2017House and Land (Record Release Show) w/ Nathan Bowles, Emmalee Hunnicutt
JuneDoors 8:00, Show 9:00 - $8
House and Land (Record Release Show!)House & Land is a collaboration of Sally Anne Morgan of the Black Twig Pickers (Thrill Jockey) and Sarah Louise (Scissor Tail Editions, forthcoming VDSQ). Together, Sarah and Sally play haunting psychedelic Appalachian folk drone that invokes the rhododendron thickets, creeks and mountains of their local landscape in Western North Carolina. Sarah Louise is a preeminent 12-string guitarist, whose playing is influenced by clawhammer banjo and other nature-based drone styles from around the world. Her lush, hypnotic compositions are bolstered by Sally’s droning fiddle style, that incorporates traditional mountain fiddle tunes as well as modern improvisation and minimalism. Sally’s playing in the Black Twig Pickers, who have a history of collaborating with guitar heavyweights from Jack Rose to Steve Gunn, has geared her towards this perfect collaboration with Sarah. Together as House & Land, they weave their instrumental prowess with medieval vocal harmonies to create something both rooted in tradition and altogether new.
He and his bandmates in the popular and critically acclaimed old-time group the Black Twig Pickers steep themselves in local traditions of Appalachian folk music and dance, very much a vital part of cultural life in their region of Virginia. As a member of the long-running improvisational drone outfit Pelt, Bowles focuses on the various sonic possibilities inherent in struck and bowed percussion—metal, wood, skin, or otherwise. When playing by his lonesome under his birthname, he prefers either minimal and hyper-nuanced percussive drone or tranced-out solo clawhammer banjo. He currently records and tours as part of Steve Gunn's band, the Outliners. Bowles has also recorded, collaborated, and performed with, Jack Rose, Hiss Golden Messenger, Black Dirt Oak, Scott Verrastro, Pigeons, Spiral Joy Band, and others.
On his exquisite third solo album, Whole & Cloven, Nathan again augments his mesmeric clawhammer banjo pieces with piano, percussion, and vocals. Instead of the programmatic place-based narratives of its predecessor Nansemond (PoB-16), Whole & Cloven offers a stoic meditation on absence, loss, and fragmentation, populating those experiential gaps—the weighty interstices and places in-between—with stillness and wonder. Straddling Appalachian string band music and avant-garde composition but beholden to neither idiom, Nathan proves himself heir to deconstructivist tradition-bearers like Henry Flynt and Jack Rose.