Whether fronting seminal Denver band 16 Horsepower or venturing off on his own with Wovenhand, David Eugene Edwards’ voice is unmistakable. Haunting and even abrasive, there is rarely a dull moment to be found when Edwards is behind the pulpit. Diverse in style and delivery, his music is never easy to corner. His latest album under the Wovenhand moniker, Consider The Birds, is no exception. Past influences run the gamut of the bluegrass/folk spectrum. Reviewers like to name-drop Nick Cave & Tom Waits, and have tossed out words like gothic, Americana and even alt-country. In the final analysis, though, no easy tag can be applied to this artist.

Six of the album’s ten songs feature Edwards solo, with little more than his fervent voice carrying the tune. Ordy Garrison (drums), Daniel McMahon (piano) and Shane Trost (bass) fill out the sound on the remaining four tracks. The album was put to tape by Robert Ferbrache, a one-time lap-steel player in 16 HP who runs Absinthe Studios. As we’ve come to expect, it’s impossible to not be confronted by Edwards’ lyrics, which, in the southern literary tradition of Flannery O’Conner or William Faulkner, are saturated with Biblical allusions. The grandson of a fire-and-brimstone preacher, Edwards channels that old-fashioned tent revival spirit well.

Ten untamed and mercy-drenched songs. From jarring folk to eerie bossa nova to fiery foot-stompers, the album forms a song-cycle that's singular in its breadth and eclecticism. The music of Wovenhand is utterly unique, dizzying those who encounter it, with turnings and lashings of shadow and light.

Whether fronting seminal Denver band 16 Horsepower or venturing off on his own with Wovenhand, David Eugene Edwards’ voice is unmistakable. Haunting and even abrasive, there is rarely a dull moment to be found when Edwards is behind the pulpit. Diverse in style and delivery, his music is never easy to corner. His latest album under the Wovenhand moniker, Consider The Birds, is no exception. Past influences run the gamut of the bluegrass/folk spectrum. Reviewers like to name-drop Nick Cave & Tom Waits, and have tossed out words like gothic, Americana and even alt-country. In the final analysis, though, no easy tag can be applied to this artist.

Six of the album’s ten songs feature Edwards solo, with little more than his fervent voice carrying the tune. Ordy Garrison (drums), Daniel McMahon (piano) and Shane Trost (bass) fill out the sound on the remaining four tracks. The album was put to tape by Robert Ferbrache, a one-time lap-steel player in 16 HP who runs Absinthe Studios. As we’ve come to expect, it’s impossible to not be confronted by Edwards’ lyrics, which, in the southern literary tradition of Flannery O’Conner or William Faulkner, are saturated with Biblical allusions. The grandson of a fire-and-brimstone preacher, Edwards channels that old-fashioned tent revival spirit well.

David Eugene Edwards (aka Woven Hand) delivered his 4th album and his masterpiece. The album again was put to tape by Robert Ferbrache, a one-time lap-steel player in 16 HP who runs Absinthe Studios in Denver. He doesn't stray much from his signature sound: mournful, minor key dirges within which Edwards ruminates on his recurring themes of faith, the fallibility of man, and the folly of the non-believer. But on "Mosaic", he unleashes a maelstrom of intensity and conviction that is as captivating as it is deeply spiritual. This is it. The one. It's magical, dark, mysterious, sinister and gorgeous.

An enchanting and layered world of musical meditations. David Eugene Edwards' music is brooding and dark, yet somehow maintains a tight grip on hope. Dreamy instrumentals, jarring anthems, haunting melodies, hypnotic percussion. Whether the biblical references inspire heartfelt devotion or confused indifference, it's the power of the words and the passionate authority with which they're sung that bring Edwards' songs to another level.