FOR FANS OF:  OLD CROW MEDICINE SHOW, THE AVETT BROTHERS, THE MILK CARTON KIDS,

TL;DR REVIEW: OLD WORLD WARBLERS, A BAND THAT DANCES WITH MELANCHOLY AND GRINS WITH WHISKEY ON THEIR BREATH, CAPTURE THE BEAUTY OF "LESS IS MORE" IN A WAY THAT FEELS REFRESHINGLY UNIQUE. A BARE BONES ACOUSTIC TRIO THAT UTILIZES THE PERCUSSIVE ELEMENTS OF THEIR INSTRUMENTS WITHOUT WASTING A SINGLE NOTE.

Old World Warblers, a band that dances with melancholy and grins with whiskey on their breath, capture the beauty of "less is more" in a way that feels refreshingly unique. Their debut First E.P. features a bare bones acoustic trio that utilizes the percussive elements of their instruments without wasting a single note. Singers Hannah Farley and Timothy Braley mostly sing alone but defer to octaves over harmonies when singing together; a great choice to highlight their distinct singing voices. They give their songs time to breathe with brilliant mandolin-filled interludes by Scott Calpin so you can let each verse sink in. 

This musical space is necessary as the album is full of astute lines and turns of phrase. "We all know that living is sometimes the toughest of chores,“ sighs Hannah Farley on the opening track October Drinking Song with a weariness that is all too relatable. The way that Farley weaves this picture of a day where you just can't find any motivation and turns it into a love song is brilliant. Choosing this sentimental waltz to ease the listener into the album is a bold choice that works well for the group.

There is something remarkable about the vocals on this album as a whole. Take the track Sinking Cities, where Timothy Braley relies on drawn out low notes (such as the deliciously baritone "what was hard fought" line) and long uninterrupted lines emphasizing each syllable with a brittle staccato to keep the listener on the hook. This is a welcome departure from the passionate high notes that are so often used for dramatic emphasis. That's not to say this album lacks passion. In fact, one of the best parts of this song is Braley's conclusion to each chorus where you can hear the emotion choking his voice. It is worth noting that Sinking Cities is a commentary on the future facing New Orleans in our era of severe climate change.

Behind the memorable lines that capture the carefree wonder of being outside in the summer, there is remarkable depth to these stories. Old World Warblers go out on a high note with Summerfest, an energetic song about waking up next to someone after a night of drinking. The rapid starting and stopping of the instruments on each line illustrates the process of gathering your bearings after an evening of indulgence. On the surface this is a wonderful and upbeat song that is a favorite at Old World Warblers live shows. Braley's infectious personality especially shines here with his throwaway lines at the end of each verse. But a closer listen reveals a manic energy. The love story hints that it may be a song dedicated to the bottle itself. The romantic line "I've got to see her again tonight" reveals a codependent relationship that can so often happen with drinking. The evolution of understanding this song mirrors the experience with alcohol for many of us. It starts out fun and energetic, then turns into something that is hard to escape. In a clever bit of symbolism, the song doesn't change as you listen but your interpretation does.

As the years go on and music gets more nuanced, it becomes increasingly difficult to classify genres. That being said, it can help readers to have an idea of what sort of music to expect when reading a review. With that in mind I would say this album falls under the folk genre. If folk music is all about stories that draw you in and make you think, the Old World Warblers have proven themselves to be masters at it.

Listen and purchase on Bandcamp here.

FOR FANS OF:  THE DECEMBERISTS, FRUIT BATS, BOWERBIRDS, FREELANCE WHALES

TL;DR REVIEW: THE DIVING BELL UTILIZES ARPEGGIATING ACOUSTICS AND SURREAL ELECTRIC RIFFS UNDER POLYPHONIC VOCAL STRUCTURES AND STUNNING HARMONIES TO CREATE MASTERFUL ARRANGEMENTS. 

Those who complain that folk-rock music is boring need look no further than Behold The Bitter Monument for something new. Rather than a traditional backing band over a strummed guitar, The Diving Bell utilizes arpeggiating acoustics and surreal electric riffs under polyphonic vocal structures and stunning harmonies to create masterful arrangements. This is truly a collaborative album and as the simple beauty of Clare Hendershot's vocals sail over husband Steve's captivating warble it demands an active listener. 

There is something orchestral about these songs. They swell and wane so effortlessly that even the drums are never constant. The individual parts are quite involved yet the songs never feel over saturated and there isn't a single wasted note. Be it the intensity of a single cello note to begin Belly Of The Beast You Love or the snare hit that kicks off the banjo to counter the electronic intro of Pacific Pearl Co. 1869, the little details are just part of what delights on Behold The Bitter Monument. 

The songs are clever but they are also really good. The vocal breakdown and subsequent build on Holy Roman Empire is a pure work of art and the gentle beauty of album opener We Came We Conquered is the perfect indie melody to catch your attention. Choosing to spend much of the album discussing a proto-submarine from the 19th century and Rome during the reign of Caesar provides another level of intrigue to these already fascinating songs. The singing frequently references the lyrics as the hushed refrain of "south and south and south" goes on and on to show the endlessness of the sea while Steve's voice sounds almost underwater in Pacific Pearl Co. 1869 as he is "breathing on the ocean floor." The combination of modern sounds with century old instruments makes the line "that was 1869 in spring 2001" feel self referential in an album this well thought out.  

Bottom line this is an instant classic for me. The melodies demand your attention, the arrangements go above and beyond, and the vocals are unbelievable. The lyrics look back at history and offer interesting perspective. Although Steve laments that there is "nothing to explore" on the opening track, I would argue that The Diving Bell has explored some breathtaking new sounds here and I can't wait to hear more. Listen and purchase on their website.

FOR FANS OF: JOHN PRINE, EARL SCRUGGS, TRAMPLED BY TURTLES, LINDA RONSTADT

TL;DR REVIEW: EACH SONG ON THIS SELF TITLED ALBUM PACKS BLISTERING BLUEGRASS SOLOS AND STUNNING HARMONIES INTO JUST 4 MINUTES WITH EACH MUSICIAN SHOWING A MASTERY OF THEIR CRAFT.

The Crooked North is one of those bands that could either play an entirely instrumental concert or just sing a capella and both would be equally captivating. Each song on this self titled album packs blistering bluegrass solos and stunning harmonies into just 4 minutes with each musician showing a mastery of their craft. With three singers taking turns singing lead and backing each other up, this album provides a variety of sounds yet remains true to its folk roots. 

These tracks were recorded mostly live (meaning all together simultaneously instead of one instrument at a time) and it's clear from the energy on each song. It's a testament to their talent that they could record such complex tunes all together without error. On fast paced jams such as I Can't Get Enough and Till I Hit Water, quick vocal breaks are filled with rapid fire solos from banjo, mandolin, and violin ensuring there is never a dull moment. 

This doesn't even cover the songwriting which is quite remarkable. The Crooked North are talented enough musicians to make an album full of cover songs (which, coincidentally, they did!) yet they take their self titled album a step further by performing original songs that stay with you. Foolish Builder opens the album with a jaunty phrase shared by the banjo and violin designed to perk up your ears and make you listen. You Can't Teach A Diamond Ring to Shine ends each vocal phrase with a long slide that is absolutely dripping with a whiskey americana tone. Another highlight of this song is the twangy double bass solo by Jordan Kleiman. Double bass so rarely takes the spotlight and it is done so well here that it deserves mention. 

The grittier vocals of guitarist Jon Itkin and banjo/dobro player Ben Proctor soon give way to the melancholy voice of Rita Proctor providing another facet to their sound. On I Made A Bridge, Rita sings over a light, bass-driven accompaniment with a voice reminiscent of Linda Ronstadt before Tahlia Cott's weeping violin melody takes over. Rita's weary tone perfectly captures the mood of a song about the sacrifices we make for our loved ones. "I made a roof of my skin, for to keep you from the rain and the wind, callous and scar tissue stretched and born thin." In an album full of powerful imagery, a line like this still sticks out. 

On The Crooked North's self titled album everyone pulls their weight and does it well. They end singing "I've seen heaven and I didn't have to die" and I would have to agree. I've seen heaven and all I had to do was listen to The Crooked North! Learn more and purchase their album on their website.

James Abud is a phenomenal musician. This is one of the first things you will notice when listening to his folk album Making A Friend From Scratch. It is full of clever guitar and banjo hooks, time changes, and musical interludes that make the guitarist in me jump for joy at such an ingenious musical endeavor. It has always interested me that musicians who are extremely technically proficient can fall into the trap of making albums that appeal to other musicians but sail over the heads of everyone else who just wants to hear a catchy song. These musicians don’t always share mass appeal because they are missing a key element: personality.

This is absolutely NOT the case with Making A Friend From Scratch. The cartoon album cover hints at the childlike theme of joy which is further demonstrated by songs such as I Like Pie and The King of No Pants. The lyrics are full of silly imagery (most of which hints at a deeper meaning) such as,  “So please forgive me if I am forward or I am backward or I am upside down in underwear braiding things into my leg hair. And I’ll forgive you if you find yourself a little needy, raining on my cloudy disposition in a perfect self-fulfilling prophecy.”

​The most memorable song (and a crowd favorite at live performances) would have to be The King of No Pants which is about the joys of coming home and getting comfortable from your “prison made of gabardine.” This song has a They Might Be Giants feel to it and can’t help but evoke a smile when everyone who comes into the narrator’s “kingdom” congratulates him for “show(ing) the world your crown.” The only case for a sad song on the album would be Stone Cellar which certainly has a melancholy beginning but even this song picks up in a very Abud-like way and ends on a happy chord.  

Making A Friend From Scratch is not layered with backing instruments and harmonies as they would be unnecessary when dealing with Abud’s level of talent. This album gives the impression that someone happened to walk in with a microphone while James Abud was showing off some new songs in his living room. Indeed watching Abud: A Bard perform with a guitar in hand and two foot pedals operating a kick drum and tambourine you can see how this album could exist as a live performance. This is emphasized by moments such as when he encourages all to “SING IT WITH ME NOW” on The King of No Pants. In live versions of this song the whole crowd is encouraged to shout “NO PANTS” during the chorus, much to the jubilation of attendees.

Making A Friend From Scratch straddles humor and cynicism while maintaining a central theme of positivity. And the guitar playing is so good you guys. Seriously just unbelievable. Abud says in the opening song Tinfoil, "Perfection is so misunderstood. Eliminating the bad won't make it good. I don't want to sparkle like a diamond I want to shine like tin foil shines." While this is a profound message, his guitar playing certainly shines like perfection to me. Listen and purchase on the Abud: A Bard website.

Hypervigilante is a good mindset to have when listening to The Jerfs. There are so many amazing details to capture on this album that it demands your attention. In ten songs The Jerfs take the listener on a journey through genres and decades of music, yet through it all they maintain a remarkable sense of consistency to their sound. Their traditional rock band line up is enhanced with thoughtful arrangements, solid instrumentation and the unbelievable chemistry of the two singers Amy Braun and Laura DiMonte.

The opening song Habit encapsulates enough themes of the album at large to serve as a perfect overture of what is to come. It is beautiful, it is sad, it moves unexpectedly and the vocals command your attention. Hear the bass guide you into Gaslight, an old jazz inspired tune, while singer Amy Braun croons with a voice of pure silk. From here the silk gives way to the grime with the late 90's inspired Dusty Corolla. Anyone who loves Sleater Kinney should check out this song as it reminds me of some of their best work (with vocals that dare I say are even better?). The history lesson continues with the doo-wop inspired Novacaine; definitely one of the catchiest songs on the album. Novacaine has this incredible breakdown when all the instruments cutout to let DiMonte and Braun hold out one desperate note before going right back into the chorus. It's little moments like this (or the swinging outro to Hostage) that make this album such a treat to hear.

Haunting soliloquy songs sew the first half of the album together so the listener can wander through the tracks without realizing where one ends and the other begins. The Jerfs take their time with the second half but they won't ever waste yours. Bad Luck, my favorite of the album, covers more musical ground in 6 minutes than you can hope for from an entire album from other groups. They begin with anguished harmonies over a lone ukulele before a lone guitar adds an edgier sound to the free flowing intro. This gives way to lighter, syncopated vocals while drummer Nic Burns pounds on the toms - a moment to make The Tuneyards proud. Finally the song culminates into a perfect hard rock outro with an unbelievable intensity and attitude. 

I gravitate towards folk music and my tolerance for anything "heavy" can be quite mild. The Jerfs certainly have their heavy moments on this album but the songs are too good to ignore. This band has a fresh sound and they stick to it. The arrangements are perfect in an album that dips it's toe in many genres but always as The Jerfs. Check it out on bandcamp.