Words by Grey Malkin

Psych explorers Elkhorn, focused around the core duo of Jesse Sheppard and Drew Gardner, have been pleasingly prolific of late, with this new release their third in a year, following July’s propulsive ‘Other Worlds’ and last autumn’s eclectic ‘Lagniappe Sessions’. An ever-changing entity, Elkhorn morph and push at both boundaries and new possibilities with each release, and ‘The Red Valley’, their first for renowned label VHF, is no different. Whilst previous albums have utilised the band’s deep, mutual intuition and improvisational skills, often over longform psych jams and workouts drenched in mood and atmosphere, ‘The Red Valley’ delves into a different universe, one that finds the band working with layered, nuanced overdubs adorning their twin guitar approach. With the welcome addition of zither, vibraphone and Fern Knight’s Jesse Sparhawk on lever harp, the tracks here accordingly come across much like a psychedelic orchestra, symphonic in range and dynamics, both intense in parts and delicately intimate in others.

Opener ‘Crystal Hummingbird’ is the perfect example of this new working method, combining a sense of texture with power, as chiming acoustic notes are joined by a tsunami of fuzzed-out rolling guitar which, with the entry of a frame drum, sounds nothing less than monolithic. Underneath this, a zither cascades in sheets of metallic droplets, as the tension is pushed ever higher; the resulting effect is breathtaking, from the first rush of distortion to the closing explosive notes. Recalling the searing power of some of Ben Chasny/Six Organs of Admittance’s more electrified moments, this music is visceral, and clearly intended to be physically experienced and felt. ‘Gray Salt Trail’ maintains this level of intensity, vibraphone determinedly weaving melodies under a raga-styled acoustic framework, whilst molten bursts of liquid, sustained electric guitar erupt all around. Whilst being comfortable with becoming more freeform as the track progresses, Elkorn snap back into precision when required, the sense of careful control and restraint evident as their combined, transcendent sound builds and peaks. 

The shapes and places that Elkhorn can reach and conjure with this layered approach is a crucial new string to their bow, one which results in their already immense sound becoming vast, easily a rival for the likes of Earth or Om. Suitably, there is something akin to Dylan Carlson’s work in the distorted and windswept repeating guitar motifs in ‘Black Wind of Kayenta’, Sheppard’s electric 12-string creating a structure for Gardner’s acoustic explorations. Elkhorn’s skill in creating an exhilarating noise alongside melodies that embed themselves deep in the psyche, and have emotional heft, is in clear evidence here. ‘Road to Chaco Canyon’ follows, an epic psych symphony that is in parts tightly wound and a controlled ferocity, with measured peals of cosmiche guitar, and at other moments restrained, reflective and ultimately uplifting. Throughout, steady percussion and drums anchor the layers and waves of six/twelve string guitars that alternately shimmer, rage and inspire. By comparison, ‘Inside Spider Rock’ is a more folk-inflected, quieter creature as well as a thing of great beauty, aided by Jesse Sparhawk who delivers a rush of silvery harp notes upon the wide-open horizon provided by the guitars. Almost a soundscape in its immersive, floating mood and atmosphere, the track is an able demonstration of the band’s mastery of different emotional and musical shapes or form. Elkhorn will not be pinned down, it’s in their nature to explore. The album completes with ‘Jackrabbit Hops’, a touching and breathtaking piece of slide guitar, driving and sweeping percussion and addictive, warm melody. 

It is to Elkhorn’s credit and part of their appeal that each new release will be recognisably theirs, in that you can trust in their dual guitarwork and ability to create tangible, visual soundtracks – but that there will also be something new and searching, something that takes their songs beyond. With ‘The Red Valley’, the composition and arrangements, layers and adornments provide the listener with a wealth of treasures to not just enjoy but to find new detail in, and to re-explore time and time again, with each listen finding something previously unnoticed or mesmerising. Quite simply, a beautiful album, and one which is both intricate and immense.

‘The Red Valley’ is available now from VHF Records on download and limited pink vinyl at www.vhfrecords.bandcamp.com