Originally written for Folk Alley
For all the buzz that’s been made about members of Black Prairie having performed for years as the Decemberists, one truth has stuck through their releases. This is a separate band built on a foundation of folk and bluegrass, and is by no means intended to be anything Decemberists-like. Sure, there’s bleed-over – these same instrumentalists with these same minds have contributed to Decemberists projects. But they’ve done so pulling on their long history and affection for traditional music.
At the end of the day, these folks can pick a guitar and banjo and saw the hell out of a fiddle – nothing ironic about it. They proved it on their self-titled debut two years ago, and they’re solidifying it here on their new album A Tear in the Eye Is a Wound in the Heart (due Sept. 18 on Sugar Hill Records).
Granted, they’re taking more liberty with the form this time around.
“Nowhere Massachusetts” has a little Jessica Lea Mayfield energy in it. You might hear a smattering of a PJ Harvey-meets-Sara-Watkins vibe here and there. Nonetheless, this is back porch music – from the twilight-and-fireflies of “Rock of Ages” to the fiddle-and-clog of “For the Love of John Hartford,” to the swig-and-swagger instrumentalism of “Evil Leaves” and “Taraf”.
It’s an album which speaks for the ever-evolving face of the Portland, Oregon, music scene. In addition to the rawness of the bluegrass influence, the disc is heavy on piano, accordion, dobro, and percussion. There are Vaudeville moments and others which transport you straight to the heart of Appalachia.
It’s also a long disc, capping out at sixteen tracks, but every single one is a keeper. Sure, hardcore bluegrass fans may be disappointed about the diversions toward something more imaginative and dreamy and outside tradition’s box, but these are clothes Black Prairie wears well. Try them on for yourself.
Leave a Reply