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American Standards

by Ian Fisher

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1.
give me a chance and I’ll give you what I gave you before just better maybe a little more… trust me baby you’ve got nothing to lose just me maybe a little more… when I find you I’m gonna make you a wedding bed where we don’t have to lie anymore maybe a little more how I want the world how I want it all how I want I want I want I want to fall in love and then when I do I can’t believe it’s true now all I want I want I want to come back home to you come back home to you give me a chance and I’ll give you what I gave you before just better
2.
AAA Station 03:34
on an endless drive through the end-times of America scanning through evangelists on the dial static gotta keep your eyes on what’s ahead of you somewhere out of nowhere I caught a familiar voice for awhile coming in clear AAA Station on the air tonight AAA Station take me for a ride AAA Station play what I don’t know AAA Station won’t you save my soul reckless I am in need of direction I’ve just been playing reflection with everybody I meet hard to know who you are when you don’t do things that can help you get through to a person that you’re trying to be AAA Station don’t play the hits AAA Station don’t give two shits AAA Station play me something old AAA Station won’t you take me home AAA Station… tell me what to do girl who found me and took me home to a life I’d never known you’re still everything I want you to be hard enough loving someone when you’re there harder when you’re not there and it’s hardest when you’re somewhere in between but sometimes you can clear your head with a couple of months in a touring band but sometimes only a stranger’s song will do AAA Station… coming in and it’s loud and it’s clear AAA Station… funny finding you finding me here
3.
pissing in American Standards between khakied men and truckers an army of unwed mothers behind the counters I was thinking on a third world war not knowing what I came back for I would leave if I could find a door but there is no way out, no way out anymore sleeping through American Dreams spending my money on gasoline rest on alcohol and caffein it all sounded cooler on TV then I was saved by a song in the eastern air saved by a song and I don’t know where it’s from man it could be anywhere and I don’t care if I’m wrong and I was saved by a song in the eastern sky saved by a song and I don’t know why I waited for so long to try to fly away tumbleweeds made of trash getting bigger while they’re rolling past you know it was never built to last now we’re nostalgic looking back on a highway in the sun on a game that we always won it’s a shame knowing that it’s done but wouldn’t it be harder if it just went on and on and on saved but only for a moment cause as with every happy end it can not mean that the story is really over saved by a song in the eastern air saved by a song and I don’t know where it’s from man it could be anywhere and I don’t care if I’m wrong and I was saved by a song in the eastern sky saved by a song and I don’t know why I waited for so long to try to fly away
4.
Be Thankful 04:29
drove the Blue Ridge Parkway in an early morning haze now the Smokey Mountains feel like they’re a million miles away couldn’t get there fast enough, but didn’t have a clue exactly where we were heading to the radio was waving us through Eastern Tennessee and Rocky Top was more than just a song that we would sing I started waiting tables and you worked behind the bar and all the while were reaching for the stars time goes by while we’re busy making plans too busy dreaming to see the good things we had looking back I’d do it all again, but be thankful… and we moved once and we moved twice and then we moved again and ended up not far away from where it all began everything was changing but if we’d have only known when we were together we were home time goes by while we’re busy making plans too busy dreaming to see the good things we had looking back I’d do it all again, but be thankful…
5.
one foot in front of the other can keep you from falling down there are some things you can learn from your brother and some you only learn for yourself
6.
I loved a man, not the kind of love you’re thinking about he was a brother to me now if I saw him in a crowd I couldn’t pick him out one foot in front of the other can keep you from falling down there are some things you can learn from your brother and some you only learn for yourself the streets I forgot their names and how we got there I forget the same way the alchemy of turning strangers into friends is a science I practiced but don’t understand yet one foot in front of the other can keep you from falling down there are some things you can learn from your brother and some you only learn for yourself like how falling can make you grow stronger how loss can make you know what you really have how nostalgia can make you grow fonder of things you had forgotten you had one foot in front of the other…
7.
there’s a Melody in Nashville and she dances at the Legion Hall I don’t dance, but maybe I will though if I start I fear I’ll fall for the Melody in Nashville though I only know her name damn me for thinking about her still and how she keeps on dancing away but can it be this waiting for the real thing that’s just the thing which leaves me here alone I’m waiting here in the corner girl hoping you find me but I won’t disturb you dancing Melody there’s a sad flag made of string-lights an empty star out on the floor some old Vets with new wives and some just with stories from the war and she listens to them all night and bums a cigarette or two goes back out dancing neath the string-lights from red to white to blue but can it be this dark place I’ve chosen that’s just the thing that makes me hard to find I’m waiting here in the corner girl hoping you find me but I won’t disturb you dancing Melody no I won’t disturb you dancing Melody but here’s one that you can dance to down in Nashville, Tennessee
8.
they say that a song is just three chords and the truth I’ve been up all night trying to write about anything but you I’ve made exceptions sometime when I tried but a song ain’t no good when it’s based on a lie and I play more than three chords and I can’t deny that I loved you and you’re still in each song I write with my back against the wall… trying hard not to fall but art is just something we use to decorate space I’ve been using it lately to say what I can’t to your face I made a living writing you in a line the music we use to decorate time is the only peace in this world I find and what gets me through these lonesome nights with my back against the wall… trying hard not to fall my back against the wall my back against the wall tried to build my life around yours like building a house had the schedules and blueprints and plans all laid out then it fell apart and I’m finding out how live’s a lot more like gardening now how it changes and grows and then goes through droughts like the way we moved from bliss to doubt with my back against the wall…
9.
know it isn’t me, so it must be you the last time that I checked this type of thing took two so I bight my tongue to make it through the night just because I’m wrong it doesn’t make you right you always seem to have it figured out but now I start to have my doubts it ain’t me, it ain’t me, who’s cheating who I was always trying to see it your way but it ain’t me, it’s you used to take my breath, now you take your things leave me empty as the promises you made to me made of me a man now you make me a fool you used to treat me like your friend and now you treat me cruel I always thought you had it figured out but now I start to have my doubts it ain’t me, it ain’t me, who’s cheating who I was always trying to see it your way but it ain’t me, it’s you I hope you find what you are looking for but it ain’t me… it’s you
10.
Winterwind 03:42
wintertime in Tennessee summer had been hard on me feeling old enough to be the father of a child but it seemed like all I’d touch would turn from gold to rust looking for what may or must be the mother of a child then when I held my hand out through the window I felt the world fly reaching for someone or something that I could follow winter wind driving through the night thought it was love I was looking for turns out it was so much more than any song I’d wrote before could capture in a line so I tried to find a way to replace what love gave come what must or come what may be the product of a time then when I held my hand out through the window I felt the world fly reaching for someone or something that I could follow winter wind driving through the night… it was all clear to me that winter night in Tennessee alone in a car driving south come what must or come what may everything will pass away but a moment of truth could be a lifetime in itself then when I held my hand out through the window I felt the world fly reaching for someone or something that I could follow winter wind driving through the night
11.
12.
the bouncers on Broadway are singing along to a Southern Rock version of a Hank Williams song and as I wonder where you are I wonder am I just another one in a long long line of dreamers and fools kicking the can up 5th Avenue knocking on the door and filling the pews of the only church with a god I pray to I am just a man though I wanna be more like all of my unfulfilled idols before there’s a star dying and one being born but they all stick around this Southern town and they all are singing at the Ryman tonight every ghost when they turn out the lights and the people go home oh it must be a sight to see all of the ghosts at the Ryman tonight back behind Tootsie’s I swear that I saw the shadow of Johnny or Roy Acuff maybe just the smoke of Willie or maybe I’m wrong but I can’t help but dream or at least write a song for the giants whose shoulders I’ve been standing on whose words form the borders of maps that I’ve drawn who have made me a home and that home is longing for home and they all are singing at the Ryman tonight every ghost when they turn out the lights and the people go home oh it must be a sight to see all of the ghosts at the Ryman tonight…

about

It's been more than a decade since Ian Fisher left his home state of Missouri and moved to Europe, forever changing his life and his music. A prolific, independent songwriter who combines an international lyrical perspective and a world-traveler’s musical influences with Americana roots, Fisher has remained on the road ever since emigrating, penning over one and a half thousand songs while also playing hundreds of concerts around Europe, North America, and Africa.

That experience fuels Fisher's latest album, a socially-conscious record that finds the expatriate looking back on a country he's left behind, remaining both skeptical about and nostalgic for a place that is no longer his only home. Inspired by the musical diversity of albums like the Beatles’ White Album or Neil Young's Harvest — records that, like Fisher's, encompass everything from acoustic, stripped-down songs to full-band performances — and the hooked-filled sonics of bands like Foxygen, this is Ian Fisher at his most dynamic.

The making of the album started when Fisher shared over 300 song demos with producer René Mühlberger (AKA Pressyes) and musicians/co-arrangers Ryan Thomas Carpenter, Andreas Laudwein, and Camillo Jenny. They then whittled that list down to their ten favorite tracks and took them to a picturesque studio in the Austrian countryside where they created a sound that roots itself in Fisher's sharp songwriting while still reaching far beyond the confines of the solo-artist world. This isn't an intimate singer-songwriter record. Instead, it builds on his Rolling Stone acclaimed 2017 release, Idle Hands, and shows not only the range of Fisher's influences, but the broad scope of his abilities.

At times, the album reads like a cautious love letter to Nashville, whose influence looms large on tracks like "Be Thankful" and "Winterwind." Elsewhere, songs such as "AAA Station" and "American Standards" shine a light on some of the political and social issues that forced him to emigrate. Even though this record finds Fisher writing with class and compelling charm about the place of his birth, there is no mistaking him for a hyper-patriotic songwriter — the title "American Standards" slyly references a toilet brand, after all.

"This is the least country-sounding album I've ever made, but I can’t deny that it's still related to that genre that I love through its lyrics and the songs' influences," says Fisher, who grew up listening to Nashville hitmakers of the 1990s and his father's vinyl collection of 1970s songwriters.  "The theme of Nashville plays into my political ideas and how I want to take back the meaning of country music for people like me. It doesn’t just belong to NRA members. Country music doesn’t need countries to exist. It's bigger than that."

It's bigger than that, indeed. Over diverse arrangements that make room for guitar, synthesizer, piano, pedal steel, and layers of vocal harmonies, Fisher sings songs about taking stock of the modern world, letting go of past grudges, listening to independent radio, and balancing the starry-eyed ideals of his 20s with the sober groundedness of his 30s. "Three Chords" delivers a potent punch with little more than an acoustic guitar and Fisher's vibrato-laced vocals, and "It Ain't Me" mixes a Wings-worthy groove with funky bass, swooning steel, and an anthemic refrain. The sadly elegant "Melody in Nashville," with its slide guitar riffs and late-night ambiance, nods to icons like George Harrison and Harry Nilsson, while the album closer, "Ghosts of the Ryman," pays tribute to the iconic Nashville venue with call-and-response vocals and a grandly cinematic outro.

An independent self-starter who handles his own management, Ian Fisher has remained inspired and busy over the years, touring far-flung cities in South Africa one minute and writing original music for a handful of theater projects (including Shakespeare productions at the Residenz Theater in Munich and Chekhov plays at the Theater in der Josefstadt in Vienna) the next. Luckily he saved some of his best work yet for this record. An album that, like the artist himself, resonates far beyond the borders of genres and countries.

credits

released February 19, 2021

Ian Fisher - lead vocals / guitar
René Mühlberger - lead guitar / bass / drums / synth / backing vocals
Ryan Thomas Carpenter - piano / synth / backing vocals
Camillo Jenny - drums / percussion / synth
Andreas Laudwein - bass
Ollie Samland - pedal steel guitar / synth
Ida Wenøe - backing vocals
Marlene Lacherstorfer - bass on “Melody in Nashville”

Produced & Engineered by René Mühlberger
Mixed by Ben Majchrzak at Native Sound Recording
Except “AAA Station” Mixed by René Mühlberger
Mastered by Sam Irl
Manufactured in the EU by AustroVinyl

All Songs Written by Ian Fisher
Except “Be Thankful” Co-written with Sarah Clanton & “It Ain’t Me” Co-written with Adam James

Cover & Back-Cover Photos by Andreas Jakwerth
Band Photo by Ulrich Zinell
Album Layout by Ryan McArthur

Thanks to Our Friends, Families, & Fans / Jean, Brad, Morgan & The Fisher-Kraenzle Families / Donna & The Carpenter Family / Marlene Lacherstorfer / Maria, Peter, Jakob, & Christine Lenk / Sonja, Stephan, Annelies, Emanuel & Isabell Mayer / Chris & Heike Baranowsky / Palina, Linda, & Alex Stolar / Caspar, Liz, & Christoph “the dad” Baldinger / Alina Nock / Ana Kohler / Angie Mancuso / Angelika Klee / Bjørn Strømme / Carl Bonn / Chris Koether / Christine Pätzold / Daniela Tangl / Fred Tosi / Guido Weidner / Hagen Tepper / Heinz Odehnal / Helmut Stemmer / Janine Nakotte / Julia Zoephel / Justus Annika / Kathrin Willmek / Kaycia Turner / Leni Steindl / Lisa Maria Lobeck / Magdalena & David / Matthias Gaßmann / Nadja Gluch / Nina Kren / Patrick Vacek / Philipp in Europe / Philipp Haubold / Phillip Sulke / Ralph Degenkolb / Ragna & Reinhard Janssen / Ruben Schauer / Sebastian & Patrycja Król / Sophie & The Stemmer Family / Tamara Thiehoff / William Kumke

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Ian Fisher Vienna, Austria

A modern songwriter born in rural America and living in Europe, making what Rolling Stone calls "Half Americana & Half Abbey Road-Worthy Pop".

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