End of semester bike rides, ice cream outings and days at the river

Since my exams have been rather sparsely scheduled this semester, I managed to knock a few UNC-Chapel Hill bucket list items off the list this week with several of my housemates and I certainly know I will return to these places before I graduate. The first adventure, as detailed in Leslie Ann's post, I too traveled to Maple View Farm for some delicious and fresh ice cream, but instead of making the drive, two housemates and I decided to hop on our bikes.  It's about a 14-mile ride round trip from our house in Carrboro, and overall, the hills are minimal (there were maybe three that require some real umpff). We went Sunday evening, when the weather was perfect and arrived well before the sunset.  After enjoying double scoops of chocolate chip cookie dough and Carolina Crunch, we took our turns in the rocking  chairs on the porch, and eventually migrated to the grass before making the trek back home. Before we left, we even managed to play with some adorable little children who were scattered across the grassy hill, inflatable balls and bubbles in hand. For a few slightly stressed out college kids, it was the perfect way to temporarily wind down.

On Tuesday, I decided to continue the relaxing exam week schedule with a trip to Bobbitt's Hole at the Eno River State Park, just about half an hour away.  It was a lovely scene, plenty of rocks to sunbathe on, water that was a little chilly, but still refreshing, picnic lunches and then of course SNAKES.  Naturally, that later portion was not a pleasant sight, in fact it ended up shortening our visit when we realized we couldn't get back into the water with 100% safety.  Instead of giving up, we decided to find the next best watering hole we could think of, and with that were off to Jordan Lake.  The sun was still fairly high in the sky as we arrived to our second destination and although the water was a little too cold to brave, it was nice to continue our adventure. Overall, in a time generally characterized by stress and too much school work, the sunshine on our backs and the time to reflect on a year of friendship and being housemates made the trips to the river (and lake) well worth it.

256 Final: North Carolina's Music Festival Frenzy: A guide to a locally grown and growing creative community

Last September, as I walked around downtown Raleigh during the second annual Hopscotch Music Festival, the very last thing I thought I would find myself doing was meeting and (briefly conversing with) Wayne Coyne of the Flaming Lips. But during my midday saunter to the City Plaza, where the Lips' big show was set to start in several hours, my assistant editor Allison and I walked up to Coyne, who was surprisingly down-to-earth and friendly, more than a little starstruck.  “Only at Hopscotch,” we reminded ourselves over the next few days. 

But with the continuing growth of music festivals in North Carolina, these encounters are bound to become an exciting trend. 

From the time-honored traditions of Shakori Hills GrassRoots Music Festival, Carrboro Music Festival and MerleFest, to the expansion of the smaller Phuzz Phest and the prominence of Moogfest, North Carolina has established itself as a connoisseur of local, regional and national-caliber festivals.   

Hopscotch has become just one of a handful of North Carolina music festivals that are accessible to the large and growing music community in the state, and this year it is back for round three. As other festivals expand, the state continues to cultivate a unique breed of festival life that maintains a distinctly local feel and reaches out to the community, sometimes through partnering with  up-and-coming local eateries, creative artisans as well as talented musicians.

“The N.C. scene is really nice, because while we have played bigger festivals, there is clearly a lot of community support and involvement in the planning and volunteering here,” said James Phillips, drummer of the Durham band Bombadil. In the past few years, Bombadil has played a variety of festivals including Shakori Hills and Hopscotch, each a different, but enjoyable experience.

Although many festivals structure themselves around a particular genre and geographic focus, many of the newer N.C. festivals are aiming to reach a range of audiences. Phillips believes big festivals like Moogfest and Hopscotch will eventually draw music fans from across the region and potentially the nation. Despite the attractions festivals provide for the audience, it's not only the fans who are treated to an exciting atmosphere. In his experience, Phillips said that performers are taken care of well and are able to further develop their place in the music community through interacting with fellow musicians.

“There is a community of people playing music festivals,” Phillips said. “It's a great way to gain exposure.”

One of the more prominent North Carolina festivals, Hopscotch Music Festival hosted by The Independent Weekly, boasted headliners like Public Enemy and Broken Social Scene in 2010, its first year. Although that first year put them in debt, said co-director Greg Lowenhagen, the reception was huge and they're going to keep building it up each year. Last year saw the addition of a few more venues, an electric Flaming Lips City Plaza performance and an even greater convergence of musical-minded individuals, whether band-specific die-hard fans, supportive fellow musicians or overall music lovers. 

Hopscotch 2011, StudioJ Productions

 “Something like Hopscotch exposes someone who is a music fan to so much music,” Phillips said. “Also, the bands are willing to step it up, energy wise.”

The Hopscotch lineup was released on April 18 and since then, the weekend's supply of VIP passes have already sold out. Yet despite the quick turnaround with ticket sales, the booking of 175 bands in three days and the promise of more surprises, this September's festival has a distinctly different first impression than prior years.

Jordan Lawrence, music editor of Shuffle Magazine writes, “...but with a bevy of top-flight experimental, garage and metal bands on tap, Hopscotch continues to be a festival that seems best suited to a music geek, the kind that has a broad, manically maintained range of interest,” suggesting that the festival may not be as accessible from year to year for a large-scale audience like that of Bonnaroo or Cochella. However, the way in which North Carolina festivals cultivate themselves so as to include local musicians is an important asset of the growing scene. 

Hopscotch 2011, Abby Nardo

This year, The Roots, Jesus and Mary Chain, The dBs, Yo La Tengo and The Mountain Goats number the close to 200 bands that will play one of 15 venues at Hopscotch. The specialization in a few select genres this year might make the festival slightly less accessible, but as a result, it is able to secure a devoted fanbase. Based on this new and lively festival bill and the fact that individuals keep coming back for more, N.C. festivals like Hopscotch are drawing major attention to some of North Carolina's booming regions, and exciting music fans across the nation.

At the other end of the state, Asheville's Moogfest, has surged as a standout electronic music festival that honors the memory of Bob Moog, a pioneer of the genre. During the festival's last two years, it has also drawn performers like the Flaming Lips, St. Vincent, Passion Pit and Moby. Between it and Hopscotch, big names are continuing to find their way to the state, a place that might not be a normal stop on a tour

“That was more of the festival experience. There were tons of people I thought I would never see otherwise — Sigur Rós, that was probably my favorite show experience from Moogfest,” said Chesley Kalnen, a UNC junior who attended Moogfest in 2010.

Larger festivals are also a way for local bands to get their name out, and perhaps earn an endorsement from  nationally-recognized acts. The way in which many of the N.C. festivals draw on the important balance of local and national acts helps to create a well-rounded scene that has a lot of room to grow. 

“It's good for the local bands to meet people they look up to and get influence from,” Kalnen said. “It helps network in the music world and helps expose other people to a band, especially if they have similar music taste.”

Both Moogfest and Hopscotch have also gained national press from the likes of NPR Music and Pitchfork. And based on the positive reactions of these publications, it appears that festival life in North Carolina is here to stay and only further evolve. 


Smaller festivals, large vibes 

Not all music festivals that North Carolina hosts are heavy weights like Hopscotch and Moog. Throughout the past several years, multiple smaller-scaled festivals, at least in terms of production have established themselves across the state. For example, the 2012 Carrboro Music Festival is in its 15th year and since getting started, has managed to host 180 bands in 25 venues in a single day.  

For Gerry Williams, festival coordinator, what started out as a showcase of local musicians has blossomed into one of the town's most popular events. Local businesses partner with the event, as many coffee shops and restaurants host festival's gigs. From midmorning until late at night, there is a band playing at almost every stoop and major establishment in Carrboro.

“Even the first festival was basically the same concept — we wanted to have free music around town in a variety of locations and showcase the local musicians, and that’s what we’re still doing today,” he said.

Similarly, Winston-Salem's Phuzz Phest got it's start with Philip Pledger, a UNC alumni and leader of the band Estrangers, because he wanted to showcase his town's talent. This year's festival was the second installment and Pledger worked on bringing in a variety of musicians that were representative of his immediate community but also the evolving N.C. music scene.

“I tried to set up the bills really intentionally, to have a solid foundation with Winston bands, but exposing people to stuff that is like the headliner,” Pledger said.

Pledger notes that finding funding becomes one of the biggest challenges for festivals when first starting up.  Phuzz Phest was by no means intended to be the same size as Moog and Hopscotch, Pledger added, and for a second-year festival, he was able to book over 40 bands from a variety of genres, such as the folk-inclined Hiss Golden Messenger and the garage punk rockers Paint Fumes.

Despite the smaller-scale of these festivals, they manage to draw hundreds of attendees and a variety of musicians. For Pledger, a bigger budget will be a huge asset, but already the festival was able to bring in a number of willing musicians.

“The goal for this was to get the best bands in North Carolina that I could come play and not have to pay them exorbitant amounts of money,” he said.“I think the value on the whole festival is through the roof. There are so many amazing bands that in two years or five or 10, will be pretty notable bands.”

Basking in the outdoors

Two long-standing annual festivals, Shakori Hills GrassRoots Music and Festival for the Eno, are events that are perfect for individuals of all ages. Considering the array of food vendors, local arts and crafts that are offered in addition to the days of music, both festivals are great family options.  And as long as it doesn't rain, the outdoor location of these festivals enhances the experience even more.

At the biannual Shakori Hills, which is hosted every September and April, the festival organizers offer camping as a way to spend the night at the four-day festival. At a relatively cheap price, this option allows individuals to explore the other aspects of the event without having to spend time traveling to and from. Shakori Hills is remotely located outside of Pittsboro, so camping is the perfect festival component. 

Shakori Hills Grassroots Festival, Fall 2010, Kevin M. James

“We've always had a nice time playing at Shakori Hills  It's a really great time and the fact it is integrated into a farm makes it really comfortable,” Phillips said.

Another warm weather festival, Festival for the Eno, is held every July 4 and often maintains a vibe similar to Shakori Hills. Vendors, families, dogs and musicians spread themselves across the West Point on the Eno at the Durham City Park, and with the inviting river just a few feet away, swimming is always option for dealing with the summer heat.

“The music experience was an all around fun environment because there was a large group of musicians from an array of genres and backgrounds,” said Andrew Byrum, who attended last year's Eno Festival. “It was an enjoyable day because of the eats, the fact that it was outdoors and the music was great.”

For Byrum and others less familiar with the local music community, festivals like Shakori Hills and Festival for the Eno provide a relaxed introduction to the music of N.C., while also showcasing cultural opportunities in the form of food, crafts and dance that might be overlooked away from the festival environment.

And at a relatively fair price, these are festivals that can be well-worth the expense for anyone. With so much to offer, the music community can expect to find a few if not several (or all) things to enjoy. 

Festival for the Eno, http://enoriver.org/Festival/

A future of festivals 

With so many already to choose from, the music festival scene in North Carolina looks promising for anyone who enjoys a good time and a variety of music. Whether it's hip-hop, sweet indie folk, thrashing metal or energetic pop, the Triangle's bands and the national ones the festivals pull in create a well-rounded scene where everyone is sure to find something that pleases the ear. 

“I hope that the festivals will continue to grow,” Phillips said. “It seems like there is a number and people are going.  Hopscotch, Moogfest, the music and arts we already have has a lot of different varieties. And there's something different about a touring band playing Saturday at Hopscotch than a Monday night at the Nightlight.”

Kalnen agrees, adding that there is already a great deal of variety and the foundation these music festivals have created is strong.

And in the long run, the success of the state's music festivals is most easily evaluated by their continuation. For the local community, the presence of these festivals has already increased the impact of the local music scene.The N.C. music festival trend is something to be excited about, as it places the state in the similar competition with other music-festival hosting states.

“It seems like more festivals are popping up and as our culture is moving toward focusing on local music,” Phillips said. “I lived in Portland, Ore. and they have a big festival too. But the caliber of talent and the general excitement is very similar at ours.”

So watch out  Bonnaroo, Lollapalooza and South by Southwest, because between the new and old festivals that number this state and a successful track record, it's time that North Carolina's music festivals come out and play in the same big-time leagues.
   

Recent and Upcoming  N.C. Music Festivals:

April 4-6      Phuzz Phest, Winston-Salem
April 19-22  Shakori Hills Grassroots, Pittsboro
April 26-29  MerleFest, Wilkesboro
July 4, 7-8   Festival for the Eno, Durham
Aug. TBD   TRKFest, Pittsboro
Sept. 6-8     Hopscotch Music Festival, Raleigh
Sept. 30      Carrboro Music Festival, Carrboro
Oct. TBD   Moogfest, Asheville                              

                    

 

A tale of two local bands: T0W3RS and Lilac Shadows

T0W3RS and Lilac Shadows are the newest sisters in the local music scene. And yes they are basically sisters. Comprised of the same crew of Triangle twentysomethings, Derek Torres fronts T0W3RS while Sam Logan takes the lead with Lilac Shadows. But like sunshine and darkness, these bands are distinctly different in sound, perfect compliments for the approaching summer season. Check out my reviews of each band's newest album and immediately put them on your summer playlist.

T0W3RS
IF 4LL WE H4VE IS T1ME
Indie pop/rock

With classes winding down, graduation impending and the sun constantly shining, summer is just out of reach. These three months of freedom generally yield limited obligations and provide days of infinite adventures. With summer, it seems all we have to be preoccupied with is time and how to best let it pass.

From the watery opening notes to the album’s funky final moments, IF 4LL WE H4VE IS T1ME seeps with warmth and extends summer’s sweet invitation. The slow, evocative swirls of sound fluctuate between short bursts of synth and lazy yet thoughtful guitar. It’s rock ‘n’ roll that maintains an experimental edge, a realm where songs come to fruition as they may, and without the pretense of fitting of a specific genre mold. 

On “Scout/,” there’s something fleeting about the way leader Derek Torres’ vocals seem to float through waves of somber instrumentation and find a way to grab the listener. In a similar vein to the fading of the season, the song effortlessly dissolves into the next track, “The Cardinal/The Finch.”

Whether it’s the members’ layered vocals, Karen Blanco’s poignant keys or the nearly perfect transitions between songs, Towers finds a way to capture meaningful experiences in just a few minutes. 

But the back-and-forth pacing of the album might leave the listener with some residual whiplash, as songs jump from just longer than one minute to nearly five. The album is imbalanced in that respect, but even this is partially excusable considering the already wavering and unchained nature of the songs. 

In the end, this is the music that accompanies sticky summer evening drives, when the windows are rolled down and your hair has taken its own course blowing in the wind. Or perhaps this is the album that best reflects the transient period of life that young 20-somethings have a hard time escaping and/or comprehending. 

With relevant and personal songs (not to mention well-crafted), Towers are endearingly empathetic to these notions. This summer, whateverbecomes for you, let it be known that you can find someone who knows exactly how you feel.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Lilac Shadows
Shallow Madness EP

Psych pop

Bright. Dark. Quiet. Loud.

Carrboro’s Lilac Shadows chooses these simple, juxtaposed adjectives to describe the swirl of sound that comprises the Shallow Madness EP. And when considering the record’s pleasantly conflicting composition, these words encompass the band’s satisfyingly intense spirit. 

The band is led by Sam Logan and rounded out by Derek Torres, Karen Blanco and Annuals’ Zack Oden. Considered the sister band of fellow locals T0W3RS, Lilac Shadows strays away from the more bubbling synth of the latter, injecting a little bit of darkness into the musical realm. Shallow Madness requires intense broodingas it provokes, reaches deep and remains difficult to sum up.

With each of its four songs stretching to at least five minutes, the soundscapes Shadows paints are lush and intricate, a combination of psychedelic-pop crescendos and gentle waves of synth. The soundtrack of twisted whimsical fairytale, this record loops and sharply changes course time again, washing over the airwaves with an innocuous, enchanting haze. 

The genre-bending song “A Shallow Madness” delicately launches the album, as Logan’s vocals are gently accompanied by soft and bouncing synth. But it’s when the growing sound transitions to “What Dreams” that the listener becomes fully engulfed. 

Full of eerie guitar and pensive pauses, it’s this song that invites us to crawl under the rippled blanket of sound the band has orchestrated. Once hooked, there isn’t any turning back. 

Shallow Madness can require some time as each track is initially quite a labor. But although Shallow Madness is loosely defined, it doesn’t completely lack cohesion. There’s no doubt this is one multitude of musical layering that’s not for the background.

It’s the tasteful nuances and labored listening that make an album that flourishes and rewards with anticipation of what’s to come. Choose this darkly-tinged elixir of a record and prepare to find out exactly what lurks behind the shadows.

Music that sticks to your bones

Although it has been a few weekends since Winston-Salem's Phuzz Phest, I have yet to shake the incredible performance of folk artist Hiss Golden Messenger, or the project of Durhamite MC Taylor. On the covered porch of Krankie's coffee shop sat 20 or so festival attendees, ready and waiting with their ears, hearts open. In fact, it was Taylor who suggested that his set be moved to the porch, unplugged, as the sun set over the outskirts of downtown Winston. What unfolded next is one of those performances I feel privileged to have been present for, even when the rest of the show hasn't been my absolute favorite. His music draws on traditional folk stylings and he manages to work some intriguing Christian allusion in his work. It's accessible and tangible, and each time I put his latest album, Poor Moon, on the record player for a spin, I find myself finding something else excellent that I like love about it.As I continue to explore the music journalism world I find myself in, I realize that discovering gems like these are why I love what I do some of the time (most of the time?). Since my first semester here, local music has opened a door that I'm so glad I decided to walk through, not having looked backwards since.

Here's a listen similar to what my experience was like

Finding success on Record Store Day

Last Saturday, April 21, was the fifth annual national Record Store Day, a goldmine of an event for vinyl record aficionados. The Triangle and its various record stores made sure to cater to these record buying needs and planned a day full of events that were perfect for anyone on the music spectrum. As I embarked on a RSD adventure that included stops at Bull City Records in Durham, All Day Records in Carrboro and CD Alley in Chapel Hill, as well as lunch from a taco truck and a refreshing Locopop to finish it all off, I found a surprisingly large turn out. But the most important thing Record Store Day 2012 did for me was remind me how marvelous and robust the Triangle's music community truly is in these parts. 

From the lines of dedicated fans winding outside the doors of the compact stores to the special offers and familiar faces inside, Record Store Day 2012 was a success in my book, especially when considering that many stores sold out of the special releases. In some ways, it's a musical treasure hunt, like those who plan their wish lists well in advance and make sure to be first in line. I've never had the opportunity to participate in the event before, but found it to be a great experience and fun for growing my newly started record collection. And when you throw in the food treats I had throughout the day like tacos de pastor, a pomegranate-tangerine Locopop and a mini-cupcake with cream cheese frosting, my stomach and my ears found happiness on this adventure. 

Here is the final list of the records I snagged up include:


*Bowerbirds' 7" In The Yard/Always an Ear to Bend

*Gross Ghost Brer Rabbit 

Fleetwood Mac, Fleetwood Mac

*Lilac Shadows' A Shallow Madness EP cassette

*Lonnie Walker/Future Islands 7" Love Turn/The Ink Well

The Tallest Man on Earth 12" King of Spain


*denotes local band

Revisiting the classics

Although I have quite a hunger for keeping tabs on the newest music, particularly with the local Triangle music scene, I've got an enormous space in my soul for the music of a much older generation.

For some reason, every year when spring rolls around, I find myself revisiting the songs that comprised the soundtrack of my parents' coming-of-age years. However, these songs and albums also found their way into my own childhood musical education. And now, as I am listening to the NPR Fresh Air interview with Carole King, I found it the perfect time to reflect on how these classic albums have been integral in my musical development and have served as personal reminders of poignant times and individuals.

Here are just a few of my favorites:

-Carole King's Tapestry and Joni Mitchell's Blue

I wanted to group these albums together because they serve very similar roles for me. Carole King is a discovery I 100% attribute to my mother, in fact, I see a lot of parallels between this singer-songwriter and the wonderful woman who raised me. "Too Late," "Will You Still Love Me Tomorrow" and "Beautiful" are just a few of the gems woven into Tapestry and after listening to the Fresh Air interview with King, it was a wonderful reminder of this genuine contribution to music.

Joni Mitchell's Blue seems to strike a nerve in me every time and I simply can't get enough. On those days when things just don't seem right, I find myself returning to this album and transporting myself back to the era of the strong, female singer-songwriter. Don't be surprised if you hear me belting out "All I Want" or "Carey," its just me channeling my inner-Joni.

-Fleetwood Mac's Rumours

I found this particular album on vinyl for $4 a few weeks ago at the Carrboro record sale and I couldn't have been happier. Maybe it's the fact they are my favorite band, they have contributed songs to one of my favorite movies, Forrest Gump, or that this particular brand of 70s pop is irresistibly delectable. From "The Chain," "Dreams" and "Go Your Own Way," there are so many memories buried in each of these tracks. If I ever do a karaoke night, you can bet that there will be numerous Fleetwood tracks.

-Crosby, Stills, Nash and Young's Deja Vu and Neil Young's Everybody Knows This is Nowhere

It might be safe to say that I have a thing for Canadian musicians, as Neil Young is the second on this list (Joni Mitchell being the first). While it is Neil that really gets to me, especially with his album, Everybody Knows This is Nowhere, I can't forget the mystical and infectious production he was a part of with Crosby, Stills and Nash. Deja Vu would definitely be considered a soundtrack of my father's era, a self-proclaimed hippie/rocker/folkie of sorts who romped around on this very campus for a few years in the 1960s. Deja Vu and the rest of Young's early catalog of work is evidence of solid songwriting, incredibly talented instrumentation and of course a penchant for honing in on the times. These are the albums that really make you think.

-The Beach Boys' Pet Sounds

This is another album that runs through me with nostalgia upon listening. When we took our family beach trips during my childhood, I'm pretty sure the only cassettes in rotation the entire journey were The Beach Boys and the Lion King soundtrack. There was also the point at which my younger brother proclaimed at age three, that he "wants to be a Beach Boy" when he grows up. Enough said. With summer approaching fast, I always turn back to this album, with classic hits like "God Only Knows" and "Sloop John B," this like any other Beach Boys album is an essential for any record collection.

How to break the blog slump

I've been holding on to this article link for a while and have not found a way to best post about it, but perhaps that is precisely the essence of this particular link from ProBlogger.

I know I'm not the first to admit that being consistent with a blog is sometimes quite the challenge. What usually happens to me is that I have several grand ideas for posts, but when time becomes tight, the posts sit in my edit queue and wait to be written. I think this article from ProBlogger is a great way to re-energize your blogging spirit, as it encourages writers to branch out in the way they post. Just because blogging has become quite a standard practice does not mean that it doesn't have its own helpful and creative tweaks.

In particular, I think that number two, "encouraging the reader to take action" can be an attractive way to blog. It directly involves the reader and can be a great way to gain feedback, especially when combined with number 5, asking questions. For me, I think a big downside of blogging sometimes is the notion that no one is actually reading my posts. Perhaps for my next few posts, I will begin incorporating some more of these tips.

What are some other ways that readers are drawn to blogs?

256: Passing the afternoon on the Haw

With March, we welcome an extended blessing of warmth, longer days, spring's blossoming sights and sounds and most enticing, the end of the semester off in the horizon. In some ways, it feels like summer's arrived, whether it's the wardrobe transition to shorts and tanks, that first sunburn or the sheer lack of motivation to work. The season may have started a few months premature, albeit, but ultimately it's an invitation to relish in nature again after a wet and chilly winter.

Amid all the recent sunshine, exploring the outdoors is one way to brush away the lingering winter. There's always the option of napping in the Arboretum, slacklining on the quad or walking around historic Gimghoul neighborhood, but some of the area's best kept outdoor secrets lie just outside of campus. Down Highway 15-501, on the way to Pittsboro, the Haw River access point at Bynum dam is frequented by kayakers, hikers and families seeking an afternoon's adventure.

But tucked a little deeper along on the banks of the Haw lies the real treat—a rope swing that many locals regard as one of the season's best kept secrets.

“It was definitely a rite of passage for my children, they all loved it,” said Bett Wilson Foley, a Pittsboro native and member of the town's board of commissioners.

From the days spent hiking it as a child, to falling in love on its banks with her husband, to swimming up to dam for the first time, the Haw has had a lot of personal meaning for Foley through the years. Additionally, what initially was a polluted river unsuitable for swimming is now a clean natural environment that begs to be explored on warm weekends.

“It wasn't until recent years when my sister told me she enjoyed swimming in it,” Foley said. “It made me so happy to swim in the Haw River.”

A 20-minute commute away from campus, swimming in the Haw is not the only perk of the area. On any given warm day, it is popular to find people fishing or simply lounging on its banks. But the rope swing isn't as obvious of an attraction, and is usually only discovered via word of mouth.

“You just have to know about it,” Foley said.

And it seems that in one capacity or another, there has always been an elusive rope swing hiding along the banks of the river. According to Ben Clarke, a UNC junior from Pittsboro, there used to be a well-known rope swing along farther down the bank, but the tree it was attached to now rests in the murky river water.

The newest rope swing is in a different location, and is about two years old, Clarke said. While he can't remember how he specifically found out about it, he has been a few times with friends and recounts some memorable visits. For many, the rope swing and nearby platform have become a place to show just how far you will go to prove yourself.

“One time, a kid climbed to the top where the ropes are and then past the ropes and then did 3 somersaults off the tree into the water,” Clarke said.

Foley's first time at the swing saw similar feats, as she described seeing “several UNC students who just ran right up the tree and jumped into the water,” without hesitation. While the steep tree from which the swing hangs is a welcomed challenge, it's slightly precarious the first go around and might require both hands and feet to scale.

“This one is more fun for me because of its height and has a little bit of an angle,” Foley said.

Foley last visited the rope swing at the end of summer 2011 and hopes to return to it time after time again in the future, as long as it remains intact.

Since the Haw River is part of the state park system and is monitored by park rangers, various past rope swings have been cut down in the past. Although Clarke said in general that the state parks surrounding Pittsboro are not particularly well tended to, this isn't necessarily the case with this area of the Haw River.

“I wouldn't be surprised if it was a little more policed,” Clarke said. “Park rangers come and cut it down, or in the case of the original rope swing, the tree fell into the water.”

But park rangers and fallen trees aside, the resilient rope swing aficionados never fail to set up another one in a new spot. A time-honored tradition, it's looks like this is one simple attraction that is here to stay, offering a summer of fun for all ages.

http://bit.ly/GUvSPr

Keeping the secret

For those with the specific directions, the swing itself isn't particularly hard to find, but it requires a sense of adventure.

Pull off into the gravel parking lot just before the bridge over Bynum dam on 15-501 and you'll find a well-beaten path to follow toward the river's shore. When you pass the concrete portion of the dam on your left, you're apt to find day-drinking college students or a few lone fisherman on the banks below it. As the path curves through soggy mud and teeming grass, it trails off away from the dam and continues closely along the stretching bank.

Follow it back for about half a mile, and you'll find the fallen tree, the large remnant of the old swing Clarke mentioned, and perhaps a few daredevils jumping into the river from the top of nearby tree. But if the current rope swing is your final quest, you've gone a little too far. To get there, retrace your steps, secure those waterproof shoes, drop the belongings and prepare to swim the width of the river to an island found adjacent to the dam.

Getting onto the shore won't be an easy task, but as Foley suggests, it's helpful to use some vines to pull yourself onto the bank. For a moment, there is a sense that you've arrived to an overgrown jungle, full of tall grass, a variety of thorns and a tangle of weathered trees. From this point, you are left to discover the swing yourself, but if you've chosen a popular day, there are guaranteed to be shrills of delight ringing in the distance.

“It's pretty popular already, which is usually a minus,” Clarke said. “I don't think I've ever gone and been the only group there.”

On any given weekend, you can find several groups milling around the swing, making it a little less special and exclusive. But no matter the size of the crowd, when its your turn at the swing, nothing can beat the rush of nerves as you scale the makeshift ladder, inch out onto the branch and bravely fling yourself into the inviting river below.

Courtesy of Bett Wilson Foley

Securing the Haw's future

“It's definitely something that I love,” Foley said of the Haw River. “I know if I just need some peace, it's a very spiritual place and I'm glad it's there and I'm glad its clean.”

As a member of Pittsboro's Board of Commissioners, Foley has expressed her interest in keeping the Haw River and the dam a clean and safe natural attraction, as well as potentially helping develop it into a kayak and canoe trail.

“There is a lot of movement to create an ongoing park along the Haw River,” Foley said. “It feels exciting to me to be on the town board and that I can make sure the river is protected.”

As the Haw River continues to grow in prominence, it's true the rope swing has started to attract more people. Yet it remains a special place for Foley, whose life will always be entwined with the river, and keeping it that way is important. In the future, she hopes that people continue to come back to the river and the swing for enjoyment, just as she does time and time again. When others come to love it like she does, it will only help the community grow in its conservation efforts and preservation of the Haw.

“It's really neat to see the rope swing and there are always children there,” Foley said. “The more people enjoy the river, the more they will want to take care of it.”

A History of the Haw River

Bett Wilson Foley's rope swing blog post

Traveling to the corners of the world and back again: on travel and place writing

As an aspiring world traveler, the travel feature is an important story type I find myself drawn to, particularly as I plan trips and start to learn about a specific location. Place and travel stories allow for a lot of creativity and often bring in copy that reflects all five senses, a feat that is not easily transferable to other types of feature stores. Place and travel stories generally require the writer to visit the place they are writing about, thus are often first-person accounts. This provides a true analysis and understanding and can be what makes or breaks a travel story, depending on how well the writer appeals to the audience.

In terms of examples of travel feature writing, The Travel Rag has several stories that center around specific cities or regions and in particular, specific culture aspects of these places, like bullfighting in Madrid, Spain. This is a good website to start at, especially when you are looking for very specific profiles of a place you plan to travel to.

In terms of international and travel journalism, but that with a more newsy approach, I find Nicholas Kristof a fantastic resource. His columns for the NYT are interesting, relevant and very appealing and although they genuinely focus on a current world issues and conflicts, Kristof is well-versed and gives a fantastic and convincing sense of place in his writing.

But overall, I also find the personal blog approach to travel writing very intriguing and this is more or less what I did when I studied abroad in Sevilla, Spain last spring. My blog, Cuentos de la americana en España, was where I documented many of my travel stories, cultural observations and overall experiences. Although I made it a first-person account and it was thus less journalistic, I really tried to focus on certain sights, sounds and experiences I found appealing. In general, I find travel blogs a great source of writing and that it offers a lot of flexibility. One of my favorite personal blogs, Wallagrams, documents the journey of a close friend and her husband as they prepare to embark on a year-long trip around the world. Although they don't leave until fall 2012 (and neither of the are journalists), the blog is plenty interesting already, full of travel advice, gear reviews and lifestyle changes the pair has made in preparation for their big departure. It's definitely an interesting read and challenges me in terms of my future travels.

256: Emerging from the clearing: the musical and personal rebirth of the Bowerbirds

Often, it's the time and distance away that can make one recognize his or her true passions in life.

This is the story of Beth Tacular and Phil Moore.

As founding members of the Triangle band the Bowerbirds, the duo has mastered their craft of delicate, captivating folk songs that make the heart swell. But between a few exhausting years of touring, a slew of ailments and an unsettling break in their relationship, the duo's future became uncertain. Although it seemed to be an insurmountable feat, after a year apart and a lot of thinking, they've since emerged with The Clearing, an album that encapsulates their rebirth as a band and a couple.

spinner.com

Tucking the darkness in

“For me, I didn't believe I would ever be able to fall out of love and back in love with someone,” Tacular said in a recent documentary. “That was really amazing, just believing again in things, you know.”

Despite the “disaster chapter” that proceeded the making of The Clearing, Tacular and Moore used their challenging experiences to help shape the themes on the new album. With this release, the band emphasized the importance of living in the everyday beauty and not taking so much for granted, including the ability to make music. As they sat closely together at the Chatham Marketplace in Pittsboro during our recent interview, it was evident that they are currently relishing in these newfound revelations while they move forward into the next chapter.

“I guess there are a lot of themes of impermanence, death, and enjoying the moment while you can, appreciating things that are around you,” Tacular said of the album's themes. “Also just joy in the things you do in life and taking joy in the things that are wonderful about your life.”

In addition, the couple's dogs, Olive and Spice, provided unique inspiration for the album. Spice came to be a part of their life following an accident resulting in a broken pelvis, and the duo decided to take care of her. For Tacular and Moore, Spice's positivity and loving nature was truly inspirational when the couple's life was particularly unsettled. And with Olive, it's her restless personality that became an important reminder for the couple to slow down, especially when life got overwhelming.

“I've had Olive for 11 years and she is a total sweetheart, but very anxious,” Tacular said. “It's actually perfect because a lot of the album is us talking to ourselves, telling ourselves, 'Don't be anxious, don't miss all the beauty, focus and calm yourself down.' We are singing these sorts of things to ourselves and trying to share those ideas with other people.”

For the cover art, Tacular wanted it to reflect these same themes. She turned to the help of artist Monica Canilao, whom she discovered during her break from Moore.

"The band come through and visited my studio, where I in turn dressed them up in assorted costumes and headdresses I had made," said Canilao. "Beth has been super supportive and we have kept in contact about music and projects since our first exchange."

Canilao is based out of Oakland, CA and creates a variety of art ranging from drawings and paintings to mixed media work that utilizes natural objects.

"I have been working on a series of portraits that consist of found remnants, lace, wood, and various materials which I have been picking up for years on my travels," she said. "They symbolize the secret lives of forgotten people, of exploration, memory and journey, much the same as Bowerbirds I think is trying to move through in their music."

“What she does with visual art is so amazing to me, her colors and really awesome use of found objects that she combines in original ways,” Tacular said. “Her attitude on life is about making do with what you have.”

The piece that is printed on the album's cover features adornments of lace doilies mixed with animal bones, choices that Tacular said “are really visually representative of how we wanted these songs to sound.”

“In our songs, we were trying to honor that and those feelings we have about nature,” she said. “I think she (Monica) is doing a similar thing.”

This year, the new Bowerbirds

Beginning in spring 2011, The Clearing was recorded partly in a North Carolina cabin and partly at Bon Iver's Wisconsin studio. The plan was for the duo to finish the 11-song album during a 10-day stint in Wisconsin. When they weren't able to finish it in that time frame, they returned home to record the vocals, with the aid of a few microphones and a quiet log cabin.

“The demos we recorded before that were a little more simple and we had all this extra time to layer ideas and take stuff away as well, kind of figure out what each song needed,” Moore said.

These musical choices led to an album that is well-composed and full of layers. For Grayson Currin, music editor at the Independent Weekly, The Clearing “is a bigger record, then, with bolder sounds and a broader scope. "Tuck The Darkness In" surges in its final two minutes with a wall of electric guitars and drums. "Hush" plays hide and seek with restless vibraphones, pianos and drums, Beth's voice again providing a core of resilience in an otherwise ominous atmosphere.”

The Bowerbirds have struck a balance between the delicate and emotionally intense, all while remaining true to its sound. According to Moore, the key with this album was drawing the production process out longer.

“Our first record was like that and our second record was similarly done, in a very fast way,” Moore said. “We didn't really have as much time to sit around and think of all the little details, which I think is really nice.”

It's evident that the Bowerbirds have under gone a lot of personal growth since 2009's Upper Air. While the band's sound remains familiarly its own, in many ways, it is bigger and more mature. With the extended time to produce this album, both Tacular and Moore agreed that it allowed them to experiment more.

“On the previous albums, we had a set palette of instruments that we were working with and that was very intentional,” Moore said. “On this latest record, we just forwent that entirely and decided to use all the tools, all the instruments, all the effects and everything that we possibly could and still make Bowerbirds records. We really wanted to add some more textures and I think that is really the main difference.”

For Bowerbirds fans, it's these intricately-layered songs and thoughtful lyrics that affect them the most.

“It's transcendent, their sound is transcendent,” said Evangeline Mee, a UNC student and Bowerbirds fan. “It elevates you to a different time and place. It takes you away to the story world they are singing about, while at the same time it's about finding beauty in things of everyday life.”

And for Tacular and Moore, returning to everyday beauty through nature is exactly what they intended to do. In addition to making music, the couple has been building a log cabin in the woods of Pittsboro, a project they have worked on since 2007. Following a period in the wilderness of South Carolina, the couple decided they needed to permanently move somewhere more natural. Next, they bought an Airstream trailer and made themselves at home while beginning the log cabin in the woods.

“It really helps us to be in a quiet place with nature around when we are writing instead of being with the distractions of the city, the parties every night and the noise,” Tacular said. “It also silences all the other voices and helps you be more original and not think about what everyone else is doing in the world right now, for us anyway.”

The cabin's progress has been put on hold, due to the making and release of the new album, but it's a project the couple plans to go back to between tours. And although they appreciate the quiet of the woods, after a two-year break from touring, the band is excited to take a break from the simpler life and get back to the road.

“It's just like the ebb and flow,” Moore said. “When we haven't toured in a long time, we are really excited to get back out. The momentum of that excitement gives you enough momentum to get back out there.”

bowerbirds.org

Bright future

After months in the making, The Clearing, will be officially released Mar. 6 on Dead Oceans. On Mar. 17, the Bowerbirds will kick off their U.S. tour at the Cat's Cradle, with local bluegrass/folk duo Mandolin Orange opening the show. For Bowerbirds fans, this show will be one of the first to feature a five-member line-up on stage. Although Tacular and Moore will be aided by a few more hands and several more instruments, the show still promises to be a showcase of the band's enduring collection of folk songs.

Mee, who plans to attend the show at the Cradle, recalls how magical her first experience with the band was in 2009.

“When I saw the Bowerbirds for the first time in Gerrard Hall, I really didn't know anything about them,” Mee said. “But it took one song and I was totally there. Their instruments filled the room and I remember specifically Beth's accordion just electrifying the space.”

With a beautiful new album and a lively return to the stage pending, there's no doubt that Tacular and Moore will electrify and renew the Triangle once again. Because after a few years of growth and introspection – musically and personally – they've shown us that often it's the important things in life that really take some time, and that while you're waiting, you should remember to celebrate your surroundings as best you can.

Bowerbirds' The Clearing will be available on Mar. 6 via Dead Oceans. Bowerbirds play the Cat's Cradle on Mar. 17 at 9:30 pm with Mandolin Orange. Tickets are $12 in advance and $14 day of show.

The case for Tumblr (part two)

As referenced in my first post on the matter, I'm constantly attracted to new news-based Tumblr sites and upon finding an article entitled, Time's 30 Must-See Tumblr Blogs, I immediately feel in love. As a self-proclaimed Tumblr addict, I've recently come to recognize the enormous journalism benefits this blog website can have for individuals looking to develop a voice and style, as well as already established members of the industry.

I constantly rave about Tumblr as a successful and innovative blogging format, because I've seen that it works. It combines a variety of post styles in one, it is very user friendly and also has a lot of aesthetic appeal. In the blogging world, a large part of the process is networking and getting your name out. With Tumblr's active reblogging feature, it is easy to do both of these things. Additionally, when you can tailor your dashboard to reflect your interests, it is very easy to specialize or develop a blog centered around numerous interests. And for publications that rely heavily on multimedia, it is a perfect and clean way to display photos, videos and even audio with the click of a few buttons. Forget all that complicated coding.

Check out the recommended Tumblrs above and perhaps by the end of the list, you'll want to start your own.

Blind Pilot overwhelmingly soars, gently lands

With their vintage tour bus in the parking lot, it appears the members of Blind Pilot have stepped away from the ambitious style of touring via bicycle like they did on their 2007 West Coast tour. But then again, Carrboro is quite the distance from their hometown of Portland, and with several new members in tow, the comfy blue bus is probably just what they needed.

What once began as a two-man show has expanded into a robust sextet that features almost twice as many instruments. From banjo, upright bass, vibraphone and trumpet, the members of Blind Pilot have crafted themselves into a talented indie-folk outfit, their craft further evidenced by the group's infectious performance Tuesday night at the Cat's Cradle.

Cotton Jones, the duo comprised of Michael Nau and Whitney McGraw, started the night with dulcet, nod-worthy indie-pop that served as an appropriate intro to Blind Pilot. From McGraw’s role on keys and to Nau’s folk-twinged vocals, the band delivered a set of pleasing songs that drew strongly on the duo’s fine-tuned harmonizing.

By the time the “acoustic and trumpet” group arrived on stage before a mixed bag of an audience, the air was already thick with anticipation. With an abundance of youthfulness, the band launched into a wonderfully balanced set that pulled key songs from both of its albums, including the instrumentally-layered“The Colored Night” and the energized feedback intro of “One Red Thread.”

From beginning to end, front man Israel Nebeker kept things lighthearted with his jovial banter. Add in multi-instrumentalist Dave Jorgensen's effervescence while switching between soaring trumpet and keyboards, Kati Claborn’s dulcimer and banjo contributions and the band's overall genuine humility, fans, young and old, were treated to true authenticity. By the time the band finally honored the request for the crowd-favorite cover of Gillian Welch's “Look At Miss Ohio,” there couldn't have been a disengaged soul left in the packed club.

As if their emotive and high energy hour and half performance wasn't already enough, Blind Pilot broke a few more hearts when it returned with a three-song encore, the final being an acoustic rendition of “3 Rounds and a Sound.” When the band took its instruments to the floor among the crowd, they asked for silence, but welcomed sing-a-longs, as the crowd gently pushed their way to the front of the stage. With band and fans united, it was a necessary way to end a such a passionate night, with Blind Pilot tenderly leaving a few pieces of themselves to those at the Cradle. Looks like they'll be returning, and hopefully sooner rather than later.

256: The soul-bearing tendencies of Sharon Van Etten

Sharon Van Etten walked onto the stage Sunday night at the Cat's Cradle with bright red lips and clad in a casual slouchy sweater. Without hesitation, she humbly began to set up her own equipment. After some last-minute tinkering and just as the atmosphere buzzed with anticipation, the Brooklyn singer/songwriter finally launched into her raw, confessional method of storytelling, sharing the stories from her newest release, Tramp, with the quiet, but certainly appreciative, audience.

Tramp is the third chapter of Van Etten's personal story that begins with the end of a tumultuous and unsupportive relationship in Tennessee. Considering Van Etten's recent rise, you can assume that now the ex-boyfriend is probably kicking himself. Since then, each of her three albums has been a progression of heartbreak and heartache, delicately raucous outpourings that have considerable emotional reach.

Recently, Van Etten has garnered quite the widespread appeal and the New York Times directly hones in on her draw when it said, "Van Etten has found herself cornered by bearded guys who want to read her poems, teenage girls who simply need to be close to her and at least one lesbian who was outraged to discover that Van Etten isn’t gay." Those who flock to Van Etten might not exactly relate to her stories of overcoming heartbreak, but they certainly can't ignore the pure human emotion she exudes in her music. Sunday's crowd in Carrboro was representative of this — a mix of ages, genders and races — but hopefully all seeking some kind of authentic emotional connection.

The night kicked off with an energetic set from Austin, TX band Shearwater, a well-suited musical complement to Van Etten. Fronted by Jonathan Meiburg and once a side project of fellow Austin group Okkervil River, Shearwater performed a set of mostly new songs from its recent release Animal Joy. With Meiburg howling through the songs alongside the backing of the band's multi-instrumentalists, Shearwater drew almost as many fans, if not more, than Van Etten with its delectable breed of gloomy rock-pop.

Next, SVE kicked things off with "Warsaw," the hard-hitting opener from Tramp. The majority of her set consisted of songs from the latest release, and included standout performances of "Give Out" and "All I Can" that flowed directly from the soul. As she shared the stage with collaborator Heather Woods Broderick, the rough and tumble songs were transformed into breathtaking statements on broken love and the process of picking up the pieces.

In between songs, she kept things jovial with her cute and honest small talk and shared her love for all things Southern, from barbecue to banana pudding. Throughout the set, Van Etten peppered her in-between-song banter with comments like, "This song is about trying to quit smoking after breaking up with someone...double whammie," (in reference to the song "Kevin's") as well as a personal dedication to a close friend who made the trip from Asheville to see her perform. Even when Van Etten hilariously struggled with the settings on the Omnichord, the crowd joined with her laughter, sharing in the experience like a familiar friend.

As the night closed, and Van Etten returned for a two-song encore featuring "Life Of His Own," a recent B-side and "Love More" one of the most wrenching songs from 2010's epic, her voice more than captivated the crowd, just like the genuine smile she frequently flashed throughout the course of the night.

The way in which SVE laid it all out is representative of an emotional risk that few can manage while still emerging relatively unscathed. But for Van Etten, the initial scars of a failed relationship have not only provided tremendous inspiration for her material, but also allowed her to showcase her rise from the ashes. The evidence of this growth was visceral when Van Etten hit the stage Sunday, and for those in Carrboro, they were assured that she's confidently standing on her own stronger than before.

Sharon Van Etten and opening act Shearwater will continue their North American tour through the end of February. Both bands have new albums out this month, Van Etten's Tramp and Shearwater's Animal Joy.

From the viewpoint of a critic

Since joining Diversions with the Daily Tar Heel my first semester of college, I have written quite a fair amount (right around 30) of music reviews, mostly about albums. After thoroughly listening to the album, one of the next things I frequently do when approaching a review (and in order to familiarize myself with the subject) is to find out if there are other reviews of the same album and to determine whether they are favorable or not.

I frequently write local music reviews and the publication I turn to the most for reliable critiques is the Independent Weekly. Music editor and Hopscotch Festival co-director Grayson Currin runs a tight ship when it comes to local music coverage and the reviews are based on a wealth of knowledge and understanding of the music industry, both local and national. Although he also contributes to national publications including Pitchfork, he helps maintain credibility with the reviews he runs in the publication's music section. In terms of accessibility, I find that the Indy Week's reviews much more accessible than the muddled, snooty ones featured on Pitchfork.

During my first year on staff with Diversions, I reviewed Inspector 22's Hey Man, I Understand pretty harshly. My editor at the time was originally reluctant to run the review because it was blatantly unfavorable to the local community. When the Independent Weekly ran a more neutral/slightly positive critique (written by Currin), my negative review offered some competition so it was included in our paper. Despite the fact I look back now and realize I was perhaps a little to harsh in some areas and my writing could have been more objective (I also received a nasty Facebook message from a supposed fan), I still think providing a variety of reviews regarding a subject is the key to insuring a sense of objectivity in the rather subjective field of music journalism.

Overall, my position on Diversions has taught me that we really don't owe anything to local musicians except to give them all a chance to be exposed--thus favorable or not, reviews should be published. (I have come across a few local musicians who think they are entitled to good reviews because we they are "owed" local credibility. That's really NOT the case.)

Two nights of local music promise double the excitement

For the ninth year in a row, NCSU's student-run radio station WKNC 88.1 FM will be showcasing some of the best local flavor with not one, but two nights of performances by local bands including The Future Kings of Nowhere, Organos, Gross Ghost and Heads on Sticks.

On Feb. 3 and 4, the radio station is holding its annual fund-raising event, Double Barrel Benefit 9, which provides the community with a showcase of local music.

“My favorite thing about the Triangle music scene is the variety of venues we have and the enthusiasm and dedication of local music listeners,” said Rebekah Zabarsky, a student at NCSU and a WKNC DJ. “Also, people of the Triangle really support our local bands.”

The Pour House in Raleigh will be hosting the event and tickets can be purchased in advance for $10 a night or $15 for both nights. For those under 21, there will be an additional $5 surcharge at the door.

Historically, the lineups for Double Barrel Benefit represent a diverse cross-section of Triangle music. With such a large pool of local musicians to choose from, compiling the lineup for this year's benefit proved to be quite an extensive process for the station's DJs and planning committee members. Since its first year, Double Barrel Benefit has hosted several big-name acts that claim North Carolina as home, including Roman Candle, Megafaun and The Mountain Goats.

“For choosing bands this year, the planning committee sat down and came up with a list of bands we thought would be a good fit for DBB 9,” said Nicole Kligerman, a student at NCSU and a WKNC DJ. “From there we pulled all our contacts and asked the bands, not all at once, but once we heard yes/no from a few we would ask a few more.

Although the event has remained relatively the format each year, a two-night gig of eight bands total, this year there will be some new additions.

“Both nights will be great but Saturday we're having a day market where local vendors will sell their handmade goods,” Zabarsky said. “It's the first time we've done something like this and there will be some cool art and items to buy.“

The day party consists of the market and a show at Tir Na Nog Irish Pub in Raleigh on Saturday, Feb. 4 from 1 pm to 5 pm. Musicians including Baobab, Juan Huevos, Jeff Crawford and Luego will peform starting at 1 pm at Tir Na Nog, which is conveniently located next to The Pour House, where Double Barrel Benefit will culminate with Saturday night's show.

“We're expecting a pretty full house, obviously we want a sold out show!” Kligerman said. “All the money goes directly to WKNC, which is really important to the station since we don't really get a lot of school funding.”

256: A gathering of old and new

Triangle musician and producer Jeff Crawford knows a thing or two about the local music community.

As a member of more than a few local bands and music director of The Gathering Church in Durham, he has found a way to intertwine his work at the church with the work of fellow musicians from around the region.

Every Sunday, Crawford and the congregation of The Gathering Church meet in the gymnasium of Creekside Elementary School in Durham. Since 2009, he has been the church's music director, a role that allows him to often employ the help of local musicians with church's music needs.When Crawford wanted to create an album of reworked hymns, he turned to the same community.

That's how Hymns of The Gathering Church came to fruition. A compilation of reworked traditional hymns, the album will be celebrated at a release show on Jan. 27 at the ArtsCenter in Carrboro.

“From the beginning, I wanted to make a record,” Crawford said. “We did a Christmas EP and we had a lot of people come sing.”

Hymns of The Gathering Church transforms traditional hymns such as “Come Thou Fount of Every Blessing,” “Leaning On The Everlasting Arms” as well as the Doxology and renders them as upbeat and energetic folk songs. Drawing from the local talent pool, the album features contributions from Megafaun's Phil Cook, Mount Moriah's Heather McEntire, Ryan Gustafson, The Old Ceremony's Mark Simonsen, Josh Moore and folk duo Mandolin Orange, in addition to others.

The album was recorded at Crawford's own Arbor Ridge Studios over the course of several sessions that began last summer. Simonsen and Crawford produced the album, working on and off when they found the time.

“We got some songs in mind and some people in mind and tried to match the lead singers,” Crawford said. “We just tried to plug them in where we thought they fit the best.”

Many of the hymns that were chosen are commonly sung at church, however several musicians also brought their own ideas for hymns, such as “Fifty Miles of Elbow Room,” written in 1930 by F.W. McGhee and sung by Andrew Marlin and Emily Frantz of Mandolin Orange and Josh Moore.

Hymns of The Gathering Church will be played in full Friday at the ArtsCenter. The show starts at 8 p.m. with opening band Near Blind James and Harmonica Bob, featuring church volunteer James Shoe. According to the album's website, Crawford will also be performing on Feb. 4 at Tir Na Nog in Raleigh, as part of WKNC's Double Barrel Benefit Day Party.

While a portion of the funds from the release show will go the church's music budget, allowing Crawford and company to record more of these albums, the show is also a simple gathering of congregation and community members, and a unique presentation of hymns that seek to reach out.

“The main objective is to share this music with those people who haven't heard it,” Crawford said. “And hopefully, to revisit the songs and make them fresh.”

Tickets are available at the door for $10 or in advance online. For more information about Hymns of The Gathering Church and to hear the album, visit http://music.allgather.org. To learn more about The Gathering Church and its mission visit http://www.allgather.org.