Shiloh Hill creates a vibe with their latest release Wildflower that feels like running barefoot through a summer rainstorm, fresh and alive. The eleven-song album combines eclectic instrumentation that embarks on a blend of New Orleans Bourbon Street combined with traditional folk. For the rest of the world that is not in the Greensboro, North Carolina, area where this band blossomed, Shiloh Hillis a treasure that has yet to be unearthed since the album dropped in August.
Supported by regional touring, the band’s current lineup consists of Nick Wes (lead vocals, acoustic guitar), Mamie Wilson (lead vocals, mandolin, glockenspiel), Julian Jackson (background vocals, banjo, electric guitar, dobro), Zeke Churchill (background vocals, drums), and Michael Kuehn (bass guitar, piano, organ) with the regulars joined in studio with friends Benjamin Matlack (trumpet & flugelhorn) and Evan Ringel (fiddle).
“The Artist” begins with a simple pizzicato of strings, building a cinematic vibe with vocals in layers from Wes and Wilson. Drifting like a summer breeze with banjo and trumpet accompaniment, the parade that is “Better Fool” begins by clearly marching to a different drum. Admittedly love’s fool, lyrically closing out with a restrained chorus and banjo is brilliant. Creating separation within a song is a challenge that is achieved here with instrumentation and tempo.
Moving it down to to an easy roll, “Mama’s Boy” enhances that Americana quality this album embraces. Juxtaposed with lyrics that bleed anguish, the arrangement is downtempo in a sweetly triumphant way. With horns leading the parade, “Wildflower” is the closest to a pop song on the album. The vocals really shine here, possibly because they are the storytellers, metaphor spreading the seed on the wind. “Seasons” rests roughly halfway along the journey; it’s a traveling song with the anticipation of new things ahead. Mandolin is featured up front in the mix here, and it is a beautiful touch. “Dust” feels like something that bands like The Avett Brothers may have inspired, with banjo and guitar along with the harmonies of Wes and Wilson. Taking the genre in a new direction, horns are added in a subtle way here. The tune pulls out into a solo piano accompanied by a fine bit of banjo work, coming together in a haunted musicality.
“Box of Pine” kicks the album into high gear with an opening that pulls fiddle and banjo to the front of the mix to highlight the roots of North Carolina musical tradition. Relying heavily on the familiar, the song is sweet with dobro and a toe-tapping infectiousness. “Stale” pulls that new folk thing back in with a fiddle squeal. An almost hypnotic piece is tossed on the table here with a dare. Something so fresh can never be considered old. Songs like “Six Months” and “Riverstone” are lyrically based: the things that are not wanted are usually things that are unavailable, smoothed by time to be less resistant to the currents of life. Closing out with “Oh My Love. Oh My Sweet,” Wildflower goes out in the way it came in, on a soft spring breeze: fragrant, brightly colored, and sweet. —Lisa Whealy
1. “Hypachoi” – The Project. A thrumming distorted bass riff underlines this song, which moves from a spartan tune punctuated by clanking chains into a crunchy, towering, dramatic piece. The lyrics are a passionate re-telling of Christ’s death and resurrection. Happy Easter!
2. “Trucksea (feat. Dean McGrath)” – Nonsemble. This indie-pop chamber orchestra packs “Trucksea” full of fluttering strings, dramatic cello, grounding keys, perky drums. The vocals are the most modern thing about the tune, other than perhaps the confidence with which the difficult fusion is pulled off. This is an impressive tune that demands attention.
3. “Wildflower” – Shiloh Hill. Chipper full-band folk that starts with perky trumpet and brings in banjo like rays of sunshine coming out from behind a cloud. The chorus has an anthemic cast similar to The Decemberists, which is always welcome. This album looks like it’s going to be a lot of fun. Check out their Kickstarter.
4. “Dust” – Ryan Martin John, Todd Sibbin, and Tom West. Kind of like an Australian Crosby, Stills, Nash and Young, this ominous track has a ’70s folk vibe, solid group vocals, and a dense, immediate atmosphere.
5. “I Know I” – The Tin Man. A pensive minor-key first verse leads into an ultimately hopeful, thumping folk-pop/alt-pop tune augmented by some distorted guitar providing some background grumble. Goes for a lot of drama and yet stops one inch from going over the top–an admirable skill.
6. “Same Boat” – Vanessa Forero. This is a swift, upbeat, smile-inducing folk-pop tune that doesn’t jump the shark in its arrangement (however, there are mermaids in the stead of Left Shark as part of the video).
7. “Million Miles” – Jesse Konrad. A calm strum, gentle guitar counterpoint, and a friendly organ push this track along in a very chill way.
8. “You Need to Hear It From Someone Else” – Protestant Work Ethic. Lazy horns play against a large choir, an autoharp, melodica, and assorted random percussion–the outcome is like a European version of Typhoon, all the way down to the passionate vocals.
9. “Already Gone” – Travis Smith. A surging, major-key chord progression reminiscent of Dan Mangan, a fun organ performance, and a smooth vocal performance come together over a shuffle snare for a tune seems already comfortable and worn in, like a comfy sweater, when you first hear it.
10. “Marigold” – Neil Holyoak. Holyoak’s hazy yet gravitas-laden voice presides over this very carefully constructed folk tune, complete with pedal steel, mandolin, and reverb-washed electric guitar. It’s kind of like Dana Sipos’ work, but in a major key and more instrument-laden. Float away with this track.
11. “Love Is Like a Market Crash” – Thurdy. It takes a lot of work to sound casual. Thurdy’s laid-back, back-porch vibe permeates his baritone vocals, rolling guitar playing, and honest lyrics. It’s a tune that gives you back more than it asks of you.
12. “This Will Be Our Year – Zombies Cover” – Novi Split. David J’s magnetic, utterly gorgeous voice is in full flower here, matching his oh-so-lovely pipes with a “doo-wop meets old-school country in a subtle, spare modern bar” arrangement. It’s just great.
13. “Bed of Nails” – Logan Magness. “Tender” and “romantic” maybe aren’t the phrases most associated with alt-country, but this stripped-down, Isbell-esque acoustic ballad is both. Magness’s smooth tenor is a joy to listen to.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.