“Deep, oaken meditations steeped in strung out Americana instrumentation. A sonic atmosphere lost somewhere between abandoned automotive shops in the country forests of the Adirondacks, and wide open, windswept mid-west farmhouses speckling near endless amber wheat.” — Squilliam’s Revenge

Diving from an elevated perch; down deeper, where the rooms get smaller, the edges rougher, and air more saturated. Overgrown and subterranean, "Sewn the Name" is a collection of quivering dirges, new choreographies for old ceremonies. Coming in at a refracted angle from the elevated posture of Old Saw's first album, "Country Tropics", the tone is dimmer and burns lower. The group still makes their home within the parameters of creaking country laments; jagged fiddle drone, soaring pedal steel, and prickly banjo plucks. Clattered bells and textures are dredged up in the process and leave us with an altogether more holistic impression of how beauty is situated amidst mess. Old Saw works within the elasticity between compressed spaces and expansive outlooks. Lush and confined, this is music tethered to the ground and burrowing further still.

Henry Birdsey - pedal steel, lap steel, tape machines
Bob Driftwood - banjo
Harper Reed - shepherd's bells
Al Lakely - 12-string guitar
Ira Dorset - fiddle

RIYL: Henry Flynt, Bruce Langhorne, Dorothy Carter, Mojave 3, Labradford

New release on Lobby Art