In the final installment of a trilogy that has redefined the boundaries of modern pastoral music, Spencer Cullum completes a cycle of works that feel like a sonic bridge between the mist-shrouded folklore of England and the wide-open horizons of his adopted American home. ‘Coin Collection 3’ functions as a kaleidoscopic summation of this history, weaving together reel-to-reel field recordings and rough studio takes into a cohesive, cassette-warmed tapestry. By retreating to a garden shed to assemble these fragments, Cullum has created a record that feels intimately domestic yet conceptually vast, utilizing the occult-tinged narratives of his heritage to process the anxieties of a world leaning toward collapse.
The album opens with “Rowan Tree,” a piece that immediately establishes the record’s fascination with the natural world as a force of both beauty and quiet menace. This atmosphere of folklore-infused dread, what Cullum likens to a self-contained horror film, is further explored through “Jackie Paints” and the haunting “Gavon’s Eve.” On the latter, the intricate banjo work of Allison de Groot provides a rhythmic skeleton that supports Cullum’s lush, psychedelic-folk arrangements. The musicianship throughout the release is a testament to the collaborative spirit of the Nashville-based scene, featuring a rotating cast that includes the versatile drumming of Dom Billett, the grounding bass of Adam Bednarik, and the multi-instrumental contributions of Sean Thompson, Ethan Ballinger, and Jim Hoke.
Cullum’s mastery of the pedal steel is often the ghost in the machine here, providing a fluid, ethereal texture that binds the more disparate elements together. In “Look at the Moon,” the crystalline vocals of Erin Rae float over a foundation of shimmering steel and subtle keys from Danny Mitchell and Jo Schornikow, creating a sense of nocturnal wonder. This celestial focus shifts back to the earth on “Old Paul Hill,” where Annie Williams lends her voice to a narrative that feels rooted in ancient soil. The record thrives in these moments of vocal alchemy, such as on “Don’t Go Downtown,” where Oisin Leech adds a layer of weary, folk-tradition gravity to the composition.
As the collection nears its conclusion, the influence of ambient explorers becomes more pronounced. “Washed Upon the Shore” features the expansive, swirling textures of Rich Ruth, a track that feels like a slow-motion immersion into the deep. This sense of surrender to the elements is a recurring theme, suggesting that there is a settled comfort to be found in the old stories of standing stones and midnight rites. The finale, “Music on the Hill,” serves as a gentle, melodic resolution to the trilogy, bringing together the various threads of jazz, pop, and traditional folk that Cullum has collected over the years.
With additional contributions from Hollow Hand and the technical oversight of his talented circle, Cullum has moved beyond the role of an accomplished side-player to become a formidable architect of sound. ‘Coin Collection 3’ is a rare work that manages to be both a personal exorcism and a public gift, offering a just plane of existence where nature eventually prevails over the complexities of late-stage capitalism. It is a vibrant, essential conclusion to a series that has successfully mapped the distance between the woods of the mind and the reality of the porch.
Releases March 27, 2026
Visit Spencer Cullum | Full Time Hobby | Bandcamp to find out more or to pre-order.
