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Song by Georg Altziebler
 
Players:
Danny Frankel; drums, percussions
Janie Cowan; acoustic bass
Heike Binder, harmonium
Andi Lechner; resonator guitar, electric guitar
Georg Altziebler; acoustic guitar, harmonica, vocals
 
recorded by:
Gar Robertson
 
mixed & mastered by:
Fabio Schurischuster
 
Prayers , it seems to me, is a song about hope and ambiguity. Do you really want what you hope and pray for? Have your dreams any impact on what the future holds in store for you? And if you’re afraid of something – will your fear really keep it away? What happens to an unsung song? Where does the light go, once you turn it off? So many questions and just one song .. and even while you’re still wondering, you know you don’t really want answers as long as the band keeps playing a waltz.  
 
 
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Son of the Velvet Rat, in partnership with the Ghost and the Machine (the professional alias of Austrian singer-songwriter Andi Lechner), follow up on the former’s 2024 standout album Ghost Ranch with a series of six digital singles, recorded live, to be released one a month beginning in March 2025. The songs feature a rawer, more immediate sound than previous recordings, with Lechner’s National resonator guitar often tuned down several steps to add an ominous underpinning to the music.
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Son of the Velvet Rat divide their time between their home in Graz, Austria and Joshua Tree in California’s high desert. Their songs reflect a sonic landscape stretching from the Old World romanticism of Jacques Brel or Fabricio de Andre to the visionary realm of American balladeers like Bill Callahan or Michael Hurley. Lechner hails from  Vienna, Austria, where aside from helming Ghost and the Machine, he is a much-in-demand session guitarist. 
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These songs were recorded live at Gar Robertson’s Red Barn Recorders in Morongo Valley, just down the hill from Joshua Tree, and produced by Altziebler and Lechner. Rounding out the rhythm section are fellow desert-dwellers Janie Cowan (Bob Dylan’s Shadow Kingdom) on standup bass and Danny Frankel (Lou Reed, Spain, She & Him) on drums and percussion.  
 
Improvisation alternates with composed passages. The   dynamic ranges from fragile folk to ferocious noise - with colors and transitions being hazy and obscured. The Red Barn Sessions capture the poetry created by the confluence of these blurry shades.                                                                           
(Paul Cullum)
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