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Born out of an online multimedia project called Fire Bones, the duo—primary songwriter/ singer/guitarist Greg Brownderville and producer/multi-instrumentalist Spencer Kenney—have shared bills with artists like Erykah Badu, Leon Bridges, Shakey Graves and Black Pumas, and have been lauded in both local music outlets (Dallas Observer, Central Track) and national literary publications (Vol. 1 Brooklyn, Virginia Quarterly Review, LITHUB). Brownderville is editor-in-chief of the literary magazine Southwest Review and author of three books of poetry, while Kenney fronts a solo electro-pop project under his own name and is involved with a variety of acts on the Dallas-based Dolfin Records label.

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The Handsome Family – Hollow

The Handsome Family’s new record began with a scream in the night. “It was a bleak winter during the middle of the pandemic,” says Brett Sparks. “One night around 4 a.m. Rennie started screaming in her sleep. She screamed, ‘Come into the circle Joseph! There’s no moon tonight.’ Scary as it was, I thought, man, that’s a good chorus!”

The Handsome Family (songwriting and marriage partners Brett and Rennie Sparks) have been defining the dark end of americana for over 30 years. Brett writes the music and Rennie writes the words. Their work has been covered by many artists including Jeff Tweedy, Andrew Bird and most-recently Phoebe Bridgers. Their song “Far From Any Road” was the opening theme for HBO’s True Detective season one and still receives thousands of Shazams every week from all over the world.

Handsome Family songs take place under overpasses and inside airports. Historical figures like George A. Custer and Nikola Tesla appear alongside a flying milkman and the whisper of an air conditioner against a plastic tree.

Their eleventh studio album, Hollow (out Sep. 8, 2023) delves into the natural world at the edges of the man-made. It is a record lush with leaves and shadows and echoing with occult mystery. It begins with the dream-inspired “Joseph”— full of Mott the Hoople swagger and electric guitar so overdriven it sounds like an organ run through a vacuum cleaner. Next is the haunting “Two Black Shoes” which filters a Portishead groove through the highway motels, homeless encampments and McMansions of post-pandemic America.

“I wanted to get an electronic feel with organic drums, “says Brett, “So I chopped up our drummer’s takes into little bits, quantized the beats, and ran those through an Echoplex. I really like that hybrid of real and fake.”

“The King of Everything,” brings Brett’s harpsichord background into the mix plus Rennie’s time on the back porch taking muscle-relaxants and watching the white-winged doves.

“Squirrels in the basement / Raccoons in the walls / Centipedes with stingers,” Brett sings on the mischievous and mysterious “Skunks.” The spooky Beethoven-inspired piano and Brett’s eerie whooping create a jingle for an increasingly desperate business. “Call us anytime at night,” Brett sings. “Call us day or night.”

“The Oldest Water” is the real story of a primordial sea found deep in a Canadian mine. Dave “Guts” Gutierrez’s trilling mandolin gives the song an old-timey parlor elegance and the rushing feel of flowing water.

“Mothballs” is a simple hymn for voice and piano. “A buddhist friend of Aleister Crowley’s always wore this old purple coat,” says Rennie, “and moths were continually flying from its pockets. The man refused to harm even the tiniest wool moth and I think that’s something we should all aspire to.”

The softly-strummed “Shady Lake” is based on a real fishing hole hidden in the cottonwoods outside of Albuquerque where soft waves lap the reedy shores as turtles dive from wet rocks into the murky glory.

“To The Oaks,” sings of the shady groves of ancient mystery cults while Alex McMahon’s overdriven guitars conjure up more modern tones. Brett sings, “Phantoms fly the forest / Twist up dripping ferns / Spirits in the shadows / In root and dirt and bone.”

The album closes with “Good Night,” a lullaby that at once soothes and threatens. Over a lazy honky tonk Brett sings, “Time for Santa to sharpen his claws / Time for skinwalkers / Time for the saw…” This song has instantly become the band’s favorite live-show closer.

Asked to describe their music Brett says, “Western gothic.” It is music inspired by the abandoned strip malls of desert America where cracked pavement shimmers with heat and thorny weeds slowly reclaim the land.

Handsome Family songs may be dark, but there’s always laughter on stage. Rennie sings as well as plays banjo and bass. She often introduces songs with seemingly unrelated stories. Brett, with his deep baritone and stentorian presence, is the undeniable center of stage. The two are often joined by multi-instrumentalists Alex McMahon and Jason Toth as well as fans, new and old, some returning again and again to see them live over the decades.

“We’re astonished to be breathing,” Rennie says about the band’s longevity, “Let alone still be inspired to write songs and sing together. There’s been a lot of smashed coffee cups in our house over the years, but we’re still unable to resist the urge to make music.”

“Titans of surreal Americana.” – WXPN

“Husband-and-wife duo Brett and Rennie Sparks contrast a foreboding, supernatural scene with the sweet simplicity of their piano-driven, waltz-like melody, complete with a straightforward yet emotive guitar solo.” – NPR

“[The Handsome Family] strike a balance between foreboding quiet numbers and deceptively airy tracks that belie the fatalistic lyrical content… with descriptions of Santa Claus sharpening ‘his claws’ and Satan snoring, The Handsome Family make sure to leave you with images vivid enough to show up later in your dreams.” – Paste Magazine

“Disquieting vision of what it means to be alive through understatement… As the planet protests its mistreatment with increasing intensity, Hollow is a witty yet sobering reminder that humanity is only part of the bigger picture.” – No Depression

Brett and Rennie show off their talent for winding, idiosyncratic instrumentation and magnetic melodies with “The King of Everything.” – Under the Radar Magazine

One of their more musically complex albums… Singer Brett and lyricist Rennie Sparks (and longtime drummer Jason Toth) serve up a varied selection of pandemic-written songs that, steeped in their brand of melancholic Western Gothic, veer between the familiar languid acoustic and more electric touches. – Folk Radio UK

“Music that requires no posturing… Around for about 30 years this duo explores a dark beguiling Americana.” – Americana Highways

Ghettoblaster debuts new single from Beekeeper Spaceman, “Beebe,” noting its “synthesized sounds, exposed roots of acoustic guitar, surreal stories and intriguing arrangements that feel like vibrant little worlds unto themselves.”

Punknews debuts new single, “Continue?”, from Super Cassette, writing, “The band’s new track, which seems inspired by AJJ, Jeff Rosenstock, and classic era Tegan and Sara, finds the group juggling heavy questions with Nintendo bleeps.”

VENTS Magazine debuts new single from Shane Rennison, “Drunk,” calling it “a track that centers around feelings of insecurity and pulls the curtain back on Rennison’s ‘90s rock influences.”

Glide Magazine debuts new single from Old Heavy Hands, “Coming Down,” calling it a “powerful punch that rages with a raunchy early Tom Petty and The Heartbreakers late 70s musical flair and precipitous punk urgency.”

Everything is Noise debuts new single from The Helltones, “Black Star Pirate BBQ,” noting its “surfy, slap-reverb guitars, the beachy drum beats and absolutely bluesy feel of the vocal melodies.”

The Handsome Family

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