Turmoil & Tinfoil
Turmoil & Tinfoil has the speed and precision of strong bluegrass, while Billy Strings regularly lets his curiosity widen the sound. Acoustic instruments remain at its centre. Electronic effects and longer detours add something different without constantly pulling the music away from its familiar setting.
On the Line opens with immediate energy. The guitar's pace and the ensemble playing make it clear how well Strings and his fellow musicians understand this music. That skill serves more than a race to play quickly. The instruments respond to one another and give the songs a recognisable character.
The extended Meet Me at the Creek has plenty of room to develop that interaction. Its appeal comes mainly from the playing itself. The separate parts maintain the movement as the piece lasts longer than an ordinary bluegrass song. Its energy feels earned without needing much additional production.
The title track and Pyramid Country do use effects to give their openings an unusual colour. These details add variety while leaving plenty of room for the acoustic foundation. Salty Sheep offers a different contrast. Strings and Bryan Sutton exchange fast guitar parts, with a relaxed atmosphere that never weakens their precision.
Not every experiment feels essential. The spoken Spinning fits the record's free approach, but also interrupts its musical momentum. The long running time makes such detours more noticeable. The album is more convincing when the instruments carry its ideas.
Fortunately, that happens often. Turmoil & Tinfoil combines a firm command of bluegrass with a willingness to look further. Strings keeps melody and shared playing important enough to support the more adventurous passages. The result is lively and occasionally overextended, with plenty of character and an obvious pleasure in making music together.
