Although technically her second album, Faultlines, feels like Brittney Jenkins’s arrival, the place where the sound and the sentiment, the music and the lyrics, the ethos, elements, and musical identity of Pisgah all come together. If you are new to the music she makes under this moniker, this is, without a shadow of a doubt, the place to start.
Opener, “Cumulonimbus,” is the perfect display of exactly what is so special about her music, a slow build that almost shows you how she puts her sound together. If it hasn’t captured your imagination, not to mention your heart, by the time its indie-folk finesse has evolved into a layered soundscape of shimmer and sheen, hazy counter harmonies and chiming guitars, then I suggest that music is perhaps not for you.
“Bone to Pick” is more sparing, running on a wonderfully hypnotic riff, but the space it creates for itself is a place where musical motifs and gorgeously beguiling atmospherics pool and percolate within the song’s heart. “Splintering” is a great example of Pigsah writing music for the future rather than merely emulating what has gone before (or perhaps a clever balance of both), as its soundscape is scattered with intriguing sonics and interesting sounds, a look at what indie music can go rather than where it has already been.
Those who have been following the story will already have been charmed by the gentle, imploring, and emotive sonics of the single “Bend to Break,” but “Song For Jason Molina (Cold Rain)” comes as an unexpectedly beautiful end to an album of already beautiful songs, a gorgeous dreamscape of cinematics and sentiment, serenity and seduction.
What a breathtaking album, what an extraordinary artist.
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