LISTEN: Carrie Newcomer, “Shelter of the Sky”

Artist: Carrie Newcomer
Hometown: Bloomington, Indiana
Song: “The Shelter of the Sky”
Album: The Point of Arrival
Release Date: March 22, 2019
Label: Available Light Records

In Their Words: “Growing up near Lake Michigan, you learn to love expanses of sky and freshwater, so I have always felt a certain kind of homecoming under the dome of an expansive sky. No matter where I am, there is the dome, the wide arms of something always changing but timeless. Because I am a touring musician, I am often a stranger who is far from home. It is easy to get ungrounded when you travel so much. But everywhere I go, there it is again, my feet on the earth and the dome of the sky above.

“The musicianship on this album and this song is nothing less than joyous. What a delight to work with such brilliant and totally original artists — Jordan Tice, Tristan Clarridge, Alex Hargreaves, Moira Smiley, Joe Phillips and Gary Walters. Together it felt like we created something that moved and expanded like fast-moving cloud banks, opening up into solos that felt like flying.” –Carrie Newcomer


Photo credit: Hugh Syme

Sam Reider, ‘Valley of the Giants’

Accordionist, pianist, and composer Sam Reider was inspired by wandering through the surreal landscape of Valle de los Gigantes in Baja California, Mexico. The park is named for the gargantuan cardón cactus, a species that resembles saguaros of the U.S., but grows larger and taller and can live longer than 300 years. It might seem that the Sonoran desert — dotted by enormous, otherworldly plants — would evoke meditative, minimal, dreamy sounds — a musical reflection of desolation and austere beauty — but “Valley of the Giants,” off Reider’s debut album, Too Hot to Sleep, is anything but.

It’s rollicking and frenetic, lilting and energetic — more like the Wild West, replete with stampedes and tumbleweeds, than a silent, spiritual desert. The album’s roster of savvy pickers (Dominick Leslie on mandolin; Alex Hargreaves on fiddle; Roy Williams and Grant Gordy on guitars; David Speranza on bass; and Eddie Barbash on saxophone) pull from their overarching bluegrass expertise to drive the tune forward at a pace just shy of breakneck, galloping-horse-chase soundtrack speeds. Dashes of folk influences from around the world are sprinkled into its string band aesthetic like melodic Easter eggs. Reider’s accordion is the unyielding anchor, giving a dose of soulful, raw timelessness, but with a modern crispness and confidence. Somehow, it simultaneously conjures arid Baja and transatlantic scenes in an Irish pub or the countryside in France. It’s like a mini-vacation, wrapped up tidily within an instrumental.