The Valley Of Vision is a 27-minute, breakthrough salvo of six songs that finds the band reinspired once again. Accompanied by a visual piece shot in VR & 3D computed radiography technology, and anchored by "The Way," a beautifully atmospheric, piano-and-beats-powered ballad.
Manchester Orchestra had always prided themselves on their approach. The Atlanta-based band, led by singer/lyricist Andy Hull with Robert McDowell, had spent their career challanging fascinating and immersive creative realms with each release. The band had worked relentlessly to cultivate a passionate fan base the old-fashioned way: releasing music, creating inspired video content, and touring. Mainstays on music festivals, frequently synced in ground-breaking films and TV shows, staple artists at the adult alternative radio format, and seen frequently on The Late Show With Stephen Colbert, CBS Saturday Morning and more.
“[One of] indie-rock’s most visceral and essential bands” - Guitar World.
The Valley Of Vision is the follow up project to Manchester Orchestra's masterpiece, The Million Masks of God. These songs stemmed from Million Masks but the band switched things up creatively and holed themselves up in a home studio in Muscle Shoals. This is another excellent piece of work from the band which really showcases how they are becoming important record makers both through Andy Hull's songwriting and their innovation of sound in the studio. Andy Hull says “Making this was an exciting idea of what the future could be for us in terms of how we create.”
Hull was inspired to start writing the record while rummaging around in his suitcase looking for his lyric notebook and instead found The Valley of Vision, a 1975 book of old Puritan prayers his mom had given to him the previous Christmas. “I realized it should be our title too, because to me, it meant you can’t see the forest for the trees, but you’re recognizing you’re in the valley, and you can eventually get out,” he says.
The Valley of Vision conjures up a story that is further illuminated by an accompanying visual piece shot in VR and 3D computed radiography technology by filmmaker Isaac Deitz.