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Tanglewood Numbers
Tanglewood Numbers
Tanglewood Numbers
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Tanglewood Numbers
Studio album by
Silver Jews
ReleasedOctober 18, 2005
GenreIndie rock
Length34:51
LabelDrag City
ProducerDavid Berman
Silver Jews chronology
Bright Flight
(2001) 		Tanglewood Numbers
(2005) 		Lookout Mountain, Lookout Sea
(2008)

Tanglewood Numbers is the fifth studio album by American indie rock band Silver Jews, released in 2005.

Like on all of their other albums, Silver Jews' principal song writer and constant band member is David Berman. On this album fourteen other musicians are involved in the performance and creation. Tanglewood Numbers marked the return of Pavement members Stephen Malkmus and Bob Nastanovich into Silver Jews. Malkmus had last appeared on American Water while Nastanovich had last appeared on the band's debut album Starlite Walker. Cassie Berman, David Berman's then wife, also appears, as does Will Oldham.[1]

The album's cover is a photograph by famed Southern photographer William Eggleston.[2]

Background

[edit]

In the four years between Bright Flight and Tanglewood Numbers, Silver Jews frontman David Berman had suffered from substance abuse, depression and a suicide attempt.[3] However, Berman was able to rehabilitate and he became more deeply involved into his Jewish faith.[4]

During its recording, Tanglewood Numbers was nearly destroyed in a fire that burned down Memphis' historic Easley-McCain studio, where the album was going to be mastered.[5]

Reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic81/100[6]
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[3]
Alternative PressStarStarStarStar[7]
Entertainment WeeklyB+[8]
MojoStarStarStarStar[9]
Pitchfork7.9/10[10]
PopMatters8/10[11]
SpinA–[12]
StylusB[13]
Uncut9/10[14]
The Village VoiceB+[15]

Tanglewood Numbers has received mostly positive reviews. According to Metacritic, the album has a score of 81 out of 100, based on 32 critics reviews, indicating "Universal acclaim."[6]

Giving the album a 4.5 out of 5 stars, Heather Phares of Allmusic, in references to Berman's past problem, wrote "Hopefully the circumstances around Tanglewood Numbers will never repeat themselves, but there's no denying that this is a uniquely powerful and moving set of songs."[3] Popmatters' Josh Berquist also gave the album a positive review, writing "Even if it’s not their finest work, it certainly feels like it is. There is a visceral vitality to Tanglewood Numbers that has never inhabited any album prior."[11]

In a more mixed review, Dusted Reviews' Nathan Hogan criticized Berman's less prominent vocals, writing "...Berman’s a brilliant lyricist with 30 or 40 minutes to spare every couple of years, and his voice seems oddly absent from this record." However, Hogan concluded his review with "In the end, disliking Tanglewood Numbers leaves me feeling a bit like one of the schlubs who groused about Dylan going electric... I suppose it’s possible this record’s a grower. For the time being, that’s the best there is to say about it."[16] The Times Union called the record "OK."[17]

Track listing

[edit]

All tracks are written by David Berman, except where noted.

No.TitleWriter(s)Length
1."Punks in the Beerlight" 3:31
2."Sometimes a Pony Gets Depressed" 2:37
3."K-Hole"David Berman, Mike Fellows2:38
4."Animal Shapes" 3:00
5."I'm Getting Back into Getting Back into You" 2:34
6."How Can I Love You If You Won't Lie Down" 2:01
7."The Poor, the Fair and the Good"
4:14
8."Sleeping Is the Only Love" 2:56
9."The Farmer's Hotel"
7:03
10."There Is a Place" 4:19
Total length:34:51

Personnel

[edit]

The following people contributed to Tanglewood Numbers:[18]

Silver Jews

[edit]

Recording personnel

[edit]
  • Joe Funderburk - Mixing
  • David Henry - Vocal Engineer
  • Mark Nevers - Engineer
  • Roger Seibel - Mastering

Additional personnel

[edit]

Charts

[edit]
Chart (2005) Peak
position
US Top Heatseekers 43[19]
US Independent Albums 50[19]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tanglewood Numbers

View on Grokipedia
from Grokipedia
Tanglewood Numbers is the fifth studio album by the American band , released on October 18, 2005, through Drag City Records. Named after the Nashville street where frontman David Berman resided during its creation, the album captures a pivotal moment in Berman's life, marking his recovery from severe and a return to sobriety after a near-fatal overdose in 2003. The record features ten tracks, including standout songs like "Punks in the Beerlight," "Sometimes a Pony Gets Depressed," and "There Is a Place," which blend jangly guitars, keyboards, , and with Berman's signature poetic, introspective lyrics exploring themes of love, depression, and renewal. Recorded primarily at Beech House and Truetone studios in , it was produced by Berman alongside band members and emphasizes a fuller, more collaborative band sound compared to the group's earlier, lo-fi efforts. Notable contributors include Berman's wife on vocals and lyrics, drummer Kotzur, keyboardist Tony Crow, and guests such as and of Pavement, on violin and , , and guitarist William Tyler. Upon release, Tanglewood Numbers was widely praised for its emotional depth and energetic rock arrangements, balancing sorrow with moments of warmth and humor, and is often cited as one of ' finest works. awarded it a 7.9 out of 10, highlighting its "crashing, amped-up, aggressively ramshackle" style and Berman's evolving songwriting. In retrospect, especially on its 20th anniversary in , the album is celebrated for signifying Berman's relative and , a stark contrast to his later struggles, and for showcasing the band's most robust ensemble performance.

Background and Production

Development

Following a period of intense substance abuse involving crack, Dilaudid, cocaine, and vodka, compounded by depression, David Berman attempted suicide in 2003 by ingesting 300 Xanax pills, waking up in Vanderbilt Psychiatric Hospital. He subsequently entered a 20-day rehabilitation program at Hazelden, emerging sober on January 1, 2004, which marked the beginning of a profound personal renewal that directly informed the creation of Tanglewood Numbers. This recovery allowed Berman to relocate to suburban Nashville, purchase a home, and rebuild his life, transforming the album into a testament to his sobriety and resilience. During this time, Berman deepened his engagement with , attending temple services more frequently and drawing on it as a stabilizing force amid his challenges. A pivotal experience, where he felt a spiritual conviction of being "dead," prompted him to study the and connect with his community, while he also consulted Kanter for guidance and incorporated elements like bootlegged recordings of Lisa Silver's singing into his creative process. This renewed faith provided emotional anchorage as he began conceptualizing the album, infusing its development with themes of redemption and . Tanglewood Numbers marked Silver Jews' fifth studio album and their first release in four years since Bright Flight (2001), with Berman handling the majority of songwriting solo during 2003 and 2004. He composed the tracks primarily in the mornings and early afternoons on an run through an amp, starting in his where he rehearsed with a core band including and his wife , signaling a deliberate return to collaborative elements after the more solitary production of prior records. This process emphasized raw, directive instructions to musicians, such as "play desperate" or "kill," to infuse the songs with urgent emotional depth. The project's master tapes faced near-destruction on March 2, 2005, when an electrical fire ravaged the Easley-McCain Recording Studio in Memphis during the mastering phase, gutting the historic facility but sparing the recordings thanks to Berman storing the hard drive in an 800-pound safe. Initial reports feared the loss of the entire , but the preservation allowed production to continue uninterrupted, underscoring the precarious circumstances surrounding its completion.

Recording Process

The recording of Tanglewood Numbers took place from to 2005, primarily at Beech House in , with vocal sessions conducted at Truetone Recording in the same city. Production was led by David Berman, who took over creative control from engineer Mark Nevers after a clash over the album's musical direction, while Nevers handled engineering for the music tracks and David Henry recorded the vocals. Mixing was done by Joe Funderburk at Dragonstone in , with assistance from John St. West, and mastering was completed by Roger Seibel at SAE Mastering in . The sessions marked a deliberate shift from the lo-fi, home-recorded aesthetic of prior Silver Jews albums to a fuller band sound emphasizing live instrumentation, including ramshackle guitars, '80s-style synth keyboards, , , and , achieved through rehearsals with a large ensemble of contributors such as , , and . Production faced significant challenges, including a creative dispute with that led Berman to assume production duties as the album neared mixing, and a devastating studio at Easley-McCain Recording in Memphis that nearly destroyed the master recordings prepared for mastering, though the materials were ultimately recovered from a to complete the project. The album spans 10 tracks with a total runtime of 34:51 minutes, including one co-written by Berman and Mike Fellows.

Musical Style and Themes

Composition

Tanglewood Numbers blends indie rock at its core with prominent influences from country, folk, and alternative rock, resulting in a sound characterized as "crashing, amped-up, aggressively ramshackle." This fusion draws on Southern rhythms and twang, evolving the band's earlier country-leaning aesthetic into a more robust, collaborative framework. The album's energy reflects a "free-for-all" indie country rock vibe, incorporating jamming elements that evoke jam band skronk alongside harmonic pop structures. Instrumentation features slack, raucous guitars—often nervously coasting or delivering cutting solos—paired with elegant , spindly , and tasteful guitar heroism from contributors like . Keyboards provide synth ear-candy reminiscent of '80s throwbacks, while a lively and add depth, all polished by hi-fi production that enhances the raw, band-driven intensity. Tracks like "Punks in the Beerlight" open with piercing guitars and sweeping backbeats, building epic sweep, while "The Poor, the Fair and the Good" incorporates improvisational guitar and solos for a jamming feel. Song structures vary in length and form, from concise pieces like the 2:01 "How Can I Love You If You Won't Lie Down," which uses call-and-response vocals over a tight , to the sprawling 7:03 track "The Farmer's Hotel," co-written by David Berman and , featuring morose, extended storytelling with layered instrumentation. Other examples include the hard-swinging "Sometimes a Gets Depressed" at 2:36, blending barnyard twang with rollicking hooks, and the 3:00 "Animal Shapes," merging harmonic pop with energy. This diversity underscores a shift toward vital, band-oriented rock following Berman's recovery from substance issues, moving away from prior solo-focused, shambolic indie efforts to a more polished and energetic collective sound.

Lyrics and Themes

David Berman's lyrics on Tanglewood Numbers are characterized by a literary and introspective style that draws heavily from his personal experiences, blending sharp humor with underlying melancholy and a sense of redemption. Influenced by his recovery from and a 2003 , Berman crafts narratives that reflect sobriety's clarity, often infusing self-deprecating wit to temper emotional depth, as seen in his shift from self-pity to resilient confidence. This approach marks a departure from the denser, more surreal wordplay of earlier albums, favoring concise one-liners and straightforward rhymes that prioritize raw vitality over elaborate obscurity. Central themes revolve around recovery and renewal, relationships, and existential observations, often rooted in Berman's life post-rehab. In tracks like "Sometimes a Pony Gets Depressed," Berman explores depression through empathetic animal metaphors, symbolizing personal struggles and the possibility of emotional rebound, while the album as a whole conveys born from his sobriety and renewed commitment to . Relationships, particularly his bond with wife —who contributed vocals and co-wrote lyrics—are highlighted in songs such as "K-Hole," where vulnerability and mutual support amid hardship evoke a tender, redemptive love between "two burnouts." Existential vignettes appear in pieces like "The Farmer’s Hotel," which contemplates rural isolation and fleeting human connections with a morose yet ironic lens. Jewish influences permeate Berman's phrasing and imagery, reflecting his deepening faith through Torah study and synagogue involvement following his crisis. References to biblical figures, such as in lines asserting "Adam and Eve were Jews," underscore themes of heritage and spiritual renewal, integrating religious motifs into broader explorations of identity and community. Berman employs poetic devices like vivid metaphors drawn from animals and nature—chickens, cows, and pondering clouds—to create narrative snapshots that blend the mundane with the profound, fostering a more hopeful tone than the band's prior, often bleak works. Shorter songs, such as "Punks in the Beerlight," exemplify this through blunt declarations of love and metaphysical nods, emphasizing vulnerability with an arch humor that lightens melancholy.

Release and Reception

Commercial Release and Promotion

Tanglewood Numbers was commercially released on October 18, 2005, by the independent label Drag City Records in compact disc and vinyl formats, marking the first full-band Silver Jews album in four years. The packaging included a cover image of a dimly lit vintage bar interior with shelves stocked with bottles and artifacts, evoking the album's introspective and narrative-driven aesthetic. A promotional CD version was also distributed to media outlets and industry contacts to build anticipation ahead of the launch. Promotional strategies emphasized limited previews through advance copies and focused on generating media buzz surrounding frontman David Berman's personal recovery story, positioning the record as a triumphant comeback in the scene after his struggles with and a 2003 . Pre-release interviews with outlets like and highlighted Berman's sobriety since early 2004 and the album's themes of renewal, drawing attention from niche audiences without relying on traditional advertising. This narrative-driven approach underscored the four-year hiatus since Bright Flight (2001), framing Tanglewood Numbers—named after the Nashville street where Berman lived—as a resilient return to form. Following the release, announced a North American tour in December 2005, with dates commencing in March 2006 and extending into supporting performances through 2006 across , , and , marking a departure from the band's prior aversion to live shows. These events featured a live band configuration and helped sustain initial momentum in the indie circuit.

Critical Response

Upon its release, Tanglewood Numbers received widespread critical acclaim, earning a aggregate score of 81 out of 100 based on 32 reviews. awarded the 7.9 out of 10, praising its vitality and the full band that marked a departure from earlier lo-fi efforts, describing it as "crashing, amped-up, aggressively ramshackle" while blending jubilance with sorrow. gave it 4 out of 5 stars, highlighting the 's energetic delivery as a reflection of David Berman's improved health following personal struggles. Treble called it a "moving, jamming, indie free-for-all with a literary heart," emphasizing its polished rock elements and thematic depth. Critics commonly praised the album for capturing Berman's recovery through more vigorous performances and a shift to a richer, band-driven production that elevated the material beyond previous sparse arrangements. However, some noted inconsistencies, such as uneven pacing and occasional drags in longer tracks, with Dusted critiquing the bombastic elements that sometimes overshadowed Berman's lyrical strengths. In retrospective assessments, Tanglewood Numbers has been regarded as a high point in the discography, often cited for its cohesive energy and as evidence of Berman's creative resurgence.

Track Listing and Personnel

Track Listing

Tanglewood Numbers is the fifth studio album by the American band , released on October 18, 2005, by Drag City Records. The original edition consists of 10 tracks with a total runtime of 34:51. The track listing for the original release is as follows:
No.TitleDurationWriter(s)
1"Punks in the Beerlight"3:31D. C. Berman
2"Sometimes a Gets Depressed"2:37D. C. Berman
3""2:38D. C. Berman, Michael Fellows
4"Animal Shapes"3:00D. C. Berman
5"I'm Getting Back into Getting Back into You"2:34D. C. Berman
6"How Can I Love You If You Won't Lie Down"2:01D. C. Berman
7"The Poor, the Fair and the Good"4:14, D. C. Berman
8"Sleeping Is the Only Love"2:56D. C. Berman
9"The Farmer's Hotel"7:03D. C. Berman, Grosfeld, Pratt, Steve Malkmus
10"There Is a Place"4:19D. C. Berman
No bonus tracks were included on the original or LP editions, though the album has been reissued in digital formats such as and without additional content.

Personnel

Tanglewood Numbers features David Berman as the primary creative force and sole constant member of , supported by a rotating ensemble of musicians drawn from the indie and alt-country scenes, including returning collaborators from Pavement and guests from acts like Lambchop, , and others. The album's lineup reflects Berman's Nashville-based recording sessions, incorporating local and touring players for a fuller, band-oriented sound compared to prior releases.

The Tanglewood Numbers Band

  • David Berman – vocals, guitar
  • Cassie Berman – vocals, keyboards
  • Stephen Malkmus – guitar, backing vocals
  • Bob Nastanovich – drums, percussion
  • Mike Fellows – bass
  • Brian Kotzur – drums
  • Tony Crow – piano, keyboards
  • Paz Lenchantin – violin, fiddle, banjo

Additional musicians

  • Azita Youssefi – vocals
  • Bobby Bare Jr. – vocals
  • – guitar
  • – vocals
  • William Tyler – guitar
  • Pete Cummings – guitar
  • John St. West – guitar, backing vocals

Production

  • Mark Nevers – engineering, recording (music)
  • David Henry – recording (vocals)
  • Joe Funderburk – mixing
  • Steve West – mixing
  • Roger Seibel – mastering

Commercial Performance and Legacy

Chart Performance

Tanglewood Numbers debuted and peaked at number 43 on the Top Heatseekers chart in late , reflecting its status as an emerging release within the landscape. It also reached number 50 on the Independent Albums chart during the same period, underscoring the album's alignment with Drag City's specialized distribution network. Additionally, it peaked at number 45 on the Independent Albums Chart for one week in October . The album's commercial performance was modest, consistent with the low earnings reported for ' prior releases on the label—totaling around $16,000 across four albums in the preceding year. This figure highlighted the band's niche appeal and limited mainstream exposure, as Drag City focused on targeted rather than broad-market promotion. Unlike major label efforts, the rollout emphasized organic growth through indie channels. In comparison to earlier Silver Jews albums, such as American Water (1998) and (2001), Tanglewood Numbers represented a slight uptick in visibility on specialized charts, though prior works had even lower commercial profiles and no notable entries. This pattern reinforced the project's enduring cult status over widespread commercial breakthrough.

Cultural Impact

Tanglewood Numbers marked a distinct era of relative stability and creative productivity for David Berman, following his recovery from and a , before the ' hiatus in 2009 and his death in 2019. The album's vibrant country-rock sound and Berman's renewed engagement with live performances represented a high point in his career, blending literary with collaborative energy from musicians like and William Tyler. In 2025, the album's 20th anniversary prompted retrospectives that underscored its status as a career peak for recovery-themed , with Stereogum describing it as the finest record for its themes of , struggle, and personal renewal. These reflections highlighted how the record captured Berman at a moment of relative happiness and health, influencing perceptions of his oeuvre as a testament to resilience amid ongoing challenges. The album's influence extended to later indie and folk artists who have cited Berman's distinctive lyrical style—marked by wry wisdom and vivid —as a touchstone, though specific attributions often encompass his broader catalog. Following Berman's 2019 passing, the record experienced renewed fan interest and tributes. As a legacy of personal triumph, Tanglewood Numbers resonates in fan discussions for its exploration of struggles and redemptive arcs, with listeners on platforms like interpreting tracks as balms for depression and grief. The album also incorporates religious tied to Berman's Jewish heritage, including references to and biblical motifs, which fans connect to themes of and existential in his recovery narrative.

References

  1. https://silverjews.bandcamp.com/album/tanglewood-numbers
  2. https://www.stereogum.com/2326515/silver-jews-tanglewood-numbers-turns-20/reviews/the-anniversary/
  3. https://pitchfork.com/reviews/albums/7163-tanglewood-numbers/
  4. https://www.allmusic.com/album/tanglewood-numbers-mw0000387222
  5. https://www.thefader.com/2019/08/08/dying-in-the-al-gore-suite-the-fader-2005-interview-david-berman-silver-jews
  6. https://pitchfork.com/features/interview/6110-silver-jews/
  7. https://mattcorley.wordpress.com/2013/02/01/feelings-for-the-unfeeling-a-2005-interview-with-david-berman/
  8. https://www.austinchronicle.com/music/texas-platters-11723933/
  9. https://www.memphisflyer.com/fire-at-easley-mccain-studio
  10. https://www.discogs.com/release/549514-Silver-Jews-Tanglewood-Numbers
  11. https://www.billboard.com/music/music-news/berman-untangles-new-silver-jews-album-62170/
  12. https://genius.com/albums/Silver-jews/Tanglewood-numbers
  13. https://www.treblezine.com/silver-jews-tanglewood-numbers/
  14. https://www.amazon.com/Tanglewood-Numbers-SILVER-JEWS/dp/B000AGL1G6
  15. https://www.avclub.com/silver-jews-tanglewood-numbers-1798201155
  16. https://www.popmatters.com/silverjews-tanglewood-2496080739.html
  17. https://www.dragcity.com/products/tanglewood-numbers
  18. https://www.discogs.com/release/620881-Silver-Jews-Tanglewood-Numbers
  19. https://www.spin.com/2005/12/silver-jews-tour/
  20. https://www.metacritic.com/music/tanglewood-numbers/silver-jews
  21. http://www.dustedmagazine.com/reviews/2482
  22. https://www.discogs.com/master/91230-Silver-Jews-Tanglewood-Numbers
  23. https://www.metacritic.com/music/tanglewood-numbers/silver-jews/details
  24. https://rateyourmusic.com/release/album/silver-jews/tanglewood-numbers/
  25. https://rateyourmusic.com/artist/mike-fellows/credits/
  26. https://www.nashvillescene.com/music/nashville-in-the-meantime/article_0a621ae9-13cc-58e1-8474-5f4ae00bbff1.html
  27. https://waitingroomrecords.com/products/silver-jews-tanglewood-numbers
  28. https://blog.wfmu.org/freeform/2010/10/a-brief-history-of-william-tyler.html
  29. https://oneweekoneband.tumblr.com/post/47220408657/untying-the-tanglewood-numbers-the-silver-jews
  30. https://www.barnesandnoble.com/w/tanglewood-numbers-silver-jews/26392733
  31. https://www.ukmix.org/forum/chart-discussion/chart-analysis/24899-history-of-the-us-charts-part-xix-s?p=787885
  32. https://www.worldradiohistory.com/Archive-All-Music/Billboard/00s/2005/BB-2005-10-22.pdf
  33. https://www.officialcharts.com/albums/silver-jews-tanglewood-numbers/
  34. https://www.besteveralbums.com/thechart.php?b=2445
  35. https://www.reddit.com/r/indieheads/comments/1o9hfdv/silver_jews_tanglewood_numbers_turns_20/
  36. https://forward.com/culture/2301/the-silver-jews-return/
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