The Family Crest, The Farewell Drifters, Natural Child

 

The Family Crest (NMT)
New Release: Beneath The Brine
Release Date: Today (February 25, 2014)
Record Label: Tender Loving Empire Records
Sounds Like: Hey Marseilles (NMT), Hey Rosetta! (NMT), Of Monsters & Men (NMT), The Polyphonic Spree (NMT), The Arcade Fire (NMT, NMT), DeVotchKa (NMT)
Location: San Francisco, Calif.

Back in August, we told you everything you need to know about this San Francisco mega collective and hinted at their forthcoming sophomore full-length release. Now that it's here, we're still impressed with the scope of the outfit's undertaking, which has been fortified with a more cohesive overall sound and theme on the record's dozen tracks, although one – "Love Don't Go" – first appeared on The Headwinds EP. Just wish those of us on the East Coast could see them attempt to execute their massive project on stage, as the bulk of their shows are closer to their San Francisco home base.

Come for: "Beneath The Brine" (serving as both the title and leadoff track, the epic number utilizes the unit's massive orchestral and vocal muscle to build both tension and grandiosity from the outset; the strings and percussion are both exceptionally voluminous and nearly manic at times; I love the operatic soprano wailing away in the background – a signature of their debut album, The Village – I'd love to know who she is)
Stay for: "The World" (easily the poppiest offering on the collection; the beat is jaunty, reflecting the best of The Decemberists (NMT, NMT) and the restrained instrumentation during the verses is a welcome counterpoint to the buoyant chorus; the band's agility is demonstrated on several occasions as it stops on a dime, no small feat for such a large unit with french horns and Hammond organs vying for their measure in the spotlight)
You'll be surprised by: "Howl" (as the second half of the New Orleans-style jazz funeral following "William's Dirge," its sufficiently celebratory and boisterous; if you remember the Squirrel Nut Zippers, they're doing a pretty good representation of that sound; the clarinet is fantastic, along with the muffled trumpets)
Solid efforts: "Love Don't Go" (it would be double-dipping to list it higher after picking it as my Come for selection in my review of The Headwinds EP last time, as little has changed since then); "The Water's Fine" (the jazzy flavor of "Howl" continues, with John Seeterlin's standup bass figuring prominently as strings and percussion battle between smooth fluidity and jagged staccato); "I Am the Winter" (gentile and simple – with flutes and oboes complimenting frontman Liam McCormack's acoustic guitar and warming vocals – it's a fitting trailer to the recently-wrapped Olympic Winter Games); "She Knows My Name" (the most intricate, chamber rock example on the record, with more operatic soprano – a non-sarcastic yay!); "As We Move Forward" (benefits from a driving pulse around which the instrumentation and verses stroke and swirl; McCormack's restrained phrasing in the chorus prevents it all from becoming too frenetic; has become among my favorite tracks on the album after repeated listens); "When The Lights Go Out" (takes far too long – about 1:45 – to get going in earnest, but there's some nice, understated folk here in the remaining 2:45 – or, as least as restrained as this particular brigade of musicians can get); "There's A Thunder" (does not belie its title, with low register percussion and orchestration suggesting stormy conditions that test – but do not defeat – the mettle of McCormack's protagonist); "Make Me A Boat" (a song that sounds much older than its age, like it was once song my monks shuffling through harmonic hallways, a notion aided by the wordless refrain in the first chorus; an epic bookend to match the opener)
Meh: "William's Dirge" (it's well-described by the second clause of its title, but its too short at 1 minute even to arrive at a fully-formed opinion)
Skip to next track: with so much effort required to set the band in motion, they wisely don't waste tracks

Farewell Drifters (NMT, NMT)
New Release: Tomorrow Forever
Release Date: January 28, 2014
Record Label: Compass Records
Sounds Like: Great Big Sea (NMT); Southeast Engine (NMT, NMT); Onward, Soldiers (NMT)
Location: Nashville, Tenn.

As this review serves as my third assessment of new Farewell Drifters material, they've now drawn even with The Gaslight Anthem (NMT, NMT, NMT) for most-reviewed act in this space. And this review comes at a time of transition for the quintet-turned-quartet, following the departure of violinist/fiddler Chris Sedlemeyer. While the unit previously focused on bluegrass with a pop vocal harmonies, the revised effort is rounded into folk-rock, with the introduction of more percussion, keyboards, horns and – gasp – an occasional electric guitar. Your blogger can appreciate reaction that the band is denying its roots – having noted in the most recent review of the group that "that same proliferation of new material also suggests that epic shifts in tone or style are not likely" – they don't stumble too much in the process of redefining their sound. Frontman Zach Bevill – sounding no less like Better Than Ezra's Kevin Griffin than before – works with his bandmates to retain the same top-notch songwriting while adding new instrumental flourishes that add a new dimension for the band.

Come for: "Bring 'em Back Around" (song structure should be familiar to those who know the group, but this time with drums and electric guitar; lyrically, its nothing earth shattering, but has a tad more sandpaper than chock pop-rock, reminiscent of Onward, Soldiers' "Cinder Blocks")
Stay for: "Modern Age" (this take on the new year, new vision theme could so easily be a Better Than Ezra number; the bell chimes and chorus vocals are both new elements that establish the band's new sound profile);
You'll be surprised by: "To Feel Alive" (the best mix of the group's prior identity with just a touch of rock punch; listen to that, it's a guitar solo!)
Solid efforts:  "Brother" (fantastic harmonies, but is it a tad sappy? Maybe); "Tomorrow Forever" (the banjo and fiddle paired with the marching snare beat are the heart of the track leading to the sing-along chorus); "Tennessee Girl" (simple lyrics, simple melody); "Neighborhoods Apart" ("I remember running through the wet grass..." Oh, wait, that's another version of this song; mandolin and fiddle parts that were such a staple of past Farewell Drivers tunes step out front again); "Relief" (a bit slow in the verses, but it finds its way to a pretty uplifting chorus full of solid harmonies and a hooky melody); "The Day You Left" (not incredibly elaborate, but has a mountaintop serenade quality); "Starting Over" (the paradox of the song's title as the closing number should be apparent; there's some good background harmonies along with Bevill's introduction-by-way-of-departure ode)
Meh: "Coming Home" (the definition of the troubles-of-the-touring-musician trope – Harry Chapin did it first and did it better in "Cats in the Cradle"; a bit wrapped up in country pop but, then again, its not hard to listen to)
Skip to next track: "Motions" (look, I get the point that the song's tone is to illustrate the lyrical theme of "going through the motions;" that doesn't mean its enjoyable, although I did enjoy the slow buildup of drums and strings at the close of the track)

Natural Child
New Release: Dancin' With Wolves
Release Date: (February 25, 2014)
Record Label: Burger Records
Sounds Like: The Sheepdogs (NMT, NMT); Dawes (NMT); Deer Tick (NMT)
Location: Nashville, Tenn.

Imagine you found a full-length, never-before released album of originals circa 1971, classic rock that's a grainy mix of blues and country. It's a sound that comes across as both spontaneous and deliberate at once. This is the rare level of output achieved by the Nashville-based trio on their third full-length release. It also marks the sort of great leap forward realized by Deer Tick last year on Negativity. This time, the group brought in session players Luke Schneider and Benny Divine, respectively to add pedal steel and keyboard/organ flourishes, further augmenting the classic rock approach parlayed by co-frontmen Seth McMurray (guitar) and Wes Taylor (bass) along with drummer Zach Martin.

Come for: "Don't The Time Pass Quickly" (comes across like a tongue-in-cheek Rolling Stones deep cut; fun and brazen)
Stay for: "Saturday Night Blues" (look up Deer Tick's "Dream's in the Ditch" and Dawes' "From A Window Seat" and play this track between them; one of those moments when you remember what rock-n-roll should be about)
You'll be surprised by: "Nashville's A Groovy Little Town" (brilliantly relaxed and more rusty than honky tonk)
Solid efforts: "Out In The Country" (I love that this song about the country is more bluesy and jazzy rather than slathering on bromides about pickups, Skynyrd and red clay); "Country Hippie Blues" (the rolling boogie groove from Taylor plays brilliantly with Divine's pedal steel, while McMurray's guitar figures are freeflowing without becoming too jammy; "don't go judge a cover before you read the book" is a fantastic line); "Firewater Liqour" (Taylor's inpatient bass lines and Divine's ominous organ parts suggest a scene of a backroads dive bar where things are just moments away from turning bad); "Rounder" (most countrified offering among the record's 10 tracks; effortless & twangy); "I'm Gonna Try" (conversely, this rubbery number tacks harder to the blues; its a little groggy at times, but not out of place for a deep cut); "Dancin' With Wolves" (the title track wraps things up nicely with a dusty trails ballad)
Meh: "Bailando Con Lobos" (a mix of Los Lonely Boys and Steely Dan, a trippy grove that The Sheepdogs have found multiple times on their recent records, but is unfocused at times; note the title is the album title in Spanish)
Skip to next track: not much to dislike

Farewell Drifters – Echo Boom

We've arrived at another repeat profilee, who bring not as much a new sound or direction as steady productivity and a subtle refinement of their approach. After reviewing multiple releases from The Gaslight Anthem, The Rural Alberta Advantage and Southeast Engine, we return to the harmonic roots music of The Farewell Drifters and their sophomore effort, Echo Boom, which was released June 7 on Squeeze Records, a short 355 days following the arrival of their debut (see NMT review for more background on the band). The quick turn-around demonstrates the quintet's prolific nature – appropriate for a group of guys in their mid-20s looking to make it big.

Of course, that same proliferation of new material also suggests that epic shifts in tone or style are not likely, and such is the case on the new record's dozen tracks. In fact, the group is hardly wanting of a new sound, as they aptly left the listener wanting more by the end of Yellow Tag Mondays. There's too few groups that can deftly unite crafty, melodic songwriting in the Brian Wilson tradition with rootsy, mountain music that brushes the boundary of bluegrass and country. So, the Drifters might as well keep at it for our sakes.

The same bright harmonies, hooky choruses and fine display of pickin' that defined their debut album is largely transited intact to the new collection. The opening "Punchline" is sufficiently driving for a lead-off track and easily allows the listener to happily forget the group's permanent lack of a percussionist. Singer and guitarist Zach Bevill once again channels his vocals through the filter of Better Than Ezra's Kevin Griffin's mid-range baritone (let the line, "I just wanna shine the light that's trying to get out" recall Griffin's similar tone on "A Lifetime.") And, as before, mandolin and fiddle work of Joshua Britt and Christian Sedlemeyer, respectively, is sunny and expertly delivered. Similarly, "Tip of the Iceberg" is jaunty and energetic, with hand claps and Dean Marold's upright bass foundation setting an easy pace for Britt and Sedlemeyer to mosey about, yielding nothing but a carefree, summer afternoon vibe.

"Little Boy" presents the first new, slightly varied trajectory from the debut's approach. The tune's classic yarn of fatherly advice isn't too heady – maybe a bit rote – but also belies Bevill's relative youth in dispensing such sagacity. It's also decidedly down-tempo from the band's standard clip, a trend that will return later in the record. But, first – in the cleanup slot – is the album's finest number, "Heart of a Slave." Marking an ideal fusion of sturdy lyrics and melody from Bevill and full utilization of the group's instrumental and vocal talents, the musicianship doesn't distract from the narrative and the words do not overpower the performance.

At the same time, "We Go Together" highlights the important Celtic influences that were always the foundation of authentic bluegrass and mountain music. In fact, the track's chord progression – largely driven by lead guitarist Clayton Britt – sits nicely alongside the lesser-known cut from previous New Music Tuesdays profilees Great Big Sea, "Demasduit Dream." The two outfits found form an enjoyable pairing on an outdoor concert stage somewhere.

The relatively sparse and quick "I've Had Enough" is good for a quick breather before "A Bed of My Own" returns to the previous course, again with Celtic strains as its signature. "Words" and then later "You Were There" link more closely with the slow and solemn vein of "Little Boy," but even more intentionally ballady. It's not my favorite use of the group's talents, but they're perfectly acceptable. Better are the jangly "Roses" and the brisk "Common Ties," while a sold, if unexceptional cover of Paul Simon's "The Only Living Boy in New York" is a nice parting shot.

Come for: "Punchline"
Stay for: "Heart of a Slave"
You'll be surprised by: "We Go Together"

Farewell Drifters

Sometimes, the surge of distortion and monstrous drums are needed to get the blood flowing. In others, the force of a wall of horns or the finely-crafted interplay between a host of instruments expands the boundaries of a given piece of music. But there will always be something refreshing and honest about a group of musicians getting together without the aid of amplification or a kicking rhythm section. This latter sentiment envelops the work of Nashville-based quintet, The Farewell Drifters on their debut offering, Yellow Tag Mondays.

Supposedly formed after lead singer and guitarist Zach Bevill encountered mandolinist Joshua Britt on a Nashville street corner, their chance acquaintance turned into the group's ultimate formation with Britt's younger brother, Clayton, on lead guitar and standup bassist Dean Marold that was not only based on traditional bluegrass and roots folk, but also more melodic influences such as the Beach Boys and Beatles, incorporating their more pop-flavored vocal harmonies into the tight vocals that usually accompany bluegrass arrangements. It's an approach most similar to the sound of the Pure Prairie League's seminal "Amie." After the arrival of fiddler and former Wake Forest debater Christian Sedlemeyer in 2009, the five-piece rounded into an ensemble capable of thoroughly enjoyable original work that bore strong connections to its underlying musical foundations.

Their collective instrumental and vocal prowess is apparent from the outset through "Love We Left Behind," which opens the 14-track collection. Blending Bevill's and the younger Britt's finger-picking acoustic guitars with the elder Britt's mandolin work, the smooth harmonies lay-in early without becoming overwhelming. Sedlemeyer's violin gently underscores the more prominent vocals and pickers, while Marold knows the precise role of standup bass on recordings, namely to be solid and unobtrusive like a dependable stay-at-home defenseman. While Marold certainly seems to have the chops to demonstrate his talents in a live setting, on record the instrument looses its motion and can grow cumbersome, which the group wisely recognizes throughout the album. This is all the more important when there is no dedicated percussionist.

Following-up with the more countrified "Everyone is Talking," the Drifters hit their stride early. It's a beautiful piece, with Bevill's smooth and very listenable lead vocals – sounding much like Moxy Fruvous' Dave Matheson – prove the perfect pivot for the band's fuller harmonies. Sedlemeyer's fiddle parts are strung out with ease, while later guitar and banjo leads add just the right front porch charm. Its easily the best effort on the record and speaks to the sensibilities of McCartney and Brian Wilson to which Bevill and Britt aspire as chief songwriters.

While the album's first couple tracks present a gentler approach to their sound, it wouldn't be a proper bluegrass offering without a few of the foot-tapper variety. The best of these is the record's forth cut, "Sunnyside Drive." With a energetic banjo line leading things off, Bevill also presents his most developed narrative effort, describing "the nanny with the newspaper, and tobacco juice is running down her cheek" in the second verse. While relating the tales of the nanny, pilot, evangelist and the boy collecting baseball cards, he presents a well-meaning glance at Americana without stooping to the preachy and worn cliches of contemporary country music. Likewise, "Virginia Bell" is fit for a jamboree, with more fine banjo, mandolin and fiddle work.

And, of course, no roots music collection is complete without the requisite instrumental, which appears here in the form of "I've Got Your Heart in My Hand, and I'm Gonna Squeeze," with an early dose of Celtic background supplied by Seddlemeyer's fiddle and barn floor sawdust via banjos, mandolins and guitars later on in a tidy two minutes and fifteen seconds.

Come for: "Love We Left Behind"
Stay for: "Everyone is Talking"
You'll be surprised by: "Sunnyside Drive"