Fire on Fire | The OrchardThe Orchard seems almost like The Carters on a slow boat to the River Styx
The phrase “dad’s indie rock” has yet to slip into the lexicon of todays young, modern music lovers, but I’m confident that in time everybody should take note.
D.I.R. is safe. You can hear it on modern rock stations (Arcade Fire and Wilco) and can jam out to it at any of the large festivals playing across this country in the summertime.
And while there is nothing inherently wrong with this branding, for some of us much is left to be desired. Especially from those that go chasing the muse labeled “Americana.” As much as I’d like to believe you are an urban cowboy drinking whiskey and cokes, trying to give up on your cheatin’ old lady, I just can’t buy it.
The upper eastern corridor of the United States is the least likely place to develop a Will Rogers complex.
Instead the group of friends who go under the name of Fire on Fire choose to invoke the haunted forests of Washington Irving or the nightmarish visions of Edgar Allen Poe with a their sound of the old East.
Coming from the minds of some of the folks that brought us the punked-up prog weirdness of the group known as Cerberus Shoal, Fire on Fire channel some of the eccentric qualities from their former lives, but steer this ship into a different direction.
Fourteen songs that draw upon the voices of each member, The Orchard seems almost like The Carters on a slow boat to the River Styx. It’s a Goodbye Babylon salute to the sacred and the profane that breaks your heart at every turn, especially when the affecting croon of Colleen Kinsella is called to the pulpit to lend her voice to tracks like “Squeezebox” and the closing track “Haystack.”
This is possibly the perfect closing album in the dying days of 2008.