The For Carnation was a low-key, mostly acoustic vehicle for ex-Slint/Squirrel Bait member Brian McMahan,
whose previous projects had all made their impact through jagged, noisy
art-punk. Mirroring his old bandmate David Grubbs' evolution with Gastr
del Sol, McMahan
continued to explore the complex, cerebral patterns that were his stock
in trade, but with delicate arrangements and far subtler dynamics.
Slint fans were taken aback by the For Carnation's low-key sparseness,
and while it wasn't as groundbreaking as McMahan's
earlier efforts, the quietly unsettling creepiness of its best moments
was rooted firmly in the leader's trademark aesthetic. McMahan
was the lone constant in the For Carnation, which shaped up as a
revolving-door outfit with collaborators coming and going from other
projects; the initial lineup featured several members of Tortoise, who
gave way to a collection of Louisville and Chicago scenesters.
McMahan
formed the For Carnation in 1994 as the latest in a series of
high-profile indie outfits. Beginning his career in Louisville's seminal
post-Hüsker Dü punkers Squirrel Bait, he next moved on to the
groundbreaking math rock unit Slint; following their breakup, he moved
to Chicago and played for a short time as a sideman in Will Oldham's Palace Brothers project, along with former Slint bandmate David Pajo. McMahan
and Pajo started jamming on their own, along with ex-Slint/Squirrel
Bait drummer Britt Walford, who stayed around only briefly. Pajo had
begun playing with post-rock bigwigs Tortoise, and two of that band's
members -- Doug McCombs (bass) and John Herndon (drums) -- came on board
to fill things out, completing the first version of the For Carnation.
This lineup recorded the three-song EP Fight Songs, which was released
on Matador in 1995. Pajo subsequently left to concentrate on his other
projects, which included Tortoise as well as the solo venture Aerial M and several sideman gigs.
McCombs and Herndon continued to play sporadically
with the group, but their full-time commitment to Tortoise made things
difficult. McMahan
pieced together the next For Carnation record, 1996's relatively brief
full-length Marshmallows, from contributions by McCombs and Herndon, and
those of a new lineup featuring onetime Rodan drummer John Weiss,
guitarists Tim Ruth (also of Slint offshoot) Evergreen) and Michael McMahan (Brian's brother), plus additional contributions by hotshot Chicago producer Brad Wood. The For Carnation subsequently embarked on its first national tour, with a lineup featuring the McMahan brothers and an all-Louisville supporting cast of guitarist Tim Furnish,
bassist Todd Cook (both ex-Crain), and drummer Kip McCabe. By this
time, the group's brand of post-rock was drawing comparisons to Gastr
del Sol, as well as slowcore bands like Codeine and Low.
The For Carnation later split from Matador to sign with Touch & Go, and McMahan returned to Louisville and set about crafting new material with a lineup of Michael McMahan,
Todd Cook, and the returning Britt Walford (then also in Evergreen).
Meanwhile, Runt reissued the band's first two EPs together under the
title Promised Works. Walford returned to his other commitments later in
1997, and was eventually replaced by Steve Goodfriend;
guitarists/keyboardists Bobb Bruno and Rafe Mandel later came on board
as well. Finally, in 2000, Touch & Go released The For Carnation,
the band's most substantive and fully realized record to date. Boasting
considerable involvement from Tortoise's John McEntire, the album also featured guest spots from the Breeders' Kim Deal and that dog.'s Rachel Haden.