Bowerbirds—The Clearing

What’s to be anticipated from Bowerbirds’ third LP The Clearing? It has become common to expect bands to follow the all-too-familiar trajectory of releasing an exceptional debut, a disappointing sophomore record and a redemptive follow up. But this model doesn’t apply to Bowerbirds.

To this point, the group hasn’t undergone any drastic makeovers since the release of their first EP, Dangers at Sea, in 2006, but they’ve continued to refine and expand their sound with each successive release. Each album starts where the previous one left off, and the group has never departed from their celebrated folky ensembles.

The title speaks to the group’s emotional place during the recording process. Lead vocalist Philip Moore and accordionist Beth Tacular had reunited after a breakup, and the band returned to their Raleigh cabin in the woods to write The Clearing—yes, a page pulled directly from Bon Iver’s book (They even recorded the album in Justin Vernon’s studio in Eau Clair, WI).

A steady rhythm guitar cradles Moore’s unaffected vocals in “Tuck the Darkness In.” The song is an exquisite crescendo, beginning with simple, subdued keys and progressing to tender violin, layered vocals and powerful drums. The song is honest, relatable and reflective; it tells a painful story with figurative language to avoid assuming the form of a musical diary: “Oh my dear friend, everything falls to death/ We tuck the darkness in.” It’s easy to feel like a jaded therapist with songs of the same genre, but “Tuck” spares us the spectacle.

“Stitch the Hem” couples striking keys and background guitar to usher in a chamber-poppy chorus. Handclaps add brevity by countering Tacular’s lamenting refrain, and the guitar moves to the foreground as the song develops, competing with the keys for center stage.

The Clearing gives Bowerbirds loyalists—like John Darnielle of the Mountain Goats, who has called the group his “favorite band in, like, forever”—something to look forward to. Though this record may not be as strong as 2009’s Upper Air, it’s a viable testament to the group’s trademark sound. This album isn’t a departure for the Raleigh trio, but they never meant to leave their nest.

—Andrew Karim