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1-Village Of The Damned 03:08
02-Retreat 02:31
03-Playing Dead 02:29
04-Meditation 03:22
05-They Walk At Night 02:56
06-Burning Yarrow 09:18
07-Tragic 02:33
08-Consecration 05:54
09-Black Water 05:08
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When I heard Fire on Fire's "Amnesia" (from their EP), I was won over by the psychedelic madness that boiled beneath the song's tuneful hook and bizarre lyrics. The band manifested a crazed energy within the confines of their nuanced songwriting and constantly teetered on the brink of chaos. The Orchard sees the band relaxing and focusing their energy on softer tunes and strengthening their songwriting core. With nothing but acoustic instruments at their disposal, the group recalls the spirit of America's early musical tradition by emphasizing strong lyrical topics and melody-heavy songs. Drunken and haphazard frills decorate the record and keep many of the songs from sinking into pure genre worship. This is not slick, romantic Appalachia; Fire on Fire are rugged and lively musicians who emphasize lurching movements and uneven steps. - Brainwashed.com
"Rebsie Fairholm is an English singer who felt the calling to traditional music but found the lure of 60s psychedelic rock too great an influence to resist, ending up with a darkly evocative cornfield-edge psych-folk. Inspired by the land and the lingering spirits of the ancestors who tilled it.
A mixture of reinvigorated traditional songs and new original ones transforms the sound of the ancient past into a silky psychedelia. She has also appeared on a couple of releases by The Owl Service." - rebsiefairholm.co.uk
They live on a boat in Cornwall, dig nature, and make the most beautiful pre-Raphaelite English romantic music you have ever heard. - Label
Singer-songwriter Sam Beam has gradually added rhythm and instruments to his gravitas across his previous records as Iron and Wine. On this third album, Beam finally brings the blood, instrumental colors and quirky but fluid arrangements that make explicit the worry and wounds running red in his Southern-gothic stories and dead-love letters. Slide guitars and buzzing sitars hang like spider's silk from "White Tooth Man." In "Carousel," Beam sings through a Leslie-organ effect, like George Harrison caught in the fog of "Blue Jay Way." "Wolves (Song of the Shepherd's Dog)" is how David Essex's "Rock On" would have sounded if the Clash covered it on Sandinista! Beam uses these sparks and hooks to draw you closer to uncomfortable truths. "Innocent Bones" is a bossa nova about the sin of piety. "House by the Sea" laments the cruelty of separation with African highlife guitars. Beam is as unsure in love and dismayed by the world as always. But he has never sounded more alive. - Rolling Stone
