remember that i never gave you mine if he doesn’t have a dime please forget how hard i worked to get you lots
you, you always knew but you pushed me baby yeah you pushed me baby you looked away if he ever is untrue please remember i was too (and so much more so) if he doesn’t have a clue please forget how much i always had a few if he ever is unkind at least he’ll never change his mind not the way i always did and still will do (in german) als eine flamme reist du, du durch das essentialisierte Universum inzwischen trinken wir unser glas des Himmels Abstinenz eines Tages konnten wir unser Locher wieder stopfen
10
A GAIN mama had such high hopes for me lover don’t know where those hopes go mama’s gonna buy me a dvd when the saint’s marching to the w hotel mama’s gonna buy me new hair gel lover’s gonna tell me love don’t last mama’s gonna tell me i ain’t high class lover’s gonna be a long lost biological father lover’s gonna give me the worst day of my life mama’s gonna tell me the world i thought was the world is not the world lover’s gonna make me a hungry man
12
WON’T YOU COME OVER i used to live alone but i found you so certain i’m yours to take now i can’t wait for all the mistakes we’ve yet to make now shake it up baby, twist and shout we’re war-torn buildings, all bombed out love, not unlike i got drunk, pissin’ the night away won’t you come over and love me? won’t you come over again? can you overcome the unnerving ossifying body you’re in? i used to live alone just counting the pretty little flowers on my dress i can’t wait to consecrate this wondrous mess
words unforgotten ‘til we sing again start at the bottom, and then we descend love, not unlike little joy in, around no more i am woman, hear me roar larry lemon, sanctified i ask all the time but you never tell me what have i got to do, to make that man want me? what have i got to do (lovin’ you is makin’ it easy) to make that man love me (lovin’ you is makin’ it up) what have i got to do (lovin’ you is makin’ it easy) to make that man want me (lovin’ you is makin’ it up)
14
songs 1. golden girls 2. für hildegard von bingen 3. never seen such good things 4. your fine petting duck 5. the ballad of keenan milton 6. a gain 7. mala 8. won’t you come over
MUSICIANS
PRODUCTION
ARTWORKS
Devendra Banhart, guitars, vocals, textural percussion (1),
All music written by Devendra O. Banhart
cover: (l) Van Eyck, Giovanni Arnolfini and his bride, c. 1434;
Wurlitzer (8), drums (2, 3), percussion (3-4), synthesizer (4),
except for “Won’t You Come Over,” written by Noah Georgeson
(r) Da Vinci, Mona Lisa, c. 1503
drum machine (4)
and Devendra Banhart
p.1-2: (l) Titian, Venus of Urbino, c. 1538; (r) Hogarth, Breakfast
Josiah Steinbrick, synth saxophone (1), prepared dulcimer (1),
All lyrics written by Devendra Banhart
Scene from Marriage a la Mode, c. 1743
bass, synthesizer (2), synth solo (2), percussion (3)
p.3-4: (l) Poussin, Et in Arcadia Ego, c. 1637; (r) Michelangelo,
Bram Inscore, cello (1, 6)
Produced by Noah Georgeson and Devendra Banhart
Creation of Adam, c. 1511
Greg Rogove, drums (1, 8), xylophone (8)
Recorded by Noah Georgeson, Devendra Banhart,
p. 5-6: (l) Rubens, Drunken Hercules, c.1611; (r) Caravaggio, Judith
Noah Georgeson, guitar (1, 3), programming (1, 2, 3, 4, 8),
and Samur Khouja
Beheading Holofernes, c. 1598
synthesizer (2, 3, 4, 8), drum machine (2, 3, 8), drums (3),
Mixed by Noah Georgeson and Devendra Banhart at
p. 7-8: Bruegel, Netherlandish Proverbs, c. 1559
percussion (3), bass (4)
the Maid’s Room
p. 9-10: (l) Bronzino, Venus, Cupid, Folly and Time, c. 1545;
Todd Dahlhoff, bass (2)
Mastered by Greg Calbi at Sterling Sound
(r) Hogarth, Breakfast Scene, c. 1743
Ana Kraš, vocals (4)
Designed by Miguel Wylengco
p. 11-12: (l) Da Vinci, The Last Supper, c. 1495; (r) Hogarth, Breakfast Scene, c. 1743 p. 13-14: (l) Rigaud, Louix XIV, c. 1701; (r) Hals, Archers of St. Hadrian, c. 1633
© 2013 nonesuch records