Contemporary and timeless
— New York Times

“Home is not a place but a power,” somebody says, and here in these songs is the roving longing that makes a prayer of what is seen, no matter—desert or hill or river: I wasn’t born here but I’ve been here for a while.  Jeffrey gives us the ample and aching heart, the long hunger that is life as it shimmers past, the elusive want, the face remembered.  The hands.  Pretty hands.  The blown river.  “Stay together/learn the flowers/go light” one poet writes—go light and, by god, hang on.  I see paintings.  Millet, maybe—a woman in a tavern and light is time and time is the light passing.  Plain people.  Humble. It is summer and the window is open.  You are 22.  You will marry.  No: whatever can have been is gone from you; it belongs to the life unlived.  Big open sky and a creaking fence.  The chance encounter that goes electric.  “I’m in crush with you,” my kid used to say—and I guess I would say they are crushing, these songs.  They get to me.  A warble in the heart.  They feel like my favorite turn in the road, the long run of dirt when the mountains go blue and the jackrabbit beats you running.  The late open mic of the soul.  If you go, you go.  You go like hell.  Albuquerque.  Eldridge.  I am right there and anywhere at all.  Jeffrey makes it all blood country.

- Noy Holland


      BLOOD BROTHERS, the much-anticipated follow-up to Jeffrey Foucault’s critically acclaimed 2015 album Salt As Wolves (“Immaculately tailored… Close to perfection” - New York Times; “Pure Songwriter, simple and powerful” - Morning Edition, NPR) is a collection of reveries, interlacing memory with the present tense to examine the indelible connections of love across time and distance. The poet Wallace Stevens wrote that technique is the proof of seriousness, and from the first suspended chord of 'Dishes' - a waltzing hymn to the quotidian details of life, which are life itself ('Do the dishes / With the windows open') - Foucault deftly cuts the template for the album as a whole, showing a mastery of technique as he unwinds a deeply patient collection of songs at the borderlands of memory and desire.

     In two decades on the road Jeffrey Foucault has become one of the most distinctive voices in American music, refining a sound instantly recognizable for its simplicity and emotional power, a decidedly Midwestern amalgam of blues, country, rock’n’roll, and folk. He’s built a brick-and-mortar international touring career on multiple studio albums, countless miles, and general critical acclaim, being lauded for “Stark, literate songs that are as wide open as the landscape of his native Midwest” (The New Yorker), and described as “Quietly brilliant” (The Irish Times), while catching the ear of everyone from Van Dyke Parks to Greil Marcus, to Don Henley, who regularly covers Foucault in his live set. BLOOD BROTHERS is the sixth collection of original songs in a career remarkable for an unrelenting dedication to craft, and independence from trend.

     A departure from the austere electricity of his last outing, BLOOD BROTHERS sets blues aside to pull together strands of country, R&B, gospel, rock’n’roll, and folk in a series of delicate small-canvas portraits. There’s a touch more light coming through the window, a certain gentleness in play, with layers of backing vocals sung by women - including Foucault's wife Kris Delmhorst, as well as the various partners of the band - adding hue and shade.

     ‘War on the Radio’ - a jangling rocker built on a Stars’n’Bars-style fiddle line carried by pedal steel and electric guitars - uses bright major chording reminiscent of Foucault’s 2006 album Ghost Repeater, as it remarks the complicity at the heart of modern American living (‘Just lie back and close your eyes / Listen to the war on the radio’). The hushed intensity of ‘Blown’ - a duet with Grammy-nominated songwriter Tift Merritt - plumbs the nature of dislocation against lines of brooding steel and cello, while the title cut, written together with drummer Billy Conway (and embroidered here by the near-transparent lilt of Iowa’s Pieta Brown) details the sharp ache of lost love (‘How could I know that I would live through / My life haunted by your sad smile?’). Rounding out the A-side, ‘Little Warble’ memorializes the day a love affair ends, from the vantage of twenty years past, in a quiet elegy of surpassing beauty. The intimate acoustic guitar duet ‘Pretty Hands’ - which sees Foucault joined by the Milk Carton Kids’ Kenneth Pattengale on lead - closes the album with a lovely, spare poem of knowing and being known, a meditation on the nature of marriage.

     Jeffrey Foucault was 17 when he learned to play all the songs on John Prine's eponymous debut on his father's mail-order guitar, spending long evenings in his bedroom spinning piles of old records on a hand-me-down turntable, lifting the needle to transcribe every line of ‘Desolation Row’. At 19 he stole a copy of Townes Van Zandt: Live and Obscure from a friend, and a few years later, having quit school to work as a farm-hand and carpenter Foucault began writing the songs that became his first album (2001’s Miles From the Lightning). Since then he’s been everything from solo country-blues troubadour to frontman for a six-piece rock 'n' roll band, along the way compiling a discography notable for its visceral power and complex poetics. Yet it wasn’t until he paired with drummer Billy Conway (Morphine) that the final piece fell into place and Foucault found the Luther Perkins to his Johnny Cash, the truly sympathetic collaborator to frame and fire his terse brand of Americana.

     Since 2013 Foucault and Conway have toured across the United States and overseas together, refining a primal, stripped-down stage show: two men, two chairs; a beat-up Gibson J-45 and an electric guitar tuned low and played through a 5-watt amp; a suitcase kick drum, a low-boy cymbal, a snare drum. The pair plays only what they can carry into the club alone in one trip, covering all the territory from blues and country, to rock 'n' roll and folk with a laconic ferocity and timeless cool. Their dynamic partnership - as nimble as it is sonically powerful - is the bedrock on which BLOOD BROTHERS builds its nuanced and poignant lament.

     Cut live to tape in three days at Pachyderm Studios in rural Minnesota, BLOOD BROTHERS reconvenes Salt As Wolves' all-star ensemble: Conway on drums, Bo Ramsey (Lucinda Williams) on electric guitars, and Jeremy Moses Curtis (Booker T) on bass, joined this time by pedal steel great Eric Heywood (Pretenders) to unite in the studio both iterations of the band with which Foucault has toured and recorded for over a decade. Charting a vision of American music without cheap imitation or self-conscious irony, the ensemble deploys an instinctive restraint and use of negative space, an economy of phrase and raw simplicity that complement perfectly Foucault’s elegant lines and weather-beaten drawl.

     As noise and politics, fashion and illusion obtrude on all fronts, BLOOD BROTHERS takes a deep breath and a step inward, with tenderness and human concern, paying constant attention to the places where the mundane and the holy merge like water. In language pared to element, backed by his world-class band, Foucault considers the nature of love and time in ten songs free of ornament, staking out and enlarging the ground he’s been working diligently all the new century: quietly building a deep, resonant catalogue of songs about about love, memory, God, desire, wilderness, and loss.


THE NEW YORKER:
“Jeffrey Foucault sings stark, literate songs that are as wide open as the landscape of his native Midwest”

MOJO:
“Songwriting brilliance”

THE IRISH TIMES:
“Quietly brilliant”

UNCUT:
“The music of Wisconsin native Foucault is the kind so many aspire to but never attain: beat-up troubadour folk whittled to dolorous perfection”


In His Own Words

I take the small roads when I can. I hit the small rooms with a couple old guitars and a 5-watt Skylark amp. Sometimes with a band, and then I stand up. Mostly it’s just me and my friend Billy Conway, the best drummer I ever heard. Then we both sit down and I stomp my foot. I own a Smith Corona typewriter and a Western Bell rotary phone, and I use them both. I wore a pearl snap cowboy shirt in my Kindergarten school picture. Irony isn’t my thing. I try to write the kind of songs Johnny Cash would cover if he was still around.

I grew up in Wisconsin. My Dad wore a tie to work and played a knock-off Gibson with a chunk of the headstock missing where he’d backed over it with the car. Mom sang along. I knew all my Grandparents well into my thirties, and both my Great Grandmas. Winter Sundays were for church or ice-fishing, and summers we hauled an old travel trailer up to the north woods. School was a drag, and I mostly drew pictures. When I was 11 I bought a cassette copy of Little Richard’s Greatest Hits. At 17 I learned to play all the songs on John Prine’s 1971 debut in my room with the door locked and subway posters of British New Wave bands looking morbidly on. At 19 I stole a copy of Townes Van Zandt’s ‘Live & Obscure’. At 24 I made a record and start traveling around the country. I have two older brothers. They don’t sing but they both fish.

I live out in New England in a little town with a river through the middle. I can’t get home without crossing good water and it fairly makes up for living east, which isn’t in my blood. We have a chicken coop and a little barn and an old truck that runs. I like to listen to records real loud when I do the dishes, and I do most of the dishes.


FULL DISCOGRAPHY

Blood Brothers (2018)
Horse Latitudes: Solo/Acoustic Demos (2018)
Jeffrey Foucault Live in Portland, OR 11/5/15 (2018)
Salt as Wolves (2015)
Cold Satellite: Cavalcade (2013)
Horse Latitudes (2011)
Cold Satellite (2010)
Seven Curses (2010)
Redbird: Live At The Café Carpe (2010)
Shoot The Moon Right Between The Eyes (2009)
Ghost Repeater (2006)
Stripping Cane (2004)
Redbird (2003)
Miles From The Lightning (2001)


* Noy Holland is the author of I WAS TRYING TO DESCRIBE WHAT IT FEELS LIKE: NEW AND SELECTED STORIES, and the novel BIRD, available from Counterpoint Press and www.noyholland.com

PRAISE FOR BLOOD BROTHERS

UNCUT: "Roots-rock troubadour's stunning glimpse into existentialism in a frenzied world"

NPR MUSIC: "Mesmerizing, meditative... alluring and relatable all at once"

CHICAGO SUN TIMES: “...Densely layered tales of longing and loss, beauty and simple pleasures.”

BOSTON GLOBE: “Irony isn’t my thing,” observes this transplanted Midwesterner. What is his thing: plainspoken, allusive songs of resonating, space-filled intensity that roam the byways of American roots music.”

NO DEPRESSION:
“… An original voice staking out his rightful place in a pretty crowded Americana field." (Review in Through the Lens' "Best Roots Music Albums of 2018")

AMERICANA UK: “… An Americana album of the year contender. There is nothing not to love about this album.” (Review)

NO DEPRESSION:
"Blood Brothers illustrates that whatever genres and subgenres he embraces... Jeffrey Foucault continues to prove himself one of contemporary Americana’s more eloquent and versatile artists."

WIDE OPEN COUNTRY:
"Foucault unfurls stories of love and contemplation with a soft hand... Blood Brothers is the kind of album we need in times like these." (Review)

AMERICANA HIGHWAYS:
Blood Brothers is a joy to listen to…over and over. It feels like love, home, and an old friend from start to finish." (Review)

WORCESTER TELEGRAM: "… Hits you at the right angle, transports you back to a place that you rarely think of, but which still resonates with at least enough energy to shock. It’s sad, and it’s beautiful, and it’s indelibly human”

SHEPARD EXPRESS: “...The balance between reflection and passion sounds effortless. Foucault’s singing is dusky, beguiling and grainy as uncut wheat, yet as nuanced as a sideways-drifting wind." (Review)

NO DEPRESSION:
"Certainly one of the year's best." (Review)

INDIE VOICE BLOG:
"His songs are well crafted and tell amazing stories, and his accompaniment is some of the best out there”

FOLK ALLEY: “Jeffrey Foucault has done it again… If there are any flaws on the record, it’s that the listener would be best served stopping after every song and listening to it a few more times before continuing.”

AMERICAN SONGWRITER: “...Foucault’s signature smoky vocals, tempered by [Tift] Merritt’s lonesome twang.”

RED LINE ROOTS: “Understated gems of songwriting, always delivered with just the right balance of sincerity and self-doubt.”

GLIDE MAGAZINE: “Describing Foucault’s music with words like economic, literate, simple, restrained, aching, and raw doesn’t go far enough. There’s a purity and delicacy here... free of pretensions or imitation. He has shaped his own unique style and has a way of looking inward and painting detailed reflections that few can match.”

TURNSTILED JUNKPILED: "Authentic Americana as real as calloused hands and weather-worn leather.”

PRESS QUOTES

NEW YORK TIMES:
“Immaculately tailored… Sometimes his songs run right up to the edge of the grandiose and hold still, and that's when he's best… Close to perfection”

GREIL MARCUS:
“A country plea, a blues reach for facts beyond sound, the sense of immediate doom that only a slide guitar can make in its hesitations, its sense of suspension that seems to hold everything a step behind where it ought to be... scary in the bend of the first note”

MORNING EDITION (NPR):
“Pure Songwriter””

DON HENLEY:
“Jeffrey Foucault… clocks modern culture about as good as I've ever heard anybody clock it”

BOSTON GLOBE:
“A marvelous record full of vivid lyrical imagery — goner’d streets, embered darkness, horizon eyes cast down — bound together by a tough, reverberating, electric sound that is often redolent of the blues, without being quite locatable as such”

YAKIMA HERALD-REPUBLIC:
…an uncommon wisdom and a unique perspective on humanity.

THE IMPROPER BOSTONIANON:
… an acclaimed area troubadour of finely etched songs

WORCESTER TELEGRAM:
“”The music ebbs and flows, but Foucault manages to find a power in his sense of understatement and restraint. It’s a gift few songwriters master, that ability to hold back at just the right moment, to let the listener fall into the sense of absence in a song. Foucault does it better than just about anybody else”

MINNEAPOLIS STAR-TRIBUNE:
“SALT AS WOLVES is slow, sometimes smoldering and always deeply poetic whether Foucault is singing about love, loss or God”

MOTHER CHURCH PEW:
“Salt As Wolves [is] an exquisitely-crafted assemblage of original songs that represents all that is good, pure, and true about American music"

PORTLAND MERCURY:
“a smoldering collection of dark blues and Americana”

STAR OILCO (PORTLAND):
“With a bluesy, burnout sound as big as the Midwestern sky—and an all-star backing band to boot—Foucault’s latest showing promises to be a major hit”

ROUTES AND BRANCHES:
““Shot through with space, holy ghost haunted and live to tape... SALT AS WOLVES is a CD that gives credence to the idea that 'quiet is the new loud', with the spirit of Foucault's new songs ringing long after the record draws to a close”

TWANGVILLE:
“Raw, emotional... hauntingly beautiful””

ELMORE MAGAZINE:
“Swirls of dust… occasional gusts of prairie wind… literate songs and an ability to produce raw power in a stripped-down way… Foucault's best album”

LA CROSSE TRIBUNE:
“One of the preeminent singer-songwriters of his generation"

MILWAUKEE JOURNAL-SENTINEL:
“The softer the music gets, the more distinct Foucault's songwriting voice becomes, allowing him to show a kind of mean tenderness on the country-folk track "I Love You (And You Are a Fool)" and a sensual ease on the soft-rock lullaby "Take Your Time." When he's inside moments like those, where he's from matters not at all”

BLUES MAGAZINE (UK):
“Dusty and beguiling … With sublime use of restraint and space, there’s something of the wilderness about Foucault’s records. Buy them"

MXDWN:
“Salt as Wolves is a barroom masterpiece… This is one hell of a record”

SELECTIVE MEMORY:
“Where many in the Americana scene have re-built a foundation after it has been torn down, Foucault has found a barren wasteland and built a world”

PITTSBURGH IN-TUNE:
“This is a terrific album that deserves to be heard by as many people as possible”

HBCVIBES:
“There is a striking honesty to this record, Foucault's music is genuine and unapologetic… undeniably powerful”

POPDOSE:
“Jeffrey Foucault has a masterpiece on his hands… An absolute must”

GLIDE MAGAZINE: “
“The most incisive sounds are generally those that force the listener to lean in closer and take away some hint of emotional circumstance. This is one of those albums, and given Foucault’s intentions, it’s fair to say that he’'s made his mark”

WHAT'S UP MAGAZINE:
“A zenith album… 12 tracks of classic American country, rock 'n' roll, and folk”

PORTLAND MERCURY:
“…A smoldering collection of dark blues and Americana… the loveliest, lonesomest ballads”

THE ARGONAUT (Santa Monica):
“A musical and career game - changer”

NASHVILLE SCENE:
“Searing Songwriting””

NO DEPRESSION:
“Life and death, surrender and commitment, pain and wanting, a sparse yet rich texture and sound that transcends pure blues””

WALL STREET JOURNAL:
“glimmers of electric guitar scrolling over a steady brushed-drums beat that anchors Foucault’s sturdy voice...”

RED LINE ROOTS:
“A brilliant collection of songs.. roots planted in the blues but with a contemporary twist... One of the best records of the year for sure””

GOOD TIMES SANTA CRUZ:
“Closing the distance between himself and the greats who paved the way for him: Townes, John Prine, Steve Earle, Bob Dylan, Greg Brown, and more”

HUFFINGTON POST:
“There is an uncanny charm to this man.. sounds of The Band and the night howls of Neil Young… [a] fierce, undying and unwavering pull…"

CASCADIA WEEKLY:
“A practitioner of spare, stark, blues and folk, Foucault is one of a dying breed of hardcore troubadours”

SANTA BARBARA SENTINEL:
“His songs are soulful, serious, yet serene”

SAN FRANCISCO EXAMINER:
“The songwriter-as-craftsman has been described as the Midwestern workingman's poet”

ISTHMUS:
“Carrying on a long tradition of ragged folk, blues and country influences”

MUSIC! SOUNDS OF SANTA BARBARA:
“Foucault has diligently crafted a discography as poetic and visceral as it is seductive and inflicting”

SN&R (SACRAMENTO NEWS & REVIEW):
“Jeffrey Foucault is cut from the same cloth as John Prine… lyrically tends toward some surprising twists that illuminate the realities of contemporary life"

AMERICAN SONGWRITER:
“After releasing a handful of sparse, stark solo albums, singer/songwriter Jeffrey Foucault began widening his sound, piecing together his own brand of textured, Midwestern Americana laced with pedal steel, accordion, organ, and electric guitar. He adds some serious muscle to that sound with Calvacade, his second album with the rock band Cold Satellite”

NO DEPRESSION:
“One of our most truly poetic songwriters… Foucault’s singing is almost nakedly human in that he invariably reaches for the most open honesty of his feeling… The inherent warmth of his throaty delivery tempers the occasional strangeness of his poetic lyric, and invites you into its possibilities”

NEW YORK MUSIC DAILY:
“Twangy rock… heavily infused with country and blues, in the same vein as Steve Earle or James McMurtry. But where McMurtry will wind a yarn, Foucault spins off one image after another; where Earle heads for the country, Foucault goes off into growling Neil Young territory”

TIME OUT CHICAGO:
“Wisconsin’s Jeffrey Foucault is the type of singer-songwriter whose talents sneak up on you. On paper, his description could apply to countless similar acts. In practice, Foucault frequently proves himself better than the rest”

THE DAY, NEW LONDON CT:
“Foucault…writes simple but marvelously evocative songs, working in traditions that range from Mississippi John Hurt to Chris Smither, to Townes Van Zandt. ‘Horse Latitudes’ and ‘Cold Satellite’, have placed him at a new level of accomplishment”

KDHX ST. LOUIS:
“Part John Prine, part Dylan"

PITTSBURGH CITY PAPER:
“Jeffrey Foucault is a man born into the wrong era. An age when iPods and Pandora stations queue up hundreds of songs to flick through rewards impatience… Foucault’s music does not”

ROUGHSTOCK:
“Horse Latitudes is the kind of record that you listen to from start to finish and then sit there and marvel at how well the recording is put together… the songs are simply stunning in their breadth and lyrical scope”

WASHINGTON POST:
“This is rock-and-roll in the key of country-noir: bleak visions of departed lovers, flickering TVs and empty landscapes underlined by pedal steel guitar and cello”

Q MAGAZINE (UK):
“Foucault has grown as a songwriter in the American Songbook tradition, the understated menace of Springsteen’s Nebraska mixing with the country of Gene Clark. It all gels together on such tracks as Goners Most and the mysterious redemptive title track. After “just” seven albums, it looks like there’s a new kid in town”

NO DEPRESSION:
“Pure beauty and one of the best Americana albums this year”

WYEP RADIO PITTSBURGH:
“His voice, band, lyrics, and overall tone will shake you into submission”

THE TELEGRAPH (UK):
“HAUNTING AND POIGNANT TRIUMPH FROM AMERICAN SINGER Jeffrey Foucault is an original, beguiling songwriter with a marvelously expressive voice. He brings these talents together, along with fine guitar playing, to create a terrific album… John Updike once wrote of a character who was like an open window through which the rain poured. Foucault’s album captures that poignancy”

PASADENA WEEKLY:
“HORSE LATITUDES unfolds like a sequence of underwater dreams drawn to the surface by literate, vividly image-textured lyrics and a team of top players”

BEACONPASS:
“Jeffrey Foucault pronounces his name “Folk-alt,” and makes saying difficult things seem as easy as this straightforward pronunciation of his French surname. Praised for its tendency to combine raw, weathered emotion with measured elegance, Foucault’s music feels unadulterated and innate, with veins of pedal steel, the big-skied openness of Neil Young and the bizarre, haunting imagery that you might find in a Flannery O’Connor story”

THE NEW YORKER:
“Foucault’s voice and his themes are gruff, sombre, and deep, and his accompanying musicians, including the Pretenders’ Eric Heywood, on pedal steel, create a sparse, dramatic soundscape”

R2 MAGAZINE (UK):
“Foucault’s songs are poems, sonically framed to perfection… His voice elucidates meaning as it gracefully and delicately applies it’s unique instrumental tone to the exquisitely balanced whole”

SANJOSE.COM:
“Jeffrey Foucault’s music has an ethereal, haunted quality to it... [His] real strength lies in his ability to coax the feeling out of the darkest corners of a tune. His latest release, Horse Latitudes, is being touted as one of the best Americana releases of the year…”

OREGON LIVE:
“Wears hats well and writes songs better. If you’re looking for a cold beer and warm songs, this is where you go”

GOOD TIMES SANTA CRUZ:
“Poetic flair and {a} bold approach to songwriting… the timeless feel of artists like John Prine, Neil Young, and Bob Dylan”

WORCESTER TELEGRAM:
“A stunning lyricist, as well as a captivating performer. There’s an undertow to his singing voice, a gravity the listener can’t help but sink into”

FISH RECORDS (UK):
“Since his fantastic debut album, Jeffrey Foucault has walked a path that crosses folk, country and rock fusing all three elements together into a classic American sound…one of the very best”

DIRECT CURRENT:

"Finds that sweet spot between frayed and mournful Neil Young-styled electricity and the wide-open spaces of acoustic storytelling… (Horse Latitudes is) one of the best songs we’ve heard this year”

GREIL MARCUS (THE BELIEVER MAGAZINE):
“A country feel that puts the people who live in the Nashville charts to shame... a deep-ditch electric guitar takes a country song into the blues, and lets it go back where it came from. Nothing is pressed, to the point that sometimes the way the voice pulls away from a word or a guitar from a phrase is its own kind of preciousness—but not in “Twice I Left Her,” which shifts the music into a more resolute kind of quiet, a bigger emptiness in a single room. An acoustic guitar figure comes up against drums buried far away, like a memory. The story creeps out, and stops well short of its end, though you can glimpse it. Foucault drifts over the words so lightly that they seem to fade as they’re sung, and you might stop trying to hear them as words, let them come as sounds”

VINTAGE GUITAR:
“Beautiful and often chilling… a mighty powerful piece of work”

MAVERICK (UK):
“At the dawn of the 21st century, Cold Satellite intuitively captures mankind’s journey through the seasons”

THE TELEGRAPH (UK):
“A powerful mix of rock, folk, and country… A musician ably reaching for the sky”

THE NEW YORK POST:
“Reflective roots music… Ghost Repeater drips in pedal steel and quiet beauty”

THE NEW YORKER:
“An album full of gravelly, gorgeously rolling poems about weather, trains, and love. Foucault pronounces his last name "Folk-alt," which sounds something like one of those inadequate names given to the acoustic-guitar-driven musical genre of which he is an exceptional practitioner”

THE CHICAGO SUN-TIMES:
“One of the best albums of the year... there’s nothing derivative about Foucault's haunting allusions… the fundamental truths that emerge are undeniable… a harmonious minimalist sound”

NO DEPRESSION:
“There is no America like the one that serves as a backdrop for the songs on Jeffrey Foucault's aching new album… his spare, rootsy tunes are deceptively complex… the title track is the real stunner here… guitarist and producer Bo Ramsey augments Foucault’s acoustic songs with sinewy fills on electric guitar, adding a high-lonesome feel and ominous undertones”

THE STRANGER (SEATTLE):
“Incisive… a contender for many 2006 Best-of lists… mesmerizing”

THE WASHINGTON POST:
“Revealing layers of wisdom and wonder… [he] can conjure demons as adroitly as his Americana heroes Chris Smither and Townes van Zandt”

THE IRISH TIMES:
“Quietly brilliant”

THE DENVER POST:
“Excellent… Foucault’s strong, sandy voice and gently melodic tunes seem perfectly suited for nuanced material balancing poetic cultural critiques with songs about love... a mix of upbeat and pensive country-folk and blues… captures that mood without trying to be a definitive statement… oozes a comfortably leathered vibe” 

ACOUSTIC GUITAR MAGAZINE:
“Honest and bittersweet… Foucault leavens the heavier moments of dark revelation with tender images and welcome doses of hope… [an] inimitable sense of space… his acoustic guitar is a warm constant - a steady companion to his gentle, leathery voice”

MOJO:
“Songwriting brilliance”

UTNE READER:
“Haunting texture…weepy pedal steel… Taking a road trip this fall? Put this one on the playlist”

THE BOSTON HERALD:
“An atmospheric Midwestern poet-troubadour, a charming presence and a splendid guitarist”

PASTE MAGAZINE:
“Jeffrey Foucault’s voice [is] an emotive instrument that reaches an astonishingly wary, intimate places”

THE SUN (UK):
"A talent cut from the same cloth as Nick Drake or Townes Van Zandt… recommended to lovers of every kind of music”

THE IRISH WORLD:
“Songwriting at its rawest and best"

Q MAGAZINE (UK):
“An excellent third album… Americana doesn’t get much finer”

UNCUT MAGAZINE (UK):
“A deceptively simple record of slow-yielding but undeniable treasures… exquisite”

BLOOD BROTHERS PRESS RELEASE #1

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Tour Posters (pdf format)
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 Jeffrey Foucault 2018 Tour Poster

Jeffrey Foucault 2018 Tour Poster

 Foucault Blood Brothers Tour Poster

Foucault Blood Brothers Tour Poster