Up from Below

Up from Below is the debut studio album by the American indie folk band Edward Sharpe and the Magnetic Zeros, released on July 14, 2009, through Vagrant Records.^[1] The album features 13 tracks blending folk, pop, and psychedelic elements, with production that evokes 1960s influences such as multipart harmonies and acoustic instrumentation.^[2] It was recorded between June 2008 and June 2009 and preceded by the band's Here Comes EP.^[3] The band, formed in Los Angeles in 2007, was conceived by singer-songwriter Alex Ebert as a communal project under the fictional persona of Edward Sharpe, drawing from his experiences after the dissolution of his prior group, Ima Robot.^[4] Comprising up to 11 members at the time, including co-vocalist Jade Castrinos, the ensemble emphasized themes of love, community, and spiritual awakening in their music.^[5] Key tracks include the opening "40 Day Dream," the title song "Up From Below," and the duet "Home," which became a breakout single, peaking at number 25 on the Billboard Alternative Songs chart and earning platinum certification.

Background

Band formation

Edward Sharpe and the Magnetic Zeros formed in 2007 in Los Angeles, California, when musician Alex Ebert created the fictional persona of Edward Sharpe as a therapeutic outlet amid his personal struggles with addiction and existential challenges.^[6] Ebert, formerly the frontman of the electro-funk group Ima Robot, drew inspiration from a short story he wrote about a messianic wanderer sent to Earth to inspire humanity, though the character frequently succumbed to worldly distractions like romance and revelry.^[7] This alter ego allowed Ebert to explore themes of redemption and community through music, marking a shift from his earlier high-energy rock sound to a more folk-infused, collective approach.^[4] The band's initial lineup assembled as an extended musical family, with Ebert recruiting close friends including Jade Castrinos on vocals and guitar, Aaron Older on bass, banjo, and percussion, and additional members such as Nico Aglietti on guitar and synthesizer, Josh Collazo on drums, Christian Letts on guitar, Nora Kirkpatrick on accordion, Seth Ford Young on bass, and William Hurst on keyboards.^[4] This ten-piece ensemble emphasized a non-hierarchical, communal ethos, living and creating together in shared spaces to cultivate authentic collaboration.^[8] Central to the group's identity from its inception were theatrical, immersive live performances that blurred the lines between band and audience, featuring improvisational elements, gospel-like call-and-response, and a sense of joyous abandon to foster unity and emotional release.^[9] Their debut show on July 18, 2007, at The Troubadour in West Hollywood exemplified this style, with Ebert embodying the eccentric Sharpe character in costume and narrative-driven antics.^[10] Building anticipation for their debut album, the band self-released the Here Comes EP on May 19, 2009, which served as a teaser with raw, live-feeling recordings of tracks including "Janglin'," "40 Day Dream," and "Carries On," all of which later appeared on the full release.^[11] This limited-edition vinyl and digital offering highlighted the collective's rustic folk-rock sound and set the stage for broader exposure through grassroots touring.^[12]

Album conception

The album Up from Below was conceived in 2008 by Alex Ebert as a narrative vehicle for exploring utopian ideals, love, and personal redemption, centered on the fictional character Edward Sharpe, whom Ebert created during his recovery from drug addiction and a breakup.^[6][13] Edward Sharpe was envisioned as a messianic figure sent to Earth to heal humanity but ultimately sidetracked by romantic distractions, reflecting Ebert's own journey toward sobriety and spiritual renewal.^[4][14] This character-driven framework allowed Ebert to infuse the project with a sense of communal hope and mythic storytelling, drawing from his experiences in a 12-step program where the persona first emerged as a symbol of rebirth.^[15] Songwriting for Up from Below was led primarily by Ebert, who composed the bulk of the material, but incorporated collaborative contributions from band members, particularly Jade Castrinos, fostering an organic, group dynamic that mirrored their shared living arrangements.^[16] A pivotal moment occurred during a day-long walk in a park, where Ebert and Castrinos confessed their love for each other; they then returned to Ebert's apartment and penned the breakout track "Home," capturing the album's emphasis on intimate connections and wandering freedom.^[17][16] This process emphasized improvisation and daily collaboration among the 10-piece ensemble, resulting in songs that evolved through friendship and spontaneous input rather than rigid structures.^[13] The album's sound was influenced by the folk revival movement, Americana traditions, and psychedelic experimentation, with Ebert citing 1960s artists like Bob Dylan and elements of the Summer of Love era as key inspirations to evoke a sense of timeless possibility without nostalgia.^[15][17] These influences aimed to create a "family" aesthetic—warm, participatory, and reflective of the band's communal lifestyle in Los Angeles—blending eclectic instrumentals with a bright, utopian vibe that prioritized heartfelt expression over irony.^[18][13]

Recording and production

Studio sessions

The recording of Up from Below took place from June 2008 to June 2009 at The Woodrow Hideaway in Laurel Canyon, Los Angeles, and Fairfax Recordings in Van Nuys, California, selected for its intimate, home-like atmosphere that aligned with the band's communal ethos and fostered a relaxed creative environment.^[19][20] Coordinating a large ensemble of up to 10 members proved challenging, often extending sessions as the group navigated logistics and dynamics within the confined space; to preserve authenticity, they emphasized live takes that highlighted the raw, collective energy of their sound.^[21][22]

Production team

The production of Up from Below was led by Nicolo Aglietti, Aaron Older, and Alex Ebert (credited as Edward Sharpe). Aglietti, in addition to his production duties, handled much of the engineering and mixing, focusing on a raw, folk-infused sound that highlighted the band's communal and unpolished aesthetic.^[3][2] Older contributed additional engineering alongside playing multiple instruments, including bass, banjo, and percussion, with the approach emphasizing minimal overdubs to maintain the album's live, ensemble feel.^[3][19] Post-production occurred in 2009, with mastering by Doug Sax in Ojai, California, preparing the album for releases on Vagrant Records in the United States and Rough Trade in the United Kingdom.^[3][19]

Composition

Musical style

Up from Below blends indie folk, folk rock, and neo-psychedelia, drawing on acoustic instrumentation and layered vocal harmonies to create an upbeat, communal sound infused with 1960s influences. The album's sonic palette emphasizes sprightly choruses and multipart harmonies reminiscent of late-1960s psychedelic ensembles, with tracks like the opener "40 Day Dream" rolling irresistibly through handclaps, horns, and optimistic hooks.^[3][23][2] Instrumentation features a diverse array of acoustic guitars, banjo, harmonica, percussion, French horn, and washboard, enabling a roots revival aesthetic that evokes hippie-era jam sessions while incorporating modern eclectic arrangements. The 11-piece ensemble's contributions yield rich textures, as heard in the gospel-like harmonies of "Janglin'" and the pounding rhythms of "Kisses Over Babylon," blending elements of chamber pop and folk revival. Influences from acts like Love, the Faces, Arcade Fire, and Phil Spector are apparent in the Wall of Sound-style production and courtly psychedelia, particularly in the crowd-pleasing build of "40 Day Dream."^[24][23][25] The album unfolds with varied tempos and moods, forming a dynamic arc from anthemic, joyful outbursts in "Home"—a jaunty duet driven by upbeat rhythms—to more introspective, freewheeling moments in "Come In Please" and the darker tones of "Black Water." This progression highlights the band's ability to shift from frothy exuberance to contemplative restraint, maintaining an overall sense of revelry tempered by emotional depth.^[2][23][25]

Lyrics and themes

The lyrics of Up from Below explore central themes of love, community, spiritual awakening, and escapism, reflecting bandleader Alex Ebert's creation of the messianic persona Edward Sharpe as a vehicle for personal and collective redemption.^[26] These motifs recur across the album, portraying human connections as pathways to transcendence amid life's chaos, with songs often blending raw emotional confessions and communal anthems to evoke a sense of shared journey.^[27] The track "Home," a duet between Ebert and Jade Castrinos, exemplifies the album's celebration of partnership and love as a grounding force, co-written by the pair during their early romance to capture the joy of mutual discovery and belonging.^[28] Its call-and-response structure reinforces themes of community, inviting listeners into a collective affirmation of emotional intimacy over geographic or material ties.^[26] In contrast, "Brother" delves into grief and spiritual loss, written as a tribute to actor Heath Ledger, a friend and supporter of the band who died in 2008, using intimate verses to mourn personal connection while seeking solace in enduring brotherhood.^[26] Similarly, "Kisses over Babylon" employs biblical imagery of exile and divine longing—evoking the ancient city's fall as a metaphor for escaping modern alienation—to convey spiritual awakening through yearning pleas in Spanish for renewal and blood-tied heritage.^[29] Collaborative songwriting shines in tracks like "Jade," where Ebert and Castrinos intertwine personal anecdotes from their relationship with the fictional lore of the Edward Sharpe character, crafting a narrative of whimsical pursuit and romantic idealism that mirrors the album's escapist ethos.^[30] This blending personalizes broader themes, turning individual stories into communal myths that underscore the band's emphasis on forgiveness, reconnection, and unfiltered human bonds.^[27]

Release

Singles

The lead single from Up from Below, "Home", was released in January 2010 in digital format, with a limited 7-inch vinyl edition featuring a demo version on the B-side paired with "Simplest Love".^[31][32] It peaked at number 25 on the Billboard Alternative Airplay chart, marking the band's first significant radio success, and was certified platinum by the RIAA in 2015.^[32] The accompanying music video, a low-budget compilation of home movies capturing the band on tour, emphasized their communal, nomadic lifestyle through candid, narrative-driven footage of performances and travels.^[33] Prior to the album's full release, "40 Day Dream/Geez Louise" was issued as a UK-exclusive 7-inch vinyl single in September 2009 on Rough Trade Records, serving as an early promotional tie-in to build anticipation for Up from Below.^[34] This double A-side format highlighted the album track "40 Day Dream" and the B-side "Geez Louise," which was exclusive to the single, with no notable chart performance but contributing to the band's emerging presence in the European indie scene.^[35] "Janglin'" was released as a promotional single in 2010, primarily through its licensing for a Ford Fiesta television commercial, which exposed the upbeat folk track to a broader audience via digital streaming and sync placements rather than traditional radio or sales formats.^[36]

Promotion and formats

The album Up from Below was released on July 14, 2009, through Vagrant Records in the United States and Rough Trade Records internationally.^[1][37] It was made available in standard formats including CD, double LP vinyl in a gatefold sleeve, and digital download, with the vinyl edition featuring full-color inserts and mastered for optimal sound quality.^[19] These editions emphasized the album's folk-rock aesthetic, with packaging that highlighted the band's communal, whimsical imagery. Promotion for Up from Below centered on a North American headline tour that commenced on July 28, 2009, in Philadelphia, Pennsylvania, and extended through September and into the fall, building momentum following the album's launch.^[38] The tour showcased the band's theatrical live performances, characterized by circus-like energy, audience participation, and elaborate staging that mirrored the album's playful, communal themes. Key stops included major festivals such as Bonnaroo in June 2009 (pre-release buzz) and Treasure Island Music Festival in October, helping to introduce the group to wider audiences through high-energy sets featuring tracks like "Home."^[39][40] Digital editions of the album offered exclusive bonuses to encourage online engagement. Limited-edition physical releases featured special packaging with artwork capturing the band's bohemian spirit, enhancing collectibility for fans.

Reception

Critical response

Upon its release, Up from Below received generally favorable reviews from music critics, earning a Metacritic aggregate score of 66 out of 100 based on 11 reviews.^[41] The album was frequently praised for its joyful energy and vibrant folk-rock sound, capturing a sense of communal exuberance amid the late-2000s indie scene. AllMusic rated it 3 out of 5 stars.^[42] Prefix Magazine awarded it 8.5 out of 10, describing it as "an album to be commended, even if it might lead to the scourge of other hippie bands."^[43] However, some reviewers critiqued the album for its uneven execution and perceived lack of authenticity. Pitchfork highlighted its "weird juxtapositions and half-formed ideas," which lent the record a "repurposed feel" despite drawing from 1960s influences, ultimately deeming the music "oddly uptight" and overly studied.^[2] The Guardian offered a mixed assessment, praising the opener "40 Day Dream" as a "marvellous, good-natured" blend of Faces-like energy, Arcade Fire bombast, and Phil Spector production, but suggesting the band might struggle to sustain momentum without stronger material.^[23] In retrospective views, Up from Below has been credited with contributing to the folk revival wave of the late 2000s and early 2010s, embodying a "60s folk-revival spirit" through its chilled psychedelia and ensemble-driven arrangements.^[44] Outlets like the Santa Barbara Independent later described the band's sound as a "catchy mish-mosh of '60s folk revival, percussion-driven indie rock," underscoring its role in revitalizing communal, roots-oriented music.^[45]

Commercial performance

Upon its release, Up from Below debuted and peaked at number 76 on the US Billboard 200 chart.^[46] By 2013, the album had sold over 363,000 copies in the United States.^[47] It received a gold certification from the RIAA on August 23, 2019, for 500,000 units shipped.^[48] Internationally, the album reached number 86 on the Australian Albums Chart,^[49] number 132 on the Canadian Albums Chart,^[50] and in the United Kingdom, it re-entered the UK Albums Chart in 2013 and peaked at number 52.^[51]

Track listing and personnel

Track listing

The standard edition of Up from Below contains 13 tracks, primarily written by Alex Ebert (credited as Edward Sharpe), with select co-writing credits, and has a total runtime of 56 minutes.^[52][37] The US digital edition includes two bonus tracks: an acoustic rendition of "Carries On" (KCRW Session) and an acoustic "Desert Song".^[53]

Personnel

The album Up from Below was produced by Nico Aglietti, Aaron Older, and Alex Ebert (credited as Edward Sharpe). It was recorded at The Woodrow Hideaway and Fairfax Recordings in Los Angeles, California, with engineering by Nico Aglietti and co-production assistance from Kevin Augunas.^[37] Mastering was handled by Doug Sax and Sangwook "Sunny" Nam at The Mastering Lab.^[54] Core band members and roles:

• Alex Ebert (Edward Sharpe) – lead vocals, guitar, harmonica, percussion^[37]
• Jade Castrinos – vocals, guitar^[37]
• Aaron Older – bass, percussion, vocals, multi-instruments, co-producer^[37]
• Nora Kirkpatrick – accordion, vocals^[37]
• Christian Letts – guitar, vocals, artwork (original lettering)^[37]
• Nico Aglietti – bass, engineering, co-producer^[37]
• Josh Collazo – drums, percussion^[37]
• Orpheo McCord – percussion^[37]
• Mark Noseworthy – guitar, multi-instruments^[37]
• Tay Strathairn – keyboards, piano^[37]

No major guest appearances are credited on the album, though the band employed rotating live members for performances following its release.^[1] Artwork was designed by Edward Sharpe.^[37]

Cultural impact

Use in media

The track "Home" from Up from Below has seen extensive use across film, television, and advertising. In television, a cover version performed by the cast appeared in the season 6 premiere episode "Homecoming" of Glee, aired in 2015, highlighting themes of reunion and nostalgia.^[55] Earlier, in 2010, the original recording was prominently used in an NFL.com tickets commercial titled "There's No Place Like Home," which celebrated fan loyalty across various cities.^[56] Another standout track, "40 Day Dream," gained visibility through television placements. It was included in season 3, episode 6 of Chuck ("Chuck Versus the Nacho Sampler"), which aired on February 1, 2010, playing during a family-oriented scene involving the characters Ellie and Devon. The song's upbeat folk energy complemented the episode's lighter moments. "Kisses over Babylon" received a notable comedic spotlight in the revived Beavis and Butt-Head series. It was featured in the season 8 episode "Bathroom Break," which premiered on MTV on November 17, 2011, where the protagonists reacted to its music video in their signature irreverent style.^[57] Beyond these, other tracks from Up from Below have appeared in independent films and advertisements. For instance, "Janglin'" was used in a 2010 television commercial for the Ford Fiesta, emphasizing the vehicle's youthful appeal.^[58] "Home" also surfaced in indie comedies like the 2010 film Cyrus and episodes of shows such as Community (season 1, episode 9) and Ugly Betty (season 4, episode 10).^[59] These placements, extending through various media into the mid-2010s, underscore the album's versatile folk sound in contemporary storytelling and marketing.

Legacy

Up from Below played a pivotal role in launching Edward Sharpe and the Magnetic Zeros into the folk-pop scene, helping to fuel the broader folk revival of the late 2000s and early 2010s. The album's blend of rootsy instrumentation and communal themes positioned the band alongside contemporaries like Mumford & Sons, with whom they shared stages during a notable 2011 cross-country train tour that highlighted the era's rising interest in Americana and folk rock.^[60] This exposure contributed to the band's sustained success, as their debut captured the zeitgeist of a movement seeking authentic, group-oriented music amid modern disconnection.^[61] Central to the album's enduring appeal is the track "Home," which emerged as a defining cultural anthem of optimism and belonging. By November 2025, the song had surpassed 1.1 billion streams on Spotify alone, underscoring its timeless resonance in playlists, weddings, and media.^[62] In August 2025, "Home" experienced a viral resurgence on social media, with a post calling it the "worst song ever" sparking widespread discussion, to which frontman Alex Ebert responded in defense, reaffirming its emotional appeal.^[63] The album's overarching communal ethos—evoking 1960s hippie ideals through call-and-response vocals and collective instrumentation—inspired festival performances that fostered shared experiences, turning concerts into participatory celebrations of unity.^[9] This spirit not only defined the band's early identity but also influenced the interactive vibe of subsequent folk-oriented events. Retrospectively, Up from Below has been recognized for revitalizing modern folk with its joyful, unpretentious energy, appearing in user-curated rankings as a standout debut of the 2000s.^[64] The album paved the way for the band's evolution, leading to more polished releases like Here (2012) and PersonA (2016), where their sound incorporated darker, more introspective elements while retaining core folk roots.^[65] This progression solidified their legacy as innovators in indie folk, bridging nostalgic revivalism with contemporary expression.