“Hands” is not just a song, but rather, an epiphany, a core moment of self-realization.
Undercover Cameo is a three-piece ambient-folk collective from Westerly, Rhode Island. Consisting of core members Lucas Neil (guitar), Olivia Charlotte (piano), and Sandy Allen (mandolin), this trio is known for their poetic, multi-faceted music that is as calming as a salve. From complex classical licks (that are reminiscent of Chopin) to down-to-earth indie jams (laden with hand percussion), to say Undercover Cameo is diverse in repertoire would be modest.
The collective’s newest release, “Hands,” begins with a single piano: ethereal and nostalgic. It has those small key clicks, making us feel like we are actually there, sitting beside the player on the bench. Next, the left hand enriches the sound with its full bass. Put it all together, and you have a placid, reverent acoustic landscape that is just a touch melancholic. Then a bright string-ish instrument comes in. We wonder: Is this some sort of resonator guitar that has been bowed, or is it a violin that sounds like a tiny bit saxophonish (sauced up by old-school-style recording techniques)?
For a moment, we are confounded by Elizabeth Beisel’s fiddle line. It reminds us of the motion picture The Fox and the Hound as its mysterious timbre swells into existence, adding to the existing soundscape. The wandering piano resolves and fades away, and a cozy guitar takes its place. The long-awaited vocals enter.
“How are my hands, how are my hands doing, honey?
Last time we spoke, you said they felt kinda funny
And my head was buzzin’
And heaven knows that my nose was runnin’’’
Soft female vocals pepper in a short harmony before our hearts and ears are hit with a bountiful stack of sound. Like listening to an orchestra, there are dozens of tone colors coming from the polyphony. We are being enveloped. The lyrics mention wandering eyes. Shortly after, hand percussion is added, breaking up the yearning wall of vocal sound (which arrives and fades away repeatedly, leaving space for the elegiac verses). As the lyric “It’s mostly locked away” arises, we reach a new point. Perhaps, we are at the top of a cliff. And somehow (as we look down at it all) it doesn’t hurt so bad anymore. “Hands” is not just a song, but rather, an epiphany, a core moment of self-realization.
“And I’ve looked an angel in the eyes
And I’ve some hope, it’s mostly in the sky
That I’ve some hope”
As the strings intertwine and the music fades, we’re left with two distinct emotions: Yearning, cherishing.
Today, Glide is excited to offer an exclusive premiere of “Hands.”
Listen to the track and read our conversation with the band below…
Is there an era or place that helps you feel inspired to write?
Undercover Cameo’s visual aesthetic is a combination of worlds, one real, one fiction. Olivia is ever charmed by 70’s fashion, acoustic music, and pop culture. Simultaneously Lucas is a lifelong fan of fantasy novels, in which a mystical realm of magic, fairies, and romance exists called the “fae”. Simply put, the band’s aesthetic could be “fae folk from the 70’s”.
Tell us a bit about this piano sound you used- The ‘little noises’ add so much charm to the intro. Is it a sample, or was it played acoustically?
The piano in ‘Hands’ is played acoustically, no samples, no layering, just one take of Olivia and her instrument. The noises you hear in the intro is the pedal of the upright piano in Old Salt Recording Studio in Nashville, TN, with Lucas playing accompanying harmonica in the background.
How do you write lyrics? Do they ever start out as poetry?
Lucas is a stream of consciousness writer. When he writes a song, it happens in the moment. He doesn’t write lyrics down, he doesn’t make chord sheets. He just plays and the songs happen. No one in the band can comprehend how he does it to be perfectly honest. – Olivia
How did the chord progress unfold as you were writing?
I don’t want to write songs as much as I want to curate experiences. I went for a blustery winter time walk on the beach, all bundled up, with my headphones on. I was enjoying music, but I wanted one long song that could lend itself to the meditation I was having in that moment. ‘Hands’ was always meant to be a hymnal piece of music that offered utility for a spiritual practice. Just as when we meditate our minds can drift away and then come back to our present reality, I wanted ‘Hands’ to begin with a soft meandering intro before it found itself again and truly began. – Lucas
The emotional climate of the song feels very different when one compares the beginning to the end. If you could use a feeling to describe the emotion of the intro vs the closing of the song, what word(s) would you use?
The beginning of the song is cautious, patient, and curious.
The end of the song, having experienced all the highs and lows, is grateful, sure of itself, and hopeful.
Lastly, I heard a rumor that your debut album release is around the corner. Can you give us a sneak peek at what is to come?
The band has been hard at work on its first album for about 6 months. The title of the record is “Have Kids that Make Money”. Ten beautiful songs that the band truly believes in. The biggest obstacle, as is the reality for most independent musicians, is funding for studio time and post production, but we’re not much bothered by this. We live to play music with intent to heal and connect, we will be doing this for as long as we can to the best of our abilities, if the album comes out, hallelujah, if not, we’ll see ya around anyway.
