Having recently offered up John Vanderslice's outstanding LP Romanian Names, Dead Oceans continues to impress with this latest from North Carolina's Bowerbirds. The band's palette is a fairly unadorned, bare-bones folk affair, but the songs themselves transcend the dangers of acoustic anonymity thanks to some classy arrangements involving autoharp, violin, upright bass plus all the more conventional instrumentation you'd expect to be involved. Phil Moore's vocals and guitar are situated at the heart of the recordings, delivering stellar troubadour chops through pieces like 'Teeth', 'Ghost Life', 'Chimes' and 'Northern Life', but the clever interplay between the various instruments provides plenty more in the way of intrigue; Dead Oceans themselves compare the band's energy to that of Beirut, and they're not too wide of the mark there. Upper Air builds nicely on the successes of their debut album, Hymns For A Dark Horse, and based on their form here Bowerbirds might just be a band for whom you could project Fleet Foxes/Bon Iver-style crossover potential.
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Having recently offered up John Vanderslice's outstanding LP Romanian Names, Dead Oceans continues to impress with this latest from North Carolina's Bowerbirds. The band's palette is a fairly unadorned, bare-bones folk affair, but the songs themselves transcend the dangers of acoustic anonymity thanks to some classy arrangements involving autoharp, violin, upright bass plus all the more conventional instrumentation you'd expect to be involved. Phil Moore's vocals and guitar are situated at the heart of the recordings, delivering stellar troubadour chops through pieces like 'Teeth', 'Ghost Life', 'Chimes' and 'Northern Life', but the clever interplay between the various instruments provides plenty more in the way of intrigue; Dead Oceans themselves compare the band's energy to that of Beirut, and they're not too wide of the mark there. Upper Air builds nicely on the successes of their debut album, Hymns For A Dark Horse, and based on their form here Bowerbirds might just be a band for whom you could project Fleet Foxes/Bon Iver-style crossover potential.
Having recently offered up John Vanderslice's outstanding LP Romanian Names, Dead Oceans continues to impress with this latest from North Carolina's Bowerbirds. The band's palette is a fairly unadorned, bare-bones folk affair, but the songs themselves transcend the dangers of acoustic anonymity thanks to some classy arrangements involving autoharp, violin, upright bass plus all the more conventional instrumentation you'd expect to be involved. Phil Moore's vocals and guitar are situated at the heart of the recordings, delivering stellar troubadour chops through pieces like 'Teeth', 'Ghost Life', 'Chimes' and 'Northern Life', but the clever interplay between the various instruments provides plenty more in the way of intrigue; Dead Oceans themselves compare the band's energy to that of Beirut, and they're not too wide of the mark there. Upper Air builds nicely on the successes of their debut album, Hymns For A Dark Horse, and based on their form here Bowerbirds might just be a band for whom you could project Fleet Foxes/Bon Iver-style crossover potential.
Having recently offered up John Vanderslice's outstanding LP Romanian Names, Dead Oceans continues to impress with this latest from North Carolina's Bowerbirds. The band's palette is a fairly unadorned, bare-bones folk affair, but the songs themselves transcend the dangers of acoustic anonymity thanks to some classy arrangements involving autoharp, violin, upright bass plus all the more conventional instrumentation you'd expect to be involved. Phil Moore's vocals and guitar are situated at the heart of the recordings, delivering stellar troubadour chops through pieces like 'Teeth', 'Ghost Life', 'Chimes' and 'Northern Life', but the clever interplay between the various instruments provides plenty more in the way of intrigue; Dead Oceans themselves compare the band's energy to that of Beirut, and they're not too wide of the mark there. Upper Air builds nicely on the successes of their debut album, Hymns For A Dark Horse, and based on their form here Bowerbirds might just be a band for whom you could project Fleet Foxes/Bon Iver-style crossover potential.
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Having recently offered up John Vanderslice's outstanding LP Romanian Names, Dead Oceans continues to impress with this latest from North Carolina's Bowerbirds. The band's palette is a fairly unadorned, bare-bones folk affair, but the songs themselves transcend the dangers of acoustic anonymity thanks to some classy arrangements involving autoharp, violin, upright bass plus all the more conventional instrumentation you'd expect to be involved. Phil Moore's vocals and guitar are situated at the heart of the recordings, delivering stellar troubadour chops through pieces like 'Teeth', 'Ghost Life', 'Chimes' and 'Northern Life', but the clever interplay between the various instruments provides plenty more in the way of intrigue; Dead Oceans themselves compare the band's energy to that of Beirut, and they're not too wide of the mark there. Upper Air builds nicely on the successes of their debut album, Hymns For A Dark Horse, and based on their form here Bowerbirds might just be a band for whom you could project Fleet Foxes/Bon Iver-style crossover potential.