Solo debut from guitarist/vocalist from Neurot Recordings' North Carolinian pastoral psych specialists U.S. Christmas.
A Great River has that Southern melancholy feel in common with Hall‘s band, and joins the ranks of highlight Neurot solo outings from Scott Kelly and Steve Von Till (both Neurosis) in its appreciation of classic folk, from Bob Dylan, whose influence shows up prevalently throughout, to a more stripped-down look at the brilliance of arrangement that has found a home in Wovenhand‘s David Eugene Edwards.
Foremost, the album is honest. Recorded in a single night last March, its “first album” feel is undercut by psychedelic flourish and the emotional depths Hall brings to the surface, and while there are still avenues of progression to be explored, a song like the Townes Van Zandt cover “Kathleen” remains the beautiful and lush work of a singer-songwriter beginning what will hopefully be a long journey.
It is a reflection of a lifetime spent with the echoes of Dylan, Young, Petty, Springsteen, and Van Zandt.
It draws from the rich musical history of America, the melancholy of Appalachia, and harnesses the "electric vacuum roar" of guitar slingers past and present.
A Great River has that Southern melancholy feel in common with Hall‘s band, and joins the ranks of highlight Neurot solo outings from Scott Kelly and Steve Von Till (both Neurosis) in its appreciation of classic folk, from Bob Dylan, whose influence shows up prevalently throughout, to a more stripped-down look at the brilliance of arrangement that has found a home in Wovenhand‘s David Eugene Edwards.
Foremost, the album is honest. Recorded in a single night last March, its “first album” feel is undercut by psychedelic flourish and the emotional depths Hall brings to the surface, and while there are still avenues of progression to be explored, a song like the Townes Van Zandt cover “Kathleen” remains the beautiful and lush work of a singer-songwriter beginning what will hopefully be a long journey.
It is a reflection of a lifetime spent with the echoes of Dylan, Young, Petty, Springsteen, and Van Zandt.
It draws from the rich musical history of America, the melancholy of Appalachia, and harnesses the "electric vacuum roar" of guitar slingers past and present.