Eleanor Underhill, Molly Rose and Salley Williamson. Three talented roots musicians, who together make Underhill Rose, the Asheville, North Carolina-based Americana trio that has been kicking up a storm on the scene for a few years now. After forming in 2009 and releasing two albums, the group are back with their third studio album ‘The Great Tomorrow’ (and their second successfully crowd-funded effort). The record was originally released in the US last summer, but comes to the UK on March 25 ahead of their UK and Ireland tour.
Known for their excellent three-part harmonies, Underhill Rose incorporate them often into this 11-track offering, led by Eleanor’s charismatic and salty vocals and accompanied by sparse roots arrangements. With banjo, acoustic guitar and double bass in the ladies’ own instrumental arsenal, they need little else to round out each track, save for the occasional use of drums and organ. As a result, the whole album feels deceptively live, akin to a performance in a saloon or club somewhere in the south. This lighter approach to production gives them space to breathe and serves to spotlight their lush and incredibly capable musicianship.
To all intents and purposes, it’s a very relaxed and chilled-out album, incorporating bluegrass and folk sounds for an easy-rolling vibe. Tracks like ‘Montana’ represent this perfectly, even as the lyrics display a gentle melancholy directly lifted from country music. ‘When I Die’, one of the record’s stand-outs, continues this theme in an If I Die Young-esque narrative that reflects on the narrator’s desires for her body after she’s died, and also where she’ll go spiritually afterwards. Still, she surmises, “for now, I’m glad to be alive,” expressing gratitude for the beauty of life. ‘My Friend’, meanwhile, is a heartfelt soulful number musing over the good times spent with a lover but feeling sadness that it’s over.
There are more upbeat, cheery tracks on this record, however. ‘Not Gonna Worry’ boosts the tempo for a catchy honky-tonkin’ driving song, complete with lashings of pedal steel. ‘Shine’ dips into the traditions of southern gothic for an ode to moonshine and its different uses in southern family life, while ‘Straight Up’ continues the haunting minor key for an outstanding Paula Abdul cover. This is one of my favourites from the record because I do admit to being a Paula Abdul fan in my teens, and I am thoroughly impressed with how they have interpreted a late 80s dance-pop song into a powerful Americana/roots offering. By slowing the tempo and stretching the notes, they further disguise the song, making it entirely their own.
One of my other favourites is ‘Love Looks Good On You’. There’s something about its catchy melody and its opening line “You don’t like country music, but it still reminds me of you,” that immediately captures my attention every time I hear it, and it evolves into a sweet little celebration of people doing the things that make them happy.
‘The Great Tomorrow’ is a wonderful roots record that dabbles in bluegrass, folk and Americana for a cohesive and warm, organic sound. In the rush of modern life it’s nice to take a step back, take a breather and engage in some great, pure music, and that’s exactly what Underhill Rose give us with this record. Their lyrics are poetic, pretty, but also often direct, and they spin tales of love and wisdom all tied up in a box of acceptance. There’s a peacefulness to this record that helps the listener to unwind as much as it helps express varying emotions for different situations.
And that’s all we need, right?
Underhillrose.com
Originally posted here.
