Their unusual name aside, Western Montana band Release the Squirrels display an extraordinary amount of skill and savvy their first time out of the box. They may be a rookie band, but they share an old school sound that offers the absolute impression they’ve been around a lot longer than a debut album might otherwise suggest. A combination of old-time originals, contemporary covers, and reimagined bluegrass standards, their self-titled album offers a varied template that leaves plenty of room for the band to stretch out and show the different sides of their robust repertoire.
Of course it takes a certain skillset to accomplish that objective, and it’s to the band’s credit that they’re both deft and driven. Comprised of Taylor Buckley (guitar, octave mandolin, vocals), Kelly Buckley (bass, vocals), Lydia Conway (fiddle, vocals), Chad Fadely (mandolin), and Steve Taft (banjo), their individual input is well in sync even as each member gets a chance to display some individual acumen. Instrumental skills shine throughout, whether displayed in some flat-picking prowess, the rollicking banjo breaks, a mighty mandolin run, or some fiddle finesse, all of which is underscored by the steady and solid foundation the bass playing provides. While rich three-part harmonies keep the cohesion intact, the arrangements maintain the exuberant engagement throughout.
There are any number of exacting examples, ranging from the joyful noise of Blue, Blue Me, the fanciful Feely Hill, and the rapid-fire revelry of Laurie Stevens, to the rousing repast of the instrumental title track, the hillbilly holler shared with Feast Here Tonight, and the sprightly narrative about a character named Caleb Meyer.
Drawing from such sources as Townes Van Zandt, Kate Wolf, Billy Joe Shaver, and Flatt & Scruggs, as well as their own well-honed originals, Release the Squirrels’ commitment to past concepts appears as steady as it is unwavering. Credit the band with the desire and devotion to bring past to present while breaking down any distinctive divide.
