Bonny Light Horseman - Keep Me on Your Mind/See You Free - COMPACT DISCS [CD]

Over the years, Bonny Light Horseman has accumulated manymiles on the collective odometer of life. The band's core trio -Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman - has amassed anincomparable collected resume. Mitchell is a celebrated solo artistas well as the playwright and songwriter behind the hit Broadwaymusical Hadestown, which notched eight Tony Awards and aGrammy for Best Musical Theater Album. Johnson is best known asthe mind behind beloved indie mainstays Fruit Bats, as a longtimecollaborator with The Shins, and as a film score composer. AndKaufman is a multi-hyphenate extraordinaire songwriter, producer,and position player, having recorded and performed with artistsranging from Bob Weir to The War on Drugs to Taylor Swift, HissGolden Messenger and The Hold Steady. As a group, Bonny LightHorseman's debut album received a Grammy nomination for BestFolk Album, and the track InchDeep in LoveInch was nominated for BestAmerican Roots Performance. More important than any of this, though, they've also lived a big ol'messy and tangled up pile of life, and all that living permeates theirmusic with the wisdom, humor, and depth that underlies theaccolades. Theirs is the stuff that defines folk music as a genre loveand loss, hope and sorrow, community and family, change and time.The Big Stuff, with the stakes sky high. At the center of Bonny Light Horseman is, always, the singularcombination of three powerful and tender artists, artists whoexpertly dodge superlatives but are quick to acknowledge that theirbond makes each one better, braver and more vulnerable thanthey'd be on their own. Nowhere is this more apparent than in theforce of their voices together, which work with complete trust inone another through the gentlest moments and the most ruthlesswails. Bonny Light Horseman's new album, Keep Me on Your Mind/SeeYou Free, is an ode to the blessed mess of our

Bonny Light Horseman's self-titled debut was a folk masterclass, reimagining centuries-old standards with effortless grace and wonder. Those Grammy-nominated, list- topping recordings not only suggested renewed possibilities for aging songbooks but also marked the arrival of a trio fully capable of reorienting the wider folk landscape. Still, if it felt at all like the work of some short-lived supergroup or a one-off diversion (it never was), Rolling Golden Holy rebuffs the notion with preternatural beauty and charm, and imagination. These songs, all originals, follow the paths of the traditional tunes the band cherishes to new frontiers, the sounds and situations of history given the gravity and shape of now. This is a band working at the edge of modern folk.After the of their debut, Anaïs Mitchell, Josh Kaufman, and Eric D. Johnson began discussing their next steps, loosely planning on writing and recording stints. Those sessions were delayed for all the unpredictable but now- familiar reasons until the Spring of 2021, when the trio reconvened with their families in tow in upstate New York. Their chemistry remained intact. Johnson's wife Annie had listened to him work with dozens of collaborators over the decades, but, listening in from one room over, she noted he'd never seemed so at ease and productive as he was with Kaufman and Mitchell in Woodstock. They were perfecting InchCalifornia,Inch a timely and incorruptible classic about moving on in search of something else, something more. These sessions were a series of Inchyes, andInch encounters, each one encouraging the others to take an idea and run with it further to the new safety net they've built together, for one another.These songs continually suggest and embody an unspoken continuum between traditional and modern folk. Mitchell finds self-sustaining adoration in steamy backseats, nighttime visions, and s

2018 . Arriving in the early months of 2017, Bonny Doon's self-titled debut was a warm introduction to the band for many. Hazy and bright, the album's woozy melodies and swirling webs of summery guitar textures were easily ingested as low-key slacker pop. But the nonchalant breeziness belied a serious attention to songcraft, and hinted at depths yet unexplored. Lo and behold, before the ink was even dry on the first record, work had already begun on it's follow-up Longwave, a conscious about-face from the sonic experimentation of the first album, and a journey inward.