Virginian psych-folk journeyman, Keith Wood (aka Hush Arbors) has his forthcoming LP, Yankee Reality cocked and loaded for release on October 6th. The folks at Ecstatic Peace have been working overtime in 2009, releasing quite a bit of noteworthy experimental material all clamped tight in folk-with-a-sneer standards and badass attitude. We’re huge fans of WAND’s 09 release, Hard Knox, and even though the two have toured together in the past, listening to Yankee Reality has me standing in line for tickets should this tandem tour ever resurface. In all facets, this album is primed for success. With one hand in traditional Americana and another in fuzzy garage grit, Hush Arbors reaches deep in ten tracks of subtle diversity and killer ambience. Each track bubbles something new to the top, from rich and organically driven folk simplicity to raucous psychedelic dives. There’s something for everyone on Yankee Reality, but it maintains a delicate aloofness that makes it cool as hell and entirely pleasing to the ears.
It’s difficult to focus this review around areas of worth because the album in itself is a journey. The first leaked track is oddly the closer of the album, “Devil Made You High.” If you’ve not heard the track, I recommend hitting this one first so you can begin the record with a sonic punch to the sternum. The frenetic percussion mixes with intensely rising falsetto vocal delivery, all while the kitchen sink is thrown at listeners. Fuzzed out and galloping guitars and a screeching crescendo at the outro all make a statement that this isn’t a record to dismiss as one-man Appalachian folk balladry–Not in the slightest bit. On one hand, Yankee Reality steers this way, leaning heavily on brooding, bluesy tonalities and a gritty underbelly. Tracks like “Fast Asleep” are edgy folk songs at heart but flourish into grimy psychedelic tracks at points. Straightforward rock hooks have their place, as well, particularly in “Lisbon,” a retro 70′s high-octane ass-shaker at track three. Chorus filled guitar effects and garage band style percussion sit atop hooks honky-tonk enough to hold the attention of the most staunch southern blues fan. Certainly it’s not the pulsing attitude of these tracks that epitomize the album, but it is what points to a unique variety in Hush Arbors’ arrangements.
Another vein worthy of discussion is Hush Arbors’ panache for dreamy melody (full complimentary intent here). ”So The Way” is gorgeously arranged, plugged in guitar picking and softly underscored synthesizers riding behind. ”I was left on my own terms. She shadows turn to bells,” pines Wood in a subtly slurred delivery. It’s about a girl, and although the melodies are dreamy and effective, there’s an edgy shakiness still present. The dual nature of Hush Arbors’ sound rings loud and clear in tracks like this. Wood loves emphasizing melody, but doesn’t sacrifice character to do so. In this goal, many tracks hit the beauty bulls-eye from different angles. A near hymnal quality erupts in “Sun Shall,” a huge song with snare-laced percussion and ambience full enough to please late 60′s flower children. Hush Arbors puts both hands in the cookie jar throughout. Wood can play troubadour, rock god, and dreamy 50′s crooner at the same time. Several times while listening I imagined what some of these tracks would sound like in a church setting.
As mentioned earlier in the review, pinpointing a specific area of interest is difficult with Yankee Reality because subtle variations keep the entire record from sitting still too long for evaluation. The glue that holds this effort together is the fine musicianship Keith Wood pours into its creation. There’s very little filler on the album, and each track points uniquely toward American folk-rock standards and psychedelic experimentation. One run through will leave you satisfied, but multiple plays allow it to blossom. Pre-order it through our link or get in line at the record store next Tuesday. You’ll be pleasantly surprised.
