Underhill Rose - The Great Tomorrow
Self-Released
A female trio from the Carolinas, Underhill Rose’s debut album features a broad palette of authentic and finely crafted Americana—late-night blues, hard-luck folk, buoyant country, southern soul and sweet-sounding bluegrass harmonies. The instrumentation is mainly acoustic; the songs are built on often, but not exclusively, gentle yet steady fresh metaphors and ideas and hooky tones. Their music embodies a very catchy, accessible, optimistic sort of spirit so frequently lacking in Americana folk-country circles (where brooding, hyper-analytical music reigns supreme). What’s more, they’re a great band replete with tasty harmonies. Their beginnings can be traced back a dozen years when Molly Rose on guitar and Eleanor Underhill on bass got together to make music when they were at college. They adopted the name Underhill Rose some seven years ago and Salley Williamson joined them on bass two years later. From small acorns they have grown a sizeable following, not just in America’s deep south, but also internationally, with their first low-key UK tour taking place in April 2016.
I was hooked in immediately by opener Our Time Is Done, a gorgeously executed folk-country break-up tune. Molly’s lead vocal captivates, the three part harmonies are exquisite, a steady background beat and a dash of steel add to this exceptional track. In contrast, there’s a sensual soulful vibe to Whispering Pines Motel, with Eleanor providing the sultry lead vocal as her banjo plucks away, Nicky Sanders fiddle saws, Matt Smith’s pedal steel whines and producer Cruz Contreras Fender Rhodes underpins it all. The loping Montana is a delicate western-themed ballad that is simultaneously wistful and joyful. My Friend is a pleading, heartfelt ballad with a lustrous, layered, dreamy instrumental arrangement that poignantly enhances Molly’s powerful vocal. The irony-laden Love Looks Good On You is a simple banjo-backed narrative. Rest Easy has an excellent chorus; not one that knocks you flat and steamrollers over you, but one that quietly drifts into your head and subtly coaxes you to hum along. Then there’s Shine, a bluesy Appalachian yarn about moonshining and battling the hardships of a hard-scrabble life.
Their folk-tinged Americana is flecked with experimentation whilst retaining a firm hold on some fantastically memorable melodies. An album that will not fade with repeated listening, but will get better and better. Mention should be made of the studio players Matt Smith (pedal steel, Dobro), Mike Ashworth (drums), Mike Seal (electric guitar), Nick Sanders (fiddle) and producer Cruz Contreras (Rhodes, guitar) who provide sensitive and inspired instrumental support throughout. Needless to say, a highly recommended album.
www.underhillrose.com
A female trio from the Carolinas, Underhill Rose’s debut album features a broad palette of authentic and finely crafted Americana—late-night blues, hard-luck folk, buoyant country, southern soul and sweet-sounding bluegrass harmonies. The instrumentation is mainly acoustic; the songs are built on often, but not exclusively, gentle yet steady fresh metaphors and ideas and hooky tones. Their music embodies a very catchy, accessible, optimistic sort of spirit so frequently lacking in Americana folk-country circles (where brooding, hyper-analytical music reigns supreme). What’s more, they’re a great band replete with tasty harmonies. Their beginnings can be traced back a dozen years when Molly Rose on guitar and Eleanor Underhill on bass got together to make music when they were at college. They adopted the name Underhill Rose some seven years ago and Salley Williamson joined them on bass two years later. From small acorns they have grown a sizeable following, not just in America’s deep south, but also internationally, with their first low-key UK tour taking place in April 2016.I was hooked in immediately by opener Our Time Is Done, a gorgeously executed folk-country break-up tune. Molly’s lead vocal captivates, the three part harmonies are exquisite, a steady background beat and a dash of steel add to this exceptional track. In contrast, there’s a sensual soulful vibe to Whispering Pines Motel, with Eleanor providing the sultry lead vocal as her banjo plucks away, Nicky Sanders fiddle saws, Matt Smith’s pedal steel whines and producer Cruz Contreras Fender Rhodes underpins it all. The loping Montana is a delicate western-themed ballad that is simultaneously wistful and joyful. My Friend is a pleading, heartfelt ballad with a lustrous, layered, dreamy instrumental arrangement that poignantly enhances Molly’s powerful vocal. The irony-laden Love Looks Good On You is a simple banjo-backed narrative. Rest Easy has an excellent chorus; not one that knocks you flat and steamrollers over you, but one that quietly drifts into your head and subtly coaxes you to hum along. Then there’s Shine, a bluesy Appalachian yarn about moonshining and battling the hardships of a hard-scrabble life.
Their folk-tinged Americana is flecked with experimentation whilst retaining a firm hold on some fantastically memorable melodies. An album that will not fade with repeated listening, but will get better and better. Mention should be made of the studio players Matt Smith (pedal steel, Dobro), Mike Ashworth (drums), Mike Seal (electric guitar), Nick Sanders (fiddle) and producer Cruz Contreras (Rhodes, guitar) who provide sensitive and inspired instrumental support throughout. Needless to say, a highly recommended album.
www.underhillrose.com