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.

​A glimpse into my songwriting and recording process. Find out more about the song and how I decided which instruments to record to enhance the mood. 

Track: Lucky Him
Album: The Legend of Core Dynamo (2015)

The Legend of Core Dynamo is a concept album thinly veiling my own discovery of history and politics. During an election year for a new Core Dynamo, the narrator searches for a truly benevolent leader and eventually loses faith as he explores the sordid history of the Core Dynamos who have ruled. Even the most celebrated among the previous Core Dynamos have committed atrocities that are hard to justify.  

Lucky Him is about men's resistance to women serving as Core Dynamo and the excuses they offer when a woman attempts to change the status quo. "She doesn't have a past or present, she only has what she has read," is a male candidate attempting to discourage voters from electing a woman since she wouldn't have experience. The vocals echo each other to show how willing the voters are to listen and agree with him. 

Hear the entire song below and purchase 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.

FOR FANS OF: SHARON VAN ETTEN, LAURA MARLING, BRIDGET ST. JOHN

TL;DR REVIEW: AIDED BY FLUTES, MANDOLINS, AND ALLITERATIVE REFRAINS THAT ENCOURAGE SINGING ALONG, LEAH SHOSHANAH'S A CHILD LIKE THIS DIGS DEEP INTO TRADITIONAL FOLK TO CREATE AN ALBUM THAT SOUNDS REFRESHINGLY ORIGINAL IN 2017. THROUGH HER UNBELIEVABLY ADAPTABLE VOICE, SHE SHIFTS TONES FREQUENTLY THROUGHOUT THE ALBUM BUT BALANCES FOLK MINIMALISM SO WELL. 

Oftentimes modern folk albums are heavily influenced by the 1960's, as this was a heyday of acts such as Simon & Garfunkel, Crosby, Stills, & Nash, and Joni Mitchell. One can picture musicians sitting on stools, legs crossed, singing sweet harmonies over a lone acoustic instrument. This image so epitomizes folk music in my brain that I sometimes forget how far back the history of this genre goes. Aided by flutes, mandolins, and alliterative refrains that encourage singing along, Leah Shoshanah's A Child Like This digs deep into traditional folk to create an album that sounds refreshingly original in 2017.

This nostalgic influence is present on the subject matter of the album as well. According to Leah's website, "the title refers to the birth of an album as well as the content... The songs...explore childhood dreams, the meaning of animal totems, love, heartbreak, abortion, and summing up the courage to be stronger than you ever knew was possible." Even when singing about the innocence of childhood there is a melancholy to these songs. "I miss you my friend" she sings wistfully to herself as a child on the title track, "I'll always remember you." 

Going beyond theme, this is an unbelievable display of music. As always, I have a few favorite moments to point out. The bridge of Dear Daughter that sounds like pure Sharon Van Etten, the achingly beautiful chorus to Oceanrider, the thoughtful guitar picking that introduces Skyhunter, and the stunning choral precision of the backing vocals on the chorus of Ai Ee Ai all stuck out to me. Shoshanah will typically invite a single instrument to emphasize her idea rather than hiding a bland melody behind a large backing ensemble. The pristine cello on the chorus of Somewhere In Africa is a perfect example of this. 

Through her unbelievably adaptable voice, Leah Shoshanah shifts tones frequently throughout the album but balances folk minimalism so well. She wisely chooses to end with two tracks featuring no additional musicians or overdubs. "I fell in, I fell in love" she sings in an eerie tone. "I fell in love with the thought of you" she reveals. Nothing is simple in her messages or in her brilliantly written songs. Indeed this is an album that warrants repeat listens. Check it out on her website.

As someone who writes songs that tend to hover around the 2 and a half minute mark, I've always been critical of songs that are 5 or 6 minutes but don't seem to go anywhere. I have begun to think of 6 minutes as an anchor for song length. If you're going to write a longer song you have to earn that length and not just cram a bunch of extra choruses at the end. You want your song to create a feeling, set a mood, entertain, and then finish before overstaying its welcome. Here are 10 songs that have absolutely earned their right to push past that 6 minute mark. 

Check out the "10 Great Songs Over 6 Minutes" Spotify playlist at the bottom of this post!

FOR FANS OF: ANAIS MITCHELL, JOANNA NEWSOM, BEN FOLDS

TL;DR REVIEW: IT'S AN AMAZING DISPLAY OF PIANO PLAYING WITH SONGS THAT SHOW EMOTIONAL REFLECTIONS OF A MATURE SONGWRITER WITH PLENTY TO OFFER. ​​

There is something theatrical about Sarah Eide's self-titled album. The piano, which guides the listener through, recalls the iconic tone of musical theater. Or it could be the fact that Eide herself describes this stripped down work as "allowing the songs to take center stage." On this solo venture the piano is her backing vocals, her aching string arrangements, her bass, even her drums. Or it could be theatrical from the stories. The album cover hints at an element of fantasy which is immediately present on fabled songs such as Fishwife Advent and Prodigal Son.

One contrast to the theater would have to be her singing. Rather than the big belting of broadway, Eide doesn't hold out notes; instead preferring to punctuate each syllable with sharp breaths and vocal expressions to keep the rhythm. It's dynamic and it works very well for her. There are a lot of catchy tunes but my favorite example of Eide's voice would have to be the song Easy which concludes the album. "It don't come easy for you my love" she sings, drawing out a syncopated "E-e-easy" to emphasize her point.

It's telling that this is a self titled album. When Eide laments, "how you gonna live this life that you've been given?" or sings in the first person on Prodigal Son, you can tell she sees herself in these songs. They may have been written with someone else in mind but you can hear her pushing herself as well. Especially after the feisty rag of Shadow where Eide portrays her son, who follows her everywhere, as her conscience. "I cant shake you my shadow," she teases in the chorus. Excited but weary, Eide steps back to reflect on how to teach your children by example. "You're keeping me on my toes You're making me follow through." It's a great song and the fact that it is punctuated by a Ben Folds-ian, pound-style piano breakdown is just gravy.

It could also be that she is a folk artist and simply telling tales of others.  Not that she's unaffected- the emotional resonance in her voice is proof of that- but she has the distance to hold some perspective. All in all, it's an amazing display of piano playing with songs that show emotional reflections of a mature songwriter with plenty to offer. You can hear more and purchase on Sara Eide's 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.