REED TURNER
''GHOSTS IN THE ATTIC''
FEBRUARY 5 2013
46:05
1 - Modern Man 5:29
2 - Ghost In The Attic 5:04
3 - Killed That Girl ('Cause She Was Killin' Me) 3:03
4 - Room For Doubt 4:09
5 - Long Gone 4:39
Turner, Harris, Hunt
6 - Locking Doors 3:35
7 - Familiar Sound 4:06
8 - The Fire 6:32
9 - Long Way To Go 4:21
10 - The Sculptor & The Stone 4:45
Tracks By Turner, Except 5
REVIEW
By Mark S. Tucker
Reed Turner's one of those guys whose work is pervaded with haunting refrains and eerie wistfulness, the kind of musician who makes you sit down and listen whether you want to or not 'cause he's writing and singing about the sides of life you didn't even know you felt that way about until hearing him lay it down. He also assembles a band that's just as laconic and fog-infested as he but can also sneak up on the rockin' side of things when the occasion calls for it…in a somber almost Gothic brand. Killed That Girl has a dark Nick Cavey feel and sound, American by way of Bedlam, mixed with a bit of Kottke's marvelous Time Steps and even a bit of Gordon Lightfoot and David Wilcox here, there, and everywhere.
Ghosts in the Attic is actually night music, a disc to be listened to when the sky's inky black, studded with silent stars but still and pensive, or when the mist rolls in and makes everything gauzy, a time when you don't need the shouting of the radio or the jittery squall of TV. The disc is instead a thoughtful balm, a space for reflection. Don't start for the player when Long Gone cuts in, though. It rises slowly from inter-song quiet to slip into the speakers, Turner's brief harmonica a signal echo of what's going on.
One of the female singers—either Phoebe Hunt or Ellie Carroll, the liner doesn't specify which—steps in for a duet with Turner on Long Gone, also a track where the interplay of Turner's and Brian Broderick's guitars mesh in thick and rich but sublimated textures crawling up to the front of the stage, at which point the soloing begins. Tasty. Turner's voice is fetching, mellow and high, kind of like Nick Drake by way of a more intelligent Kenny Loggins, and he strings the entire CD together in such a fashion that I dare you try to turn it off until it's played out. It isn't that Ghosts is a concept work but instead an evocation of a complicated middle mood that neither rejoices nor vexes nor clamors but slowly and inexorably enchants.
OFFICIAL BIO
Reed Turner’s wandering spirit has led him to live and travel all over the country, but it wasn’t until he returned home to Austin, TX that he found his true voice; one that is simple yet evocative, intimate but universal, and ultimately true.
People are taking notice - CMA’s official magazine named him one of their Top 20 “Who New to Watch in 2013”, and he followed that up by winning the prestigious Telluride Bluegrass Festival’s Troubadour Competition.
On his newest album GHOSTS IN THE ATTIC, Turner lends his voice to songs that run the stylistic gamut, while staying grounded in the Americana roots he’s become known for. The “gorgeous new album” has received much critical acclaim, with one reviewer writing that Turner has “Americana poetry one might expect from the lyrics of The Avett Brothers, and an entrancing intimacy reminiscent of Jeff Buckley.”
Fans are noticing too. He’s been selling out such legendary Texas venues as Cactus Café and Stubb’s BBQ, and the buzz has led to a year of sharing stages with national touring acts such as Gary Clark Jr., Will Hoge, Joe Pug, and Jessica Lea Mayfield.
Whether he’s carrying on the wandering troubadour tradition or inhabiting the familiar stages of his hometown, Turner is, indeed, a storyteller. And it’s definitely time to let these GHOST stories loose.
OFFICIAL SITE
''GHOSTS IN THE ATTIC''
FEBRUARY 5 2013
46:05
1 - Modern Man 5:29
2 - Ghost In The Attic 5:04
3 - Killed That Girl ('Cause She Was Killin' Me) 3:03
4 - Room For Doubt 4:09
5 - Long Gone 4:39
Turner, Harris, Hunt
6 - Locking Doors 3:35
7 - Familiar Sound 4:06
8 - The Fire 6:32
9 - Long Way To Go 4:21
10 - The Sculptor & The Stone 4:45
Tracks By Turner, Except 5
REVIEW
By Mark S. Tucker
Reed Turner's one of those guys whose work is pervaded with haunting refrains and eerie wistfulness, the kind of musician who makes you sit down and listen whether you want to or not 'cause he's writing and singing about the sides of life you didn't even know you felt that way about until hearing him lay it down. He also assembles a band that's just as laconic and fog-infested as he but can also sneak up on the rockin' side of things when the occasion calls for it…in a somber almost Gothic brand. Killed That Girl has a dark Nick Cavey feel and sound, American by way of Bedlam, mixed with a bit of Kottke's marvelous Time Steps and even a bit of Gordon Lightfoot and David Wilcox here, there, and everywhere.
Ghosts in the Attic is actually night music, a disc to be listened to when the sky's inky black, studded with silent stars but still and pensive, or when the mist rolls in and makes everything gauzy, a time when you don't need the shouting of the radio or the jittery squall of TV. The disc is instead a thoughtful balm, a space for reflection. Don't start for the player when Long Gone cuts in, though. It rises slowly from inter-song quiet to slip into the speakers, Turner's brief harmonica a signal echo of what's going on.
One of the female singers—either Phoebe Hunt or Ellie Carroll, the liner doesn't specify which—steps in for a duet with Turner on Long Gone, also a track where the interplay of Turner's and Brian Broderick's guitars mesh in thick and rich but sublimated textures crawling up to the front of the stage, at which point the soloing begins. Tasty. Turner's voice is fetching, mellow and high, kind of like Nick Drake by way of a more intelligent Kenny Loggins, and he strings the entire CD together in such a fashion that I dare you try to turn it off until it's played out. It isn't that Ghosts is a concept work but instead an evocation of a complicated middle mood that neither rejoices nor vexes nor clamors but slowly and inexorably enchants.
OFFICIAL BIO
Reed Turner’s wandering spirit has led him to live and travel all over the country, but it wasn’t until he returned home to Austin, TX that he found his true voice; one that is simple yet evocative, intimate but universal, and ultimately true.
People are taking notice - CMA’s official magazine named him one of their Top 20 “Who New to Watch in 2013”, and he followed that up by winning the prestigious Telluride Bluegrass Festival’s Troubadour Competition.
On his newest album GHOSTS IN THE ATTIC, Turner lends his voice to songs that run the stylistic gamut, while staying grounded in the Americana roots he’s become known for. The “gorgeous new album” has received much critical acclaim, with one reviewer writing that Turner has “Americana poetry one might expect from the lyrics of The Avett Brothers, and an entrancing intimacy reminiscent of Jeff Buckley.”
Fans are noticing too. He’s been selling out such legendary Texas venues as Cactus Café and Stubb’s BBQ, and the buzz has led to a year of sharing stages with national touring acts such as Gary Clark Jr., Will Hoge, Joe Pug, and Jessica Lea Mayfield.
Whether he’s carrying on the wandering troubadour tradition or inhabiting the familiar stages of his hometown, Turner is, indeed, a storyteller. And it’s definitely time to let these GHOST stories loose.
OFFICIAL SITE
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