Growing up in Caracas, Venezuela, and Los Angeles,
Devendra Banhart was always playing music and drawing. But it wasn't until his brief stay at the San Francisco Art Institute that the disciplines became his constant companions. With the encouragement of poet and SFAI professor Bill Berskon,
Banhart began experimenting with all kinds of art. He also began recording songs around that same time, usually on shoddy, hand-me-down four-track machines. Brief, half-finished, or written in stream-of-consciousness form, the recordings weren't initially intended for release. But friends encouraged
Banhart, and he sent out a few tentative demos. He also left SFAI in favor of busking and wandering, and his travels led him from the Bay Area to Paris and eventually back to L.A. By now he was performing regularly, but he hadn't recorded or released anything officially. That changed when
Michael Gira (
Swans) issued the first
Banhart material on his Young God imprint in October 2002.
Oh Me Oh My... was an immediate critical hit, and comparisons to legends of songwriting, eclecticism, and tragedy were frequent (
Tim Buckley,
Syd Barrett,
Marc Bolan, et al.). The
Black Babies EP arrived in 2003, followed by
Banhart's first full-length,
Rejoicing in the Hands, in April 2004. Young God released its companion,
Ni±o Rojo, in September. Acclaim for both was nearly unanimous, and
Banhart's audience continued to expand. He jumped to XL for September 2005's
Cripple Crow, an ambitious set and his most sonically expansive album up to that point.
Smokey Rolls Down Thunder Canyon continued in that vein, recorded at
Banhart's new home studio in Topanga Canyon. ~ Jason MacNeil & Johnny Loftus, All Music Guide