In an era when so much music is being created by software running sequences, Auto-tuned vocals, and probably AI by now, it’s good to see a significant number of acoustic groups. The bluegrass scene seems to be thriving, with newer-generation performers in the eclectic New Acoustic style, along with groups that are going for an authentically traditional sound. The 1980s brought us artists like David Grisman, Sam Bush, New Grass Revival, and into the 1990s with Bela Fleck and Jerry Douglas. Twenty years ago the band Nickel Creek, with Chris Thile and Sara Watkins made their debut and both have been stalwarts exploring the breadth of what can be done with the instruments of bluegrass -- Thile especially, with his Punch Brothers group and the Goat Rodeo Project with cellist Yo Yo Ma and Nashville fiddler Stuart Duncan.

This week, we have the debut album by an impressive acoustic quartet whose styles span classical to old-timey, and include some of the musical boundary-crossing that marks the best of such groups. The band is called High Horse, and that is also the name of their album.

Their publicity describes them as a “progressive-acoustic boy band.” And while they look pretty young in their photos they all have solid academic credentials. High Horse is based in the Boston area, the members are graduates of the Berklee College of Music or the New England Conservatory. And two of the guys also have music degrees from Oberlin College in Ohio. Their instrumentation is also distinctive, with one guitar, a violin, a cello and a double bass. And the bassist often plays with a bow. The band just formed in 2023, and they went straight into a recording project.

The members are Carson McHaney on violin. He’s from Colorado, has played with classical orchestras, and also brings some Irish influence to the group. Cellist Karl Henry, originally from South Dakota is pursuing his master’s at the New England Conservatory. The guitarist is G Rockwell, who also won an award in a bluegrass competition on banjo. The bassist is Noah Harrington, a Massachusetts native and graduate of Berklee, and has performed with another eclectic acoustic group the Ruta Beggars. On the album, the quartet are joined by vocalists Kat Wallace and Jacqui Armbruster who make cameo appearances. Their album was produced by Jacob Joliff, a member of another eclectic acoustic band Ezra, whose album we reviewed earlier this year. Joliff also adds some of his mandolin here and there.

With the predominance of the strings, with the violin, cello and double bass, the sound can be reminiscent at times of the Goat Rodeo Project with Yo Yo Ma. But High Horse frequently ventures into Irish and Celtic influence, including an instrumental set of reels, and some of the flourishes of Celtic music apparent in their style of playing.

The generous 53-minute album begins with a kind of classic New Acoustic style instrumental Tombstone Territory. The band Ezra’s Jacob Joliff’s mandolin is prominent, as is the interesting texture of the three string instruments. The piece evolves taking some stylistic jumps along the way <<>>

A lot more serious sounding is Prelude to (Holy Water) with the stings sounding at times like a dirge. <<>>

The first of the vocals is Holy Water most likely sung by Jacqui Armbruster. It’s another interesting stylistic mix with a sort of melancholy sound. <<>>

A medley of Irish-style reels makes up the album’s lengthiest track, The Orphan, Richard Dwyer’s and Mrs. Lawrie’s features the three distinct pieces, which get more energetic as they go along. <<>>

The group released a track called Discern as the first single, again featuring Ms. Armbruster on the vocals. I think it’s one of the most interesting tracks on the album, with its outwardly melodic sound, but it also gets pretty eclectic with shifting tempos and the emphasis on the textures of the string instruments. Jacob Joliff also guests on the mandolin. <<>>

There is a suite in four movements which takes the quartet through its various sonic directions from ethereal <<>> to almost danceable. <<>>

The album ends with a traditional old-timey tune Ground Hog in which this academically steeped band can sound charmingly rustic, though with excellent musicianship. <<>>

High Horse the eponymous debut album by the Boston-area acoustic quartet is an impressive recording by a still young band, coming less than a year after the group formed. The distinctive instrumental lineup with violin, cello and double bass, along with the single guitar, brings some interesting sonic possibilities, able to imply classical influence, Irish and Celtic music and a good helping of their own musical personality. Their music ranges from dirge-like to upbeat and danceable. The result is an album that is both impressive for its musical content and also enjoyable.

Our grade for audio quality is close to an A, with the acoustic instruments treated well, no distorting studio effects, and a sonic approach that respects the mood of each of the pieces. In other words, it’s authentically acoustic in sound.

Perhaps it’s a reaction to the proliferation of technology-generated music, but this is a good time for fans of acoustic music with both veteran artists like Bela Fleck remaining active and some excellent new groups emerging like High Horse.

(c) Copyright 2024 George D. Graham. All rights reserved.
This review may not be copied to another Web site without written permission.

<<>> indicates audio excerpt played in produced radio review

Comments to George: