Son of a Printer Man
Printer’s Son opens with a rising tide. Strings and woodwinds slowly build on each other, culminating first in a loose soundscape, then a subtle melody. This opener – “In Chicago” – is a chameleon. It’s winsome and hopeful, or lonely and sparse. It’s the soundtrack to a pivotal scene, rise or fall. It takes your emotions and expectations and delivers them back to you.
It’s fitting, because Printer’s Son isn’t an album made out of just joy, or just sadness, or just anything. It’s an album that was made out of a years-long journey of rising and falling.
Shane Leonard – the brain and brawn behind Kalispell – started work on Printer’s Son as a record about family, but then his family began changing. He lost his father to cancer, then his grandfather. He moved home to live with his mother and saw the end of a relationship. He put his record on the back burner and went on the road with local standouts Field Report. Then he found love, got married, and just had his first child. All the while, Leonard was slowly building a record, working with his band, inching along what became Printer’s Son.
“Playing the songs now, with a band, I’m in a place I never imagined I’d be in,” Leonard said. “It’s like reading your teenage journal. It’s completely legitimate, just changed.”