II EP, but four years on from Yarrow comes Changing Faces, a collection of songs – including, interestingly, one entitled Yarrow – thematically exploring the emotions of separation, dislocation and, indeed, moving from one life situation to another. Under the band’s name last year saw the interim release of the all traditional, five-song Broadside Ballads Vol. In reflection of the title of the first of those, and as evident within the lyrical content of this new album, Boldt has relocated considerable distances within Canada a couple of times during that span of time. Three further albums (and Boldt’s sparse 2014 solo effort, Broadside Ballads) have been issued since, namely The Place I Left Behind (2011), Jubilee (2013), and 2017’s Yarrow. I’ve been onboard with roots scholar Ryan Boldt’s beautiful band since their second album, 2007’s Hang Me, Oh Hang Me, and hopelessly smitten since first hearing The Birds On the Bridge, an exquisite, delicate highlight of 2009’s sublime follow-up, Winter Hours. I feel that Rosenberg’s succinct statement in respect of the Missourian bluegrass legends is also perfectly applicable to the increasingly arcadian and contemplative material by one of Canada’s finest purveyors of stately folk-rock, The Deep Dark Woods.
“ These songs tell of the power in things old, organic and rural, to bring sanity and meaning to modern, plastic, urban life.”
Rosenberg, who of The Dillards’ music says: The liner notes are courtesy of eminent roots music authority Dr. It can be feast or famine, but over time I’ve picked up a great many gems, recently including a wonderful career overview of The Dillards called There is a Time. As a thrift store addict, I pay frequent visits to my local branches of the Sally Ann, where used CDs now sell for the princely sum of 50c (around 30p).
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