This intuitive bond between Welch and Rawlings remains at the forefront Forestwhich contains many still, quiet moments that feel carved in wood: rustic, weathered and permanent. This may be familiar territory for Welch & Rawlings, yet they still find uncharted territory within their boundaries. With its gentle swing and intricate finger tapping, “The Bells and the Birds” is unusually sensitive, while “Here Stands a Woman” paints an aching portrait of a woman reckoning with the passage of time. “Here Stands a Woman” contains an echo of “Danville Girl,” a folk tune famously played by Woody Guthrie. Likewise, “What We Had” has a melody that rhymes with Neil Young's “Lotta Love,” then drifts into a soothing ache.
In Gemini's hands, the past is always present, even as they prophesy the future. “The Day the Mississippi Died” foreshadows the day the river runs dry, an apocalyptic vision laced with flashes of humor. Old Crow Medicine Show's Ketch Secor plays fiddle on “The Day the Mississippi Died,” weaving his lines through the odd lyrics, opening up the music enough to suggest communion between kindred spirits. Secor provides subtle texture, contrasting with the strings that sweeten “What We Had,” moving the lovely, understated tune toward soft rock province. Such sweet, supple sounds are unexpected from Welch and Rawlings, but not unusual Forestalthough they are rarely so obvious. “Hashtag,” a loving tribute to Texas troubadour Guy Clark, uses strings and French horns with the skill of an impressionist painter.
Often, the studio art and arrangements are so refined that they are felt more than they are heard. the wistful “North Country” is enhanced by its melancholy steel, bass and whispering drums. This studio art, so patient and subtle, gives the album its own distinct character. What does it pose? Forest In addition to the rest of the duo's remarkable catalog is quiet adventure and clear empathy, qualities that give the sense that Welch and Rawlings are building a new structure on top of an old foundation.
