Fronted by vocalists and songwriters Anya Hinkle (guitar, fiddle) Stig Stiglets (upright bass, harmonica) with the stellar work of Aaron Ballance (dobro, pedal and lap steel) and Jed Wills (banjo, mandolin) Tellico perform music steeped in traditional values coupled with modern flavours. The quartet hail from North Carolina, and are firmly anchored in Asheville’s roots scene combine, in majestic fashion to produce a debut album loaded in quality. Produced by Jon Stickley who also provides acoustic guitar and drums on a couple of tracks the record echoes hints of Claire Lynch and her days with The Front Porch String Band, and much more beside.
While I am reminded of a couple of other acts (Gillian Welch being one) on listening to the beautiful lead vocals of Hinkle, and wonderfully assured tones of Stiglets it is their own finely woven style of work that makes the most lasting impression. As they underline just how beautiful Appalachian / bluegrass music can sound. Pure, sharp and seamlessly smooth Tellico are a credit to their profession; both musically and vocally as new standards are obtained! For not only do they have the latter going for them but they are most supportive of one another, hence it is here is genuine case the whole is greater than individual members of the band.
Stiglets’ lead vocal contributions include a notable story-ballads “Calamity” (a song Cahalen Morrison & Eli West could just as easily have written; it is that good) that speaks of images sparked by tragic natural disasters of Hurricane Katrina and Japan’s tsunami, and jaunty blues Steve Earle-ish “Hawkeye Pierce And Honeycutt Blues”. Fuelled by sparkling Dobro (what a player this guy is!), harmonica and mandolin it gives the album a timely change in tempo and direction. A sharp contrast to easy as an old shoe fitting harmony vocals aided, mandolin and dobro jostled reflective ode “Morning Haze”; while on reverting to music of the street singer Stiglets closes the book of their material with southern fashioned ragtime piece “Lean Into It”.
Before which time Hinkle with stellar support from all quarters, choppy claw-hammer banjo and fiddle included performs “Backstep Blues” quickly paced “Can’t Go Home Again”; a song inspired by Asheville author Thomas Wolfe and his book of the same title. Better still you Wills and Balance and others escort her through shuffling piece “Ever What They Say”, and it doesn’t stand alone because the soulful, back roads “Forsaken Winds” (reminds me of Amber Cross) and plaintive, smouldering ode “Mexico 1995” likewise has what it takes.
To close the Ashville recorded album, Hinkle comes through with a delightful working of two Neil Young songs “White Line —River Of Pride” into a fine bluegrass medley. Smattered with dashing Dobro, and superb flat-picking and mandolin the song is given wings, a perfect way to end an album worthy of a place on the same shelf as not only Lynch (and the FPSB) but also records by the late Kate Wolf and Northern California’s Laurie Lewis. Make no mistake they are in for the long haul, and in whose hands the future of the music is in most capable hands. I can't wait to see them live.
Maurice Hope