NPR describes Hello June’s debut EP, Spruce, as “bright, blissful rock that shimmers.” The Morgantown-based band, named one of NPR’s Slingshot Artists of 2018, carries this description over to their live show as well. Tight, hook-filled choruses lead to roomy instrumental breaks that allow you to float a little, without being self-indulgent or too lengthy. Hello June is on to something special, blending catchy pop with dreamy rock and roll. Their upcoming full-length will expand on their successful formula.

“We feel like we’ve brought a new level of vulnerability with the upcoming full-length, and because of that, I’d describe it as more gritty, organic, and melodic in a lot of ways,” said Sarah Rudy, the band’s front woman. “‘Mars,’ which will be the first release from out upcoming album, has made it into our live set recently and has been lots of fun to play. There is a spaciness to it, fittingly, and we get to play off of each other, which is definitely a consistent attribute to our new material.”

Hello June is a bit new to the MOV music scene, playing their first show in the area at Marietta Brewing Company last October, but they’ve quickly gained love and support from the area. When asked about their favorite area venue, Sarah responded, “Peoples Bank Theatre is a beautiful venue, both physically and acoustically. We were invited to play by Michelle Waters for the Undercurrent Winter Festival.” Here’s hoping it won’t be long before Sarah and her bandmates Chad and Whit are able to get back in our area for another show!

Generally speaking, the music scene is male-dominated. Some of the best musicians in our area are female, but the majority of bands are led by men. Asked about being a woman in today’s scene, Sarah said, “Although I’ve seen and felt the impact of being a woman in a male-dominated scene, our fans are diverse and supportive, and make up for what can sometimes be negative experiences.” The band will inevitably gain more fans each time they play, and hopefully this helps silence any negativity tossed at the band for having a female leader.

So, what’s next? It looks like the band will continue to play regional shows to support last year’s EP, “Spruce,” and mix in new material off the upcoming full-length album in the live set. Find out more about the band on their Facebook page, and go see them as soon as you can. Wear your best groovin’ shoes.

The post Hello June appeared first on Clutch MOV.

Year end lists are always terrible. I was hesitant to make one, because I know how it makes me feel when I look through music blogs. I’m halfway through an article, only to realize they’re either a bunch of Brooklyn-based bands with albums that clock in at one hour, while only featuring two tracks, one being a bunch of Shel Silverstein poems recited into an iPhone over a Casio keyboard demo track, and the other being a live Smashing Pumpkins cover, or just ten pictures of Chris Stapleton with four paragraphs about how incredible he is. Moms everywhere love him.

Anyway, here’s what I listened to this year.

Joshua Lee – Promise Land

This album reminds me of rainy days in March. Hushed excitement is the best way I can describe it.

Queens of the Stone Age – Villains

The first time I’ve voluntarily listened to QOTSA. The guitars sound the same in every song, and it gets a little old, but Mark Ronson made this a groove-oriented album, and I really enjoyed it. Side note, you know Josh totally meant to kick that photographer in the face. He is an awful person.

The War on Drugs – A Deeper Understanding

The most accurate album title of 2017. The same feeling as the last album, just more refined and, well, deeper.

Julian Lage and Chris Eldridge – Mount Royal

An album you can listen to with your grandparents.

Kendrick Lamar – DAMN.

Just as embarrassing as you’re imagining.

Andrew Combs – Canyons of My Mind

A lot of sad Americana guys released great albums in 2013/2014/2015, then released really bad follow-ups this year to cash in on their new-found popularity with sad divorced dads. Andrew Combs slipped under the radar. While some are releasing the same album over and over, Andrew finds new approaches to the familiar. As a happy non-divorced dad, I really enjoy him.

Jake Dunn and the Blackbirds – Nowhere Feels Like Home

Guitar solos, catchy hooks, big drums, and quiet moments in between. Perfection.

Harry Styles – (ST)

Say what you want. This is pop music at its best. So much fun.

John Mayer – The Search For Everything

Yeah, I’m a fangirl. Yeah, I spent a paycheck on a meet and greet. This is still a great album.

Paramore – After Laughter

This is a special one. I blew it off as a weird 80’s pop tribute album when I heard the first few singles, but there’s more to it. The songs are deep if you want to dive in, but they’re fun enough on the surface to enjoy without the weight. My favorite album of 2017.

The post Corey’s Top Ten in 2017 appeared first on Clutch MOV.

Sometimes a band steps on stage, and from the first note, they just click. There’s no forced smiling or uncomfortable tension. Each band member brings their own talent without stepping on anyone’s toes. Everything feels natural. In reality, this doesn’t happen very often. Egos get in the way, amps get turned up mid-performance… amateur bands play against each other. Professional acts are one collective unit. It usually takes time for musicians to learn this, but it seems like The Dividends got it from day one.

The Dividends are a five piece band from Huntington, WV. They released their debut EP, “Shakesy,” in June, after a year of tightening up their live performances. Their self-described genre is listed as “alt-rock with a trumpet,” which, while sounding generic and a bit goofy, perfectly describes the feel of the band. This light-hearted and honest approach to music is helping the band gain new fans at each show. The band members are young and energetic, (besides drummer Jon, who we’re told brings an oxygen tank to each show) and their stage presence is truly something to behold.

Clocking in around 25 minutes, “Shakesy” is nothing but the band getting right to business, and shoving their incredibly catchy tunes into your ears.

Between Hannah’s incredible vocals, Alan’s energy, and Heath’s trumpet, the band has a unique presence, and stands out in the crowded West Virginia-area music scene. Adding to their appeal is the fact that all three sing lead on different songs. This adds to the variety of their live set, and keeps the listener’s attention. The Dividends are such a great live band, no one would blame them for simply coasting on their tight sets and not worrying about their original material, but as an added bonus, their EP is downright fantastic.

Clocking in around 25 minutes, “Shakesy” is nothing but the band getting right to business, and shoving their incredibly catchy tunes into your ears. Every song is single-worthy, and shows a different aspect of the band’s talent. These tunes would easily feel at home on 90s alternative radio, and I mean that in the most complimentary way. Those songs had heart, but also had a little bit of crunch behind the catchy choruses that we all loved. The band definitely lets loose a few times on the album, such as the bridge of my favorite song, “Window Sill.” Heath shows some smooth vocal skills on this tune, and the middle break allows the band to get crazy for a minute, which is always fun to see live.

Prepare yourself. The first time you listen to this band, you will fall in love with Hannah. Her vocals are truly world class, and she brings a touch of cool and smoothness to the band. This girl will end up with fan clubs all over Facebook in no time. From “Shades of Blue” to album closer, “The Room,” Hannah’s talent is immediately apparent and will do nothing but bring new fans to the band. Alan’s role as the sole guitar player in the band gives him plenty of chances to bring the energy, and he definitely embraces the role. He’s the one jumping around on stage and interacting with the crowd. His energy is contagious, and somehow he found a way to deliver it on the album as well. He sounds great on songs like “25” and “Shallow Bay,” bringing dirty guitars and clean vocals.

Hannah, Alan, Ashley, Heath, and Jon have put together an album that stands out in our state’s busy music scene. This young band found a way to sound familiar while still being unique. That’s a big advantage for a new band, and considering their first release is only two months old, I’d say there are plenty of unsuspecting people out there who are about to become familiar with their unique sound.

“Shakesy” is available on iTunes, Spotify, and Bandcamp.

The post The Dividends appeared first on Clutch MOV.

In 2011, my wife and I made our first Sunday drive to the Culture Center in Charleston. We explored the museum, sat by the entrance, and waited for the theater doors to open. At 6:30, we rushed to the first two seats in the front row, and my life was changed forever. I had been playing guitar since I was 13. At the time, I was in my senior year of college, and already had a steady career. I assumed the dream of being a musician was gone. Maybe it would be that funny hobby I had when I was young, that I would dedicate less and less time to, eventually selling all of my equipment and settling into a quiet life. That all changed the moment the Mountain Stage house band played the first notes of their theme song.

After our first Mountain Stage experience, we made several more trips down to see so many new acts we hadn’t known about before. Meanwhile, the itch to play in public grew inside. I started writing songs again, not knowing what I would do with the them. It took four more years for me to get the courage to play an open mic. In April 2015, I went to the Adelphia Music Hall, and everything started falling in to place. I was invited to play some local events, and started making friends with more talented and experienced musicians. I devoured every piece of advice they would give me. Fast forward a year to April of 2016, and I released my first album. I sent a copy to the Mountain Stage office, along with a letter explaining why I was doing all of this. Of course, I didn’t hear back.

I wrote better songs, recorded deeper soundscapes, and cut out all the filler.

But I kept it up. The shows got progressively bigger and better, and further from home. I became a part of the local music scene. I was interviewed for West Virginia Public Broadcasting’s month-long feature about West Virginia musicians. I started missing my family and feeling guilty about not being there. I wrote some songs about those feelings. After the fall, I started recording again, learning from past mistakes, and being more open to suggestions and assistance from those more experienced and talented friends I talked about earlier. I wrote better songs, recorded deeper soundscapes, and cut out all the filler. I even had a custom piece created by a local artist, Leigh Bond of Just A Jar Design Press, for the album cover. I wanted to do it right this time. I sent the first copy of Antioch Road to Larry Groce, again with a handwritten letter explaining what the songs meant to me and how much Mountain Stage pushed all of this to happen. I didn’t hear back.

Sunday, April 30, 2017. It’s 10:30 AM, and I can feel my phone buzzing in my pocket. I don’t answer because I’m on a ladder trimming a tree in our backyard. The damn phone keeps buzzing. I finally step off the ladder to see who’s dying. My lock screen is filled with Facebook notifications from multiple friends asking for my phone number. Adam Harris sends me a long text message asking if I can be in Morgantown by 2:45. An act had to cancel, and they need a replacement for tonight’s Mountain Stage. I run in the house, yelling at everyone to pack up and get dressed while I take a shower and clean up my suit. We jump in the car, my wife behind the wheel while I sit in the back with our son and change my old guitar strings. We arrive around 2:00, I talk with Larry and Adam for a few minutes, do some paperwork, and head to soundcheck. It’s all happening so fast.

I know I played some songs. I’ve seen the pictures and watched the videos, but it doesn’t seem real. I tried to soak in every moment, but those twenty minutes went by in about three seconds.

Mountain Stage travels fairly frequently, just my luck that the Creative Arts Center in Morgantown is even bigger than their home in Charleston. During soundcheck, I stand where I’m told and play a couple of songs while I stare out at all of the empty seats, trying to process what is really happening. After soundcheck, my family and I head to dinner with the crew, where we meet the other acts performing that evening. Everyone introduces themselves, and I have to pretend like I don’t know their names already. I am a mess inside. Ethan and Heather are treated with nothing but respect and given full tours and access to anything they want. Before I know it, the doors are open, the lights are down, and I’m hearing the Mountain Stage theme from backstage.

I know I played some songs. I’ve seen the pictures and watched the videos, but it doesn’t seem real. I tried to soak in every moment, but those twenty minutes went by in about three seconds. After my set, I grabbed Ethan from his seat and brought him backstage with me to watch the rest of the show. Then came the finale song, a Mountain Stage tradition where all of the acts come together on stage to perform. This time, Larry had selected a Levon Helm song, “False Hearted Lover Blues.” Instead of bringing my guitar, I brought Ethan. I sang the fourth verse of the Mountain Stage finale song with my son in my arms. I achieved my goal.

After the show, we went back to the hotel, and I went to the bar with most of the crew to try to unwind and process what just happened. The only musical goal I had set for myself, that I assumed would take a decade or more, if it ever happened at all, was completed in almost exactly two years. I don’t know what’s next, but I plan to enjoy every minute. As the night came to an end, I had some great conversations with people I deeply admire. As Larry was leaving, he walked over to my barstool, shook my hand and apologized for the short notice. He thanked me for coming out, reminded me that I am one of the family now, and said he would see me again soon.

Here’s hoping.

The post Corey Shields: From Mountain Stage appeared first on Clutch MOV.

With her debut release, Traci Goode is bringing a much needed female voice to the MOV music scene. “Until You Feel Alive” was released on January 27^th, and was written, recorded and produced by Traci herself. The eleven songs on the album span from slow and hopeful to catchy and upbeat revenge tracks. Traci may be a solo female artist, but her music can be aggressive and full of emotion. This isn’t a sleepy album of piano ballads. Using stripped-down recording methods, Traci’s songs don’t hide behind layers of auto-tuned vocals and synthesizers. These songs can grab you with just an acoustic guitar.

Traci knows how to write a hook. Every song on the album is catchy in its own way. No matter the tempo or attitude, the song will come around to a huge chorus that sits in your ears for days. Songs like “Hurt” show how you can let out your internal frustrations while also making an incredibly well-crafted and immediately enjoyable song. Some musicians are great lyricists, but have trouble presenting their words in a condensed and catchy package, others can write a great musical progression, but have to use the word ‘baby’ 50 times to fill a song. Traci Goode does both, and she does them well.

The album begins with a few aggressive tracks. “Nobody’s Home” and “Stay Down” are direct and to the point. “I Won’t Be There” slows things down a bit, with a chorus that climbs. This song will bring out your inner Whitney Houston, and I do not recommend singing along unless you’re alone. “Fool’s Gold” is a standout track, a slower song that features a beautiful chorus.

The middle of the album has several gems including my favorite, “Hurt.” With lines like “You bought the painting for the frame, and just threw out the art,” Traci shows that while this is her debut album, she has the lyrical skill of someone who’s been writing for a long time. “Bulbs Burn Out,” “Tear It Down,” and “Until You Feel Alive” are on the softer side of the album, but still pack the usual lyrical punch that Traci is so talented with. The grittier attitude returns towards the end of the album with “Backbone” and “Gone.” Again, for the album closer, I do not recommend singing along, as you will be disappointed with the results.

Traci Goode is a unique voice in the MOV music scene. Her voice is powerful and full of emotion. Traci includes Stevie Nicks as one of her main influences, and it shows. She brings out the attitude of women like Pat Benatar and Courtney Love, but with songs that are more reserved and presented in a more pop fashion. “Until You Feel Alive” is available now on Spotify, iTunes, and Amazon, but you should really pick up a physical copy at a show. Get out and support local music!

The post Until You Feel Alive appeared first on Clutch MOV.

Jake, Jesse, Bobby, and Dustin have put together the best EP of 2016. “The Darkness Creeping In” is the debut release from Jake Dunn and The Blackbirds. The EP clocks in at just over 25 minutes, and not one second is wasted. From the first note of “Hard Enough” to the last sustaining ring of “I Don’t Know A Thing,” this album is nothing short of greatness.

I’ve talked about Jake Dunn before, and reviewed his solo album for Clutch in March of this year. Since that review was published, he has put together a band of extraordinary talent and written new original material. I have spent most of 2016 playing shows with Jake and the band, hearing these songs over and over again. Yet, I still listen to the CD every time I’m in my car. That should tell you just how good this album is.

It’s hard to put in to words just how easily this band gels together on stage. Jesse’s strong and heavy drums combine so well with Bobby’s steady bass lines and Dustin’s roaring Les Paul. Jake’s lyrics always set a mood so well, and the vocal hooks will be stuck in your head for days. I knew Jake Dunn and The Blackbirds were great live, and I’m happy to say that “The Darkness Creeping In” displays their studio talent so well.

“Hard Enough” is a perfect opening track, hitting a home run with a great hook and putting each member on display. The way the bass and drums lock in immediately is so satisfying and provides a groove for the song that even your grandma would love. “December Fourteen” slows things down a bit, with haunting backing vocals in the chorus and a guitar break that is nothing short of arena rock status. Dustin is one of the most talented guitar players I have ever met, and he is great at layering his sound to create the perfect lead guitar tone.

“My Evangeline” will probably be your favorite song on first listen. I wouldn’t be surprised to hear this song on the radio next summer. Its subtle guitar work and strong hook make for five minutes of rock n’ roll perfection.

“What I Wanted” is a sleeper track that grows on you more and more with each listen. The song slowly builds into quite a heavy tune with a dual-guitar outro that is strong and loud. Album closer, “I Don’t Know A Thing” is the softest tune on the album, with backing vocals that are perfectly delivered to push the song to the next level. You will be singing “I have been here waiting…” for days after hearing this song.

2016 has been a great year for local music in the Mid-Ohio Valley. Unfortunately, “The Darkness Creeping In” is so good, I fear that Jake Dunn and The Blackbirds will be taken from our local scene soon. This album is what talent sounds like. Even the production from Nate Sisson at Roshambo Studios is great and helps display the skill of these musicians. Pick up the album today and come see these guys soon. Chances are i’ll be right there in the crowd beside you.

Photos 1 and 2 by Kimberly Jones

Photo 3 by Backstage Photography

The post The Darkness Creeping In appeared first on Clutch MOV.

On November 6^th, I drove to Huntington for a show with no guaranteed pay and no real knowledge of what I was getting in to. I went in blind, trusting the positive things I had heard about the host, Joe Troubetaris, and his events from some of my friends in Huntington. Every show is a bit of a risk. The sound, the lights, the crew, the venue are all variables that you can’t really control. The risk is even greater for an out of town gig. Putting in a day of travel and burning gas money for a show can lead to some bad experiences. This time, I got lucky.

Porch Unplugged is a music series that was started in 2011 by Joe Troubetaris in Huntington, WV. On the surface, this is a house show where local and national artists come to Joe’s home, set up in his dining room, and play for an attentive audience. The real experience is so much more than that. Joe’s inspiration came from wanting to have a creative outlet where artists could mingle and perform for an audience that is truly engaged. Porch stands for “Passion On Real Community Harmony,” and you’d be hard-pressed to find anyone more passionate than Joe. He actively directs the audience during Porch Unplugged shows, letting everyone know when the next act will start and reminding audience members to contribute to the donation bin and check out band merchandise to help the artists.

Upon arrival that Sunday evening in November, I was warmly greeted by Joe and a few of his friends. We set up my equipment and I was invited to an open kitchen full of good beer and good food. I struck up conversation with the other artists performing that evening while the crowd slowly grew. At 7, Joe welcomed everyone and invited them to get comfortable around the house. I sat on a stool and played my 30-minute set to a quiet house full of the nicest, most attentive people I have had the pleasure of playing for. I shared stories, told a bit about myself, and focused on the dynamics of my songs. Being a solo artist in a loud environment can be disheartening at times. Even if the audience is enjoying your show, you sometimes feel the urge to yell over top of the crowd, and you lose focus on performing. Porch Unplugged is the exact opposite. You could have heard a pin drop while I was playing. This setting created a new standard for my future shows.

After the show was over, the merch was sold, and the pictures were taken, I had a quiet moment with Joe, and told him I was hitting the road back home. Monday morning would be coming way too fast, and I wanted at least a bit of sleep to prepare myself for the return to the real world. He gave me a hug, thanked me for coming, and generally made me feel like a rock star. From the talented performers to the warm and receptive audience, Porch Unplugged is an event unlike anything I’ve ever experienced. This is so much more than a house show. Joe Troubetaris is a genuinely good person with a strong love for music, and he’s built a community that shares that love. I’m so happy to be a part of it. I can’t wait to go back.

The post Porch Unplugged appeared first on Clutch MOV.

John Paul White has finally returned to music. After a two-year hiatus, the singer-songwriter released a solo album titled “Beulah” in August. The album comes as a bit of a surprise after the breakup of his previous music project, The Civil Wars. After quickly becoming one of the premiere folk acts in the industry, winning multiple Grammy awards for both of their LPs, “Barton Hollow” and “The Civil Wars,” John and his bandmate Joy Williams went their separate ways in August of 2014. Williams quickly released a solo album and began touring, but White remained basically silent and hidden from the spotlight, spending most of his time working on his record label, Single Lock Records. The silence came to an end in June, with White announcing a full length album and extensive tour.

“Beulah” is an album that sounds timeless. Some songs feature only JPW and his acoustic guitar, while others are full band compositions that sound larger than anything from The Civil Wars. John is a big fan of old southern folk music, and that comes through in songs like “I’ve Been Over This Before” with some help from The Secret Sisters. Closing track, “I’ll Get Even” is reminiscent of later tunes from his previous band, while “The Once and Future Queen” balances darkness with an irresistible hook.

With no female vocals to lift songs or offer the always-loved back and forth of a conversation, John is on his own to embrace the straightforward weight he excels at. The beautiful album cover can be a bit misleading, with a blue sky and bright colors. “Beulah” feels heavy, like a Sunday night spent alone with a touch of heartbreak. These ten songs show JPW doing what he does best, writing folky, thoughtful, and dark pop music.

While lead single, “What’s So” and band-heavy “The Martyr” are obvious choices to draw a listener in, the standout track is “Hope I Die.” Starting with a palm-muted chords, it sounds like a run of the mill JPW song, but after a brief intro, the drums kick in with a quick and sharp beat, driving a muted guitar riff that could be at home with any groovy pop song on the radio. White nearly whispers in the verse to keep the tight and cool music driving before the beat slows and opens up for a big and beautiful chorus. Just before the four-minute mark, the wide open track of strummed guitar chords and strings comes to an immediate halt. This song is JPW at his best.

John Paul White wrote many songs for popular country artists before The Civil Wars took off. The man knows how to write a hook, and the addition of the very personal lyrics makes Beulah immediately listenable while also being an album that rewards you for coming back again and again with deep lyrics and slick one-liners that you may not catch the first few listens. John is currently on tour, and will be a part of Mountain Stage on Sunday November 20^th.

The post John Paul White appeared first on Clutch MOV.

The already strong Mid-Ohio Valley music scene has a new heavy hitter this week, courtesy of Levi Westfall and The Last Call. October 22^nd sees the release of their debut EP, “Fear of Missing Out.” With five well rounded and unique Americana tracks, the future looks strong for this new band.

Levi has been performing solo in the area for some time, writing original songs and being an active participant in local music events. By joining forces with other local musicians Chuck McPeek (guitar), Jay Mason (bass), and Jesse Forrest (drums), he created The Last Call, and was able to grow his music with more of a rock flavor while keeping his Americana roots. Each track presents a different tempo and feel. This is an EP done right. Rather than delaying the release to write a few extra songs during the recording process and create a full length album with filler, Levi cut to the chase, and narrowed his focus to his five strongest songs. The result leaves the listener confident that this is only the beginning of an exciting path for Levi and the band.

The EP opens with “Getting Good at Saying Goodbye,” an up-tempo straightforward rock song with a chorus that showcases strong backing vocals and some excellent drum fills from Jesse Forrest. A quick guitar solo, slow building bridge and powerful outro show the potential for some great live performances of this tune in the future.

The second song, “Abilene,” is a tune that will stay in your head for days. While having the feel of a story-song, the massive hook in the chorus will keep listeners interested as the song progresses. This one could easily be featured as a lead single, encompassing everything The Last Call excels at in a nice five minute package.

“Walls” offers a different perspective of the band, removing the classic rock vibes and bringing forth stacked down-tuned guitars. “Walls” is led by a delay-drenched guitar riff courtesy of Chuck McPeek. While staying true to the album’s theme of girls, cars, and love, this song shows promise for some sonic branching out in the future. The song feels like a cohesive band piece, and could help draw in fans of different genres.

The final two songs, title-track “Fear of Missing Out” and six-plus-minute jam “In a Rivertown” only strengthen the band’s appeal. Chuck’s off-time guitar riff in the former and the huge organ sounds provided by Jesse in the latter create two songs that show how much variety a four-piece band can offer. Make no mistake, this is a rock band at heart, but hearing them try new and different things makes for a great listening experience.

Written, recorded, and produced by the band members themselves, “Fear of Missing Out” is a solid five-track effort from a group that promises to grow into something special. Seasoned songwriting, strong musicianship, and a classic vibe that everyone can enjoy. It’s a short 25 minute taste of what is sure to become something great. Come hear the whole album at the release party October 22^nd at Marietta Brewing Company. This will be your first chance to pick up a physical copy of the album. A digital release will follow in November.

The post Fear of Missing Out appeared first on Clutch MOV.

Sometimes, you stumble upon a band that does everything right. The songs are the perfect length, the lyrics fit the mood, the instruments sound warm and aren’t overplayed. Sometimes that band is from your home state. Enter Huntington, West Virginia’s The Horse Traders.

I found The Horse Traders through a friend of a friend a few weeks before the release of their latest EP, “I Don’t Mind.” I fell in love at first play. I watched every live video I could, pre-ordered the album, and waited ever-so-impatiently. The disc that arrived brought four near-perfect songs.

The band consists of Patrick Stanley singing and playing rhythm guitar, Travis Egnor playing lead and pedal steel guitar, Jeremy Robinson on drums, and Brandon Mooney on bass. These guys are road-tested and ready for the big time. “I Don’t Mind” shows a band that knows exactly what sound they’re going for, and gets right to the point covering several song styles in a 20-minute, four-song EP.

Press play, and the title track, “I Don’t Mind,” gently opens up through your speakers. By the time the chorus comes around, the song has opened fully with female backing vocals joining in while Patrick repeats the refrain of “I Don’t Mind.”

Where “I Don’t Mind” is a track that warms up and gradually opens, track two, “Hey Carolina,” is a barn burner from the beginning. The harmonized vocals from the first line on will have you singing along quickly. Travis provides some great guitar lines on this upbeat track. The drums really help this song on stage, making it one of the really special live tracks.

The closing track, “Even Mountains Can Fall” has a simple three chord progression with a smooth vocal melody. As the phased-out guitar plays the chords in the opening seconds, you know this song is going to be a bit rowdy. By the time the chord change come in the chorus, you’ll be singing along and watching every girl in the bar dance along. A fantastic closing track with more tasteful musicianship.

I went out of order on purpose here, because there is a song tucked in the middle of this album that blows my mind. The third track of this four-song EP is the beautiful “Mark Twain.” The drum brushes and wonderful pedal steel set the mood for a song that, as a musician, you dream of writing. This song shines lyrically. Patrick tells the story of a father and son becoming “river men” for money, and features a chorus that pulls on the heartstrings. It’s rare to introduce your friends to a band through a ballad, but this song is just right on so many levels.

“I Don’t Mind” is brief, but I kind of like it that way. There isn’t one second of filler. In less than 20 minutes, The Horse Traders put together four songs that cover everything from thoughtful and slow, to loud and anthemic. The band has played some special gigs lately, including recording a session with the infamous Daytrotter last month. They’ll be making their first-ever stop in Marietta September 24^th at Marietta Brewing Company. The show starts at 10, and there’s never a cover. Come hang out with the Clutch MOV crew and watch a band that is on their way to the big time.

Song to hear: “Mark Twain”

The post The Horse Traders appeared first on Clutch MOV.