Lost in the Trees

"As a color she'll rise from the water, a golden light."

After two weeks of searching through bands and finding nothing terribly compelling to write about, I thought perhaps this little venture may have been in vain. Then I came home from class a few days ago and found the song "Red" by North Carolina's Lost in the Trees pulled up on Spotify—courtesy, once again, of my wonderful wife. I have listened to nothing else since.

Lost in the Trees

A larger group built around writer/composer Ari Picker, Lost in the Trees released its most recent album, A Church That Fits Our Needs, in 2012. The album was written, the band's website states, as a tribute to Picker's mother, who took her own life in 2009 and whose beleaguered, off-center portrait composes the album's cover.

The tracks "Walk Around the Lake," from the 2009 effort All Alone in an Empty House, and "An Artist's Song" from Church provide a strong introduction to the band's diverse but cohesive sound. The group synthesizes a variety of stylistic influences, from softer, folksy acoustic elements reminiscent of Damien Rice to more energetic, multi-instrumental powerhousing a la Arcade Fire. Lost in the Trees' instrumentation includes traditional rock's acoustic and electric guitars, bass, and drums, but also features piano, strings, dulcimer, and electronic instruments and tracks in more than a secondary, supportive role. Different instruments are featured on different tracks, creating varied atmospheres and moods, and the combination of male and female vocals further colors the band's sound.

Cover, A Church That Fits Our Needs

One of the most compelling aspects of Lost in the Trees' music is how the band uses time, often shifting between or using atypical/irregular meters and signatures. "Neither Here Nor There," the first full song on Church (after the album's short intro track), begins with an instrumental introduction that can be counted several different ways, then breaks into a verse in 7/4. "Red," linked to above as well, employs likewise atypical meters, oscillating between measures of 5/4 and 6/4 in the verses, then moving into a chorus whose meter I'm still trying to count. Heavy, wet snare and cymbal hits intensify this effect in "Red," calling attention to the way the female vocals and string instruments seem to drop down early from the top note of their ascending melody. Not all the band's songs make use of such metrical acrobatics, but those that do have a sort of sway, a driving-forward that couples seamlessly with the vocals and instrumentation in a way that distinguishes the band from others, like Animal Collective, who also play with rhythm and meter.

Overall, I enjoy the music on Church best, as it makes the most intentional use of the band's unique talents. I only wish I could better understand some of the lyrics, though more precise diction would detract from the mystique of Picker's vocals. What other groups have you found that feature similar sounds? Let us know via comment, and make sure to post a link of some kind.

Happy listening.