October AOTM #1: Blush Music

Paul Taylor
Oct 14
2 min read

Album of the Month: Blush Music - Wovenhand

David Eugene Edwards is a very religious man, and in most of his m,usic he makes that oh-so very clear. This would typically ward me off from giving his music an honest try, because while religion can, has, and will continue to assist many people through their lives, as a definitively non-religious person, preaching and religious forwardness have always sort of bothered me. Edward's '90s band 16 Horsepower can suffer from this at times, as do some of the later Wovenhand records. Sometimes it is clear that the music is not always the part that Edwards cares most for; the music can sound like little more than an outlet for his proselytizing. However, on this 2nd record from 2003 (something of a reinterpretation of Wovenhand's self-titled debut), Edwards nails the balance of spiritually invigorated and passionate lyrics with his dusky, gothic country tones, where the songwriting takes no backseat. More than anything else, the pervasive darkness of this album's tone dictates its flow, with consistently building atmospheres and repetitive, rhythm-focused instrumentation.

Tracks like the opener "Cripplegate (Standing on Glass)" and "White Bird" quickly establish this albums feel, with prominent folk elements lightening up the dark country and naturalistic drones. Wovenhand's cover of Bill Wither's classic "Ain't No Sunshine" on the 14-minute "Animalitos" dominates the beginning of this record, opening slowly and unraveling piece by piece. The massive track uses ambient and drone elements not just to fill space, but to create something of a baseline for the band to jam over, constructing an evolving piece which uses the recognizable verses and hooks from the original "Ain't No Sunshine" as small shots of brightness and familiarity. This long, atmospheric song is the best microcosm for the rest of the album, setting up the wild, longform rhythms and sharp, droning notes which create the structure of Blush Music.

But there are a few more traditionally paced and catchier tracks, principally with the "White Bird" / "Another White Bird" duology breaking up the atmospherics of "Animalitos", the hypnotic "Snake Bite", and the avant-folk experimentation on the closing track "Story and Pictures". "White Bird" and the opener "Cripplegate" are the most fast-paced and melodically defined songs, with strong choruses and prominent lead instrument parts. But there are plenty of other tracks which build strong melodies, albeit in more drawn-out ways. The electronic, almost darkwave influence on "My Russia" and "Aeolian Harp" is a favourite of mine, bringing something totally new to the table and making something distinct out of the same cryptic songwriting and gothic country sound. On these tracks, accompanying Edwards' sour and warbly voice and soft acoustic guitar lines, are vibrant, brooding synths expanding around the otherwise oppressive naturalism.

Blush Music is a drawn-out experience, full of droning acoustic instrumentation and invaded by natural ambiance, all smothered in a dark, mysterious tone that accentuates Edward's poetic lyricism and rhythmic songwriting. Wovenhand originated several of the songs on this record, but Blush Music is where Edwards truly utilized the dark ambiance capable within the Gothic Country genre he pioneered in 16 Horsepower.