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The title track is a catalyst for the dynamic nature of all involved on the track. There is so much to delve into within the melody of these songs and in picking up an instrument and trying to pick up those intricately formed runs, you will quickly discover just how far from mundane they are. Describing the track as essentially an account of what a pre-industrial family have made and harvested in a year, and while that idea may be considered nothing extraordinary, the visual that this story along with the arrangement induces is anything but. In an interesting juxtaposition, Marlin describes the track “Ox-cart Man” as reminding him of how much meaning can be found in the mundane. The community and trust built through creating together. There’s always a thread, a trail of bread crumbs that leads back to the very core of this all.
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That could be said about the entire record as a whole too. There is so much going on texturally all around the track, but it still feels so cohesive. The tune is a prime example of what I think I find so miraculous about this group of musicians playing Andrew’s songs together. “Farewell to Holly Buff/The Watch House” is mind boggling, it’s exciting and exhilarating in a “hold on for dear life” kind of a way. Its a fresh breeze, its summer grass under your feet and yes…it indeed does soar. Occasionally hitting downslopes and a few thrilling bumps along the way, the beauty and melding of the artists performances is never lost from the view out the windshield. “The Jaybird” to me feels like a slow Sunday drive down a dirt country road. To avoid the cliche of saying a song with a bird reference “soars”, I’ll take a different route. A jubilant celebration of sound, strings and the role that fiddle plays across the entirety of this record. Like a hybrid jug band meets bluegrass bonanza. The trip is followed immediately by what feels like can only be described as: the best of late night festival jams c/o “Erie Fiddler” and Christian Sedelmyer’s high flying bowed lines. There are some Celtic vibes embedded deep down in there, but its contents and feeling almost seem to predate time. The drones and pizzicato of strings interplaying with one another. Some of the moments contained within feeling like almost an ancient glimpse into the past. The experience begins with a triple threat medley of songs titled “Stormy Point / Back of Beyond / The Seamstress” the tale effortlessly transitioning between each arrangement, flowing like a breeze and dancing in and our of your ear canal. Rich palettes of emotion, place, space and vibe that in all my years of listening to instrumental records, I am yet to find an equal to.įor the sake of brevity, we’ll focus on the most recent record “ Fable & Fire” here, but look for another highlight of “ Witching Hour” to come… Andrew’s instrumental songs have a way of speaking volumes without actually having any words within them. I said it previously, but these two records are a pot-pourri of instrumental arrangements for both the types of folks who adore instrumental music and those who have not yet acquired a taste for it. Each of which is a unique listening experience, two separate journeys really. In just a few weeks time the songwriter, composer and multi-instrumentalist released not one, but two incredible collections of instrumental songs. It’s not a term that should ever be used lightly, but in this case and most that involve Marlin’s work, it’s a title that holds steadfast and true. I believe the last time I used the term “ masterpiece” to describe an album was probably in discussing Andrew Marlin‘s first collection of instrumental work, “ Buried in a Cape“.