PATRICK PHELAN

Cost

Patrick Phelan’s third full-length recording is called Cost. To Phelan, it is an understatement. For him, every opportu-
nity explored is another opportunity forgone.

More so than on previous Phelan records, Cost places an emphasis on the guttural. His voice and words take center
stage. He is much less guarded on Cost than on previous records. There is no lack of desperation in these new songs,
yet a hopeful tone is maintained throughout. Balance is the key. Emotion is the lock. And simplicity is the door. Like
a finely-tuned architect, Phelan places all of his songs in their proper space, not letting them get crowded with unnec-
essary words or sounds. He also steers Cost from tipping too far in the “minimalist” direction, thanks in part to a bevy
of guitar solos and to the abundance of true rock moments that occur throughout the record.

It has been four years since Phelan’s second full-length record Parlor came out (released on Jagjaguwar, as was his
debut Songs of…). And during this sabbatical from the frontlines of musical performance, Phelan has devoted his
time to the pursuits of cooking — spending time in Italy recently doing just that — and studying local and global
human rights. If one’s life energies are zero sum, these recent personal endeavors of Phelan have come at the cost of
promoting and performing his recordings. The good news for his fans: the release of Cost coincides with the shift of
Phelan’s focus back to both recorded and live music, confirmed by his recent formation of a new live band.

Bryan Hoffa, who the record is dedicated to, returns as engineer and co-producer. The record was recorded in several
stages, creating an interesting challenge for Phelan who often had to work with “one takes” as the foundation of his
pieces. A celebrated cast of players provided support and, bringing their influences to the table, made things a lot eas-
ier for Phelan. Greta Brinkman, former bass player for Moby, and Ian Whelan provided splendid bass arrangements.
Justin Bailey’s electric guitar arrangements are placed beautifully along-side Phelan’s finger-picked acoustic guitar.
And Camper Van Beethoven’s Jonathan Segel offers a haunting violin on two tracks. Phelan’s music — acclaimed
critically for its elegant simplicity and earnestness of expression — flourishes on this latest release, building on both
old and new influences and contributions.

In Words • Favor • Ruin • Sails Descending • Lesser Laws • In View • Settlements • Through the Bedroom Wall •

We Forgive Our Son • Then Trust • Fall

Selling points:

1. This record will appeal to fans of Elliot Smith, Stan Getz & Joao Gilberto, and Marc Ribot.

2. Includes contributions from Moby’s bass player Greta Brinkman and Camper Van Beethoven’s Jonathan Segel.

3. Extensive domestic and international publicity will occur.

4. Regional touring for this release will occur early next year.

5. Extensive college radio promotion (mailout to 200 stations) will occur.

6. Promotional copies of CD available for retail promotion.

Patrick Phelan “Cost”

on JAGJAGUWAR, catalog no: JAG032

Release date: December 6, 2005

Format: CD

CD BOX LOT: 25 units

LP UPC: 656605203225

[phone] • www.jagjaguwar.com • [e-mail]

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56605 20322

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