Karmic Fury Records is proud to announce the newest music video from Folkstar for their song “Into the Trees” off their latest release Treelines and Skylines.
“Into the Trees” was filmed in the ancient sequoia forests of Sequoia and Kings Canyon National Parks located in the southern Sierra mountains. The video depicts the whimsical activities of their alter ego animals (Sue as Squirrel and Kim as Raccoon) as they prance around in their natural habitat.
“Into the Trees” originated as a long poem about belonging to the trees and coming to my final resting place beneath them. The song brought the overall positive message to the forefront, praising the virtues of the forest as a place of balance. The verses and pre-chorus describe a struggle between two virtual worlds, that of nature and that of man: “one foot in nature, one foot on the street.” While the first verse claims I’m “nature’s orphan in human hands,” the second explains that it’s “both I need.” There is a dichotomy here that remains unresolved. ~Sue Cag of Folkstar
Find out more about Folkstar and purchase “Into the Trees” or the full album at folkstar.net and/or download from iTunes or Amazon.
My first listen of Bleeding Slow came as I was racing across the Arizona desert on my way back to the east coast from a meandering road trip. The thoroughfare of I-40 stretches from California all the way to Wilmington, NC and I thought it appropriate to pop in some music from home as I picked up the road that would lead me back. Indeed, I experienced a blend of travel euphoria and homesickness as the sun set at my back, driving drum beats countered by sweet melodies, a collection of songs that serves as a love letter of sorts, expressed with a distinctly North Carolina twang.
The core of Brothers Egg consists of brothers Jamie Eggleston (vocals, guitar, piano, banjo) and Hunter Eggleston (mandolin, vocals), and Suzanna Crist (violin, vocals). The three are joined by a cast of solid musicians, including their father Dave Eggleston on drums. Both Eggleston brothers began as drummers before leaning toward string instruments and expanding musical styles that lead to the founding of Brothers Egg.
The title track, “Bleeding Slow,” is probably my favorite track, featuring Hunter Eggleston’s steady mandolin riff weaving throughout, along with harmonica that sounds like a train whistle, driving bass, and banjo. Lead singer Jamie Eggleston delivers his lines with passionate urgency, assisted by some nice harmonies throughout. The instrumentation on “Bleeding Slow” is lush and as close to rock as one can come armed with mandolins and banjos.
“Moonbeat” highlights a catchy fiddle/mandolin melody and three part harmonies, with a lilting beat like ocean waves. The lyrics are based on a poem written by Jenny Eggleston, mother of the Eggleston brothers, who also did the album artwork.
“Dance With Me” is a sweet serenade that could be the first dance at a picture perfect North Carolina wedding. Jamie Eggleston’s voice is passionate even as he almost whispers some of the lines, sweet and earnest. The band’s musicianship really shows about halfway through, when violinist Suzanna Crist takes the lead and kicks the tempo into high gear with a full on bluegrass jam. If you aren’t convinced to dance by the five minute mark, you must really hate dancing. The song changes again at around the six minute mark, easing into 3/4 time. At first I thought it was the beginning of another song and I was a little bit disappointed that it wasn’t, because I would have loved to hear where that beautiful melody was going.
“After All”, the only song on which all three members of Brothers Egg share writing credits, addresses love within the context of mortality: “After all is said and done and washed away/We will fall back to mother earth from which we came.” The musical arrangement is a stark one, consisting only of two voices in harmony accompanied by guitar and violin. The stripped down nature really allows emotions to shine through, showing that sometimes simplicity is the right choice.
The band moves into a more creative and experimental space on “Dreamer,” which alternates between a dreamscape feel on the verses and a rockabilly groove on the choruses. Andy Blair steps in for some nice guitar licks, adding a different texture to the song without being overbearing.
“Take a Chance on Me” is straightforward, simple, and sweet, a heartfelt plea to convince a woman to take a chance on the “wild card,” a sort of bluegrass version of the Spin Doctors’ “Two Princes.” There is a great fiddle solo after the bridge, and a bonus banjo jam at the end by local folk/bluegrass legend Big Al Hall.
The final track on the album feels very much like a group of friends hanging out in a living room having fun and playing music, complete with a “1,2,3!” lead-in, a typically bluegrass bass line, a hoot/holler or two, and some call and answer harmonies. “Carolina Wren” is a short song, based on another Jenny Eggleston poem. The music itself ends abruptly just after the two-minute mark, and the CD ends with almost a full thirty seconds of an actual wren singing, which I appreciate as a nature lover as well as a lover of unconventional album endings.
Bleeding Slow is solid folk with some well-done creative embellishments, a showcase for Brothers Egg’s musical talent and ambitions, and a suitable choice for a Carolina-bound roadtrip. Learn more about Brothers Egg and get a copy of Bleeding Slow at http://brothersegg.com.
Vanessa Lynch has been circling the spotlight for a few years now, surrounded by and performing with some of Wilmington’s brightest talents, while remaining somewhat under the radar. Until now. Lynch’s debut album Walking Blind is thoughtful, deliberate, and musically rich. Credit is due to her band, all accomplished musicians in their own right, who weave a rich tapestry around Lynch’s voice without overpowering her. Also noteworthy is the overall positive message, a theme of rising above adversity using the fuel of inner strength. Musically, most of the songs harken back to an earlier time, putting a modern spin on funk-spun soul.
The album opens with title track “Walking Blind.” The instrumentation is gorgeous, right from Luke Wilson’s first drum beat into Nicole Mancini’s violin intro. The song itself is catchy and Lynch’s voice is emotional but controlled, a task she makes seem easier than it is. The pop soul melody sets a nice tone for the rest of the album.
“Butterfly” starts with a slow jazz guitar riff from Michael Buckley and builds into chromatics that actually simulate the idea of flying. Lynch’s voice soars and benefits from backing vocals that invoke vintage girl groups like The Supremes. The butterfly imagery is effective in describing a relationship that continues to pull her back in, even as she pleads, “Give me the nerve to fly.”
Danny “Louis.” Thomas with Vanessa Lynch at the cd release show at Bourgie Nights
It’s probably appropriate that an album emphasizing self-worth and being true to yourself would follow an easy breezy song with the immediate sound of a rap verse. “Courage” works because the lyrical rhymes of Danny “Louis.” Thomas bring out the hip hop leanings in Lynch’s voice. The lyrics are a simple but effective homage to self-sabotage: “Courage won’t enter me and I know why, ’cause I won’t let it.”
“Glow” is the song that should appear in whatever happens to be the next girl power movie of the year, meaning that this is what young girls (or women, or really ANYONE) should be singing along to. “Girl, get your shine on…let your inner beauty show, and glow.” It doesn’t hurt that the song itself showcases some beautiful vocals, including some fantastic backing harmonies.
Lynch gives a nod to her adopted home in “Carolina.” The song is the most folky-sounding song on the album, an appropriate vehicle for ruminating on how moving to the south has changed her. As a fellow Yankee transplant, I can definitely relate to her lyrics expressing heartfelt love for her new home. “North Carolina has given so much to me,” indeed.
“My Flower” is adventurous musically in a way that seems to really bring out the rich emotion in Lynch’s voice, even as she navigates back and forth across a (very effective) time change. She flexes creatively on this song and her band follows suit. The motown sound throughout segues into a guitar solo at the end that downright blazes.
The ballad “Two Men” is so rife with sadness that the feeling of loss is palpable right from the beginning, thanks to a stirring piano intro by Dylan Linehan aided by some emotional violin playing from Mancini. When Lynch’s voice finally does float above the instruments, she allows herself to be vulnerable singing, “I’ve been told I’m a pillar of strength/ Well they don’t see me when I’m all alone.”
Crystal Fussell, Michael Buckley, Keith Butler Jr, Vanessa Lynch, and Taylor Lee performing at the cd release show
Nothing pulls a listener out of a sad funk like…funk. And the next two songs are downright funky. “Strange & New” has a beat and a bass line that, combined with Lynch’s outstanding vocals and harmonies, perfectly capture the lustful fun of a new love affair. The chorus really makes me want to dance, and there is a killer bass solo from Taylor Lee. “How Dare You” continues the dance trend while also revisiting the theme of empowerment. Lynch’s voice is powerful and full of feeling as she repeats the line “How dare you,” folding herself into what sounds like an old-school soul jam. Buckley swoops in at the end and delivers an exceptional guitar solo.
Lynch smartly ends on an upbeat note, but one that also showcases her creativity. “Shouldn’t Let Me Go” starts out on an upbeat note and then takes a turn into a dark and spooky bridge in the middle. Just when I think I’m going to get sucked into the piano-and-violin-heavy scary dark place, the sunny guitar and vocals rescue me and place me gently back into pop bliss. The song is catchy lyrically and melodically, and is a great finish to what is a strong debut album.
Vanessa Lynch has delivered some great music that is very much its own sound, a rarity in today’s over-homogenized market. After being up-and-coming for the past few years, Lynch has shown that she’s ready to arrive. Vanessa Lynch doesn’t just shine, she glows.