Grain Thief, the Boston-based all-string quartet, share their sense of sheer joy and absolute enthusiasm courtesy of their new album, House of the Dog, a record that offers a testament to friendship and collaboration, as well as what their press material claims, “the simple perfection found between friends, acoustic instruments, and a microphone.”
It’s little surprise actually. The band — consisting of Patrick Mulroy (guitar, vocals), Zach Meyer (mandolin, vocals), Michael Harmon (bass, vocals), Tom Farrell (resonator guitar), and Alex Barstow (fiddle) — have always made it a point to combine the essence of bluegrass tradition with their own specific style and sensibility.
Naturally then, House of the Dog follows suit, courtesy of its amiable attitude and deeply personal perspective. The sentiment shared here basks in sincerity while lacking any evidence of ego or artifice. That becomes immediately apparent from the very beginning, as shared with the opening track, 54 Miles To Empty. It’s maintained throughout, via the fiddle-fueled ambling of Here We Go Again, the rousing Celtic infusion of Walk in the Rain, the sprightly sound of This One’s Right, the joy and jubilation of Methadone Mile, the quiet contentment that shines through Champagne & Misery, and the dueling fiddle and mandolin instrumental, Jackson’s Retreat. So too, the breezy sway and sashay given Moving Picture, the gentle ballad Heartbreak & Red Wine, the quiet and contemplative narrative Happy Road, and the delicate designs of Tapawingo, demonstrate the fact that the emotion and intent aren’t confined to outright eagerness or exuberance.
In fact, the entire effort reflects Grain Thief’s inherent ability to command a communal spirit. The production is tightly knit yet effortlessly arranged, but despite that infectious attitude, they eschew any hint of over-indulgence. Each member is given ample opportunity to shine in the spotlight, and indeed, the instrumentation is woven together in ways that guarantee a wholly cohesive set of songs.
Happily then, any hint of excessive ego clearly gives way to the band’s collective collaboration and compatibility. It’s rare to find an album — or even a band for that matter — that serves the passion with such purpose.
