Ryan Weber and Eric Osterman have been through a lot in the relatively short time they have been making music together as Eric & Magill. The duo has traveled to the deserts of Kenya and explored numerous continents all for the sake of making their unique style of pop music more dynamic and exploratory. To put it simply, these two talented musicians are on a quest to create a sound that, while referencing a wide range of influences, is entirely their own. Their whole-hearted approach has also found them teaming up with members of The Dirty Projectors, Sylvan Esso, Owen, Volcano Choir, Shearwater, The Promise Ring and The Delgados among many others.
On May 12th the duo will release their forth full-length album Peach Colored Oranges. Compared to their previous distance – often vast – the pair found themselves living in their closest propinquity, traveling and transferring ideas between Washington, DC and Brooklyn, NY. The result of the shrunken distance is evident. Where previously offerings from the duo invoke openness, space and imagination, Peach Colored Oranges convenes closeness previously unmanageable for the pair. For this effort Weber and Osterman set aside electric guitars in favor of acoustics, elevating the warmth and intimacy of the new record. Also, instead of bringing in guests as they have in the past, the duo stripped themselves to their barest format to date, weaving their signature dream pop into a fresh acoustic kaleidoscope.
Today Glide Magazine is premiering Peach Colored Oranges. The album is at times delicate, aided in part by an orchestral presence, bringing to mind groups like Air, Electric Light Orchestra, and even the quieter side of Yo La Tengo. Soft harmonies, catchy melodies and delightful beats create dreamy pastel soundscapes that wash over the listener. Though this is undoubtedly pop music, Eric & Magill explore deeper realms as they seek real connections with each other and those lucky enough to hear the album.
Reflecting on the album, Ryan Weber has this to say:
“Eric and I have somehow managed to create records across the globe from each other often in extraordinarily interesting and challenging locations. Distance has always been a factor in our process, but unlike say on ‘Night Singers’, on ‘Peach Colored Oranges’ I didn’t end up having to mix tracks in a pickup truck up truck on the northern un-demarcated desert border of Kenya and Uganda. Rather, Eric and I were able to periodically get together in New York or DC to listen, discuss ideas, and actually play together in the same physical space. I think the proximity (closeness) is newer element to the record that can be felt, unlike previous efforts where not just physical distance but also emotional, cultural, and psychological distance lent to a more remote, spacious and open feel.”
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