Press

Clear Sky Relapse (EP)

Dave Hoenack
Hymie’s Vintage Records
July 18, 2011

Our live music Sundays return this week with a great local Americana group, the Swallows.

These guys are currently recording their second album, and they’ve been playing around town for more than three years but they go even further back in the local scene. Jeff Crandall and Aaron Kerr recorded an album together in 2000 as Thinland. Along with multi-instrumentalist Tyson Allison they also play in side projects Dissonant Creatures and the Sleeper Pins.

A lot of the reviews of their first album, Clear Sky Relapse compare their sound to a variety of artists I’m not really familiar with. I guess record reviews don’t really help when that happens. And I suppose my own impression of the disc – Lush Lambchop-esque arrangements and Steve Earle-ian vocals – would be the same. The best way to learn about something is to listen to it, anyway, and with this player from their website you can hear the entire disc! If you find yourself enjoying it, I hope you will click to Bandcamp.com to buy it for a reasonable $7.

The one thing I will tell you to listen for is the unique instrumentation. In addition to familiar keyboards and guitars, the Swallows accent their songs beautifully with an electric cello (Played by Aaron Kerr) and a mandolin (Mike Nordby). More and more groups are using cello but few of them do it as well as the Swallows do on “The Ballad of Charon”. Aaron won a McKnight Foundation Fellowship for his compositions on his debut solo cello CD, Arco 71. The reason the first track, “Clear Sky Relapse”, made me think of Lambchop is the rich, evocative sound of Aaron’s cello, which is sort of like Deanna Varagona’s baritone sax on the classic Lambchop albums.

I guess it’s all subjective, for instance a few reviews of their new disc compares Jeff Crandall’s singing to Tom Waits, which is something I think lazy reviewers do a lot with any male singer who has a gravelly voice. You can get a sense that Crandall is more of a blues singer from some of the videos they’ve posted online. I think he’s more like Dave Alvin or Joe Ely in that way. Here’s a clip of the playing “The Ascetic” at the Palace Stage in St Paul:

These guys are, incidentally, not the early doo wop group Baltimore known for the seminal single “Will You Be Mine?”, although Minnesota’s Swallows did post a song by Maryland’s Swallows on their Facebook page this spring.

Another thing they posted online was a video for the track “Come to Me”. Here it is, but I should warn you that there’s strippers and stuff in the video, so if you’re likely to be offended by that it would probably be better to watch this video instead.

The Swallows will be playing here at Hymie’s Sunday the 24th at 3 pm, which is getting to be our regular time for in-store performances. In fact, were glad to have these guys start out a string of great bands that will include a jazz trio featuring – the same Aaron Kerr (Jazzen)! Also appearing on a Sunday afternoon will be Jezebel Jones, who is another artist working towards a distinctive Minnesota approach to Americana, and the Knotwells, whose full-throttle approach to country and bluegrass is sure to rock the whole shop. And at the end of next month local guitarist Tom Harris will come in to play some blues.

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Clear Sky Relapse (EP)

Stuart A. Hamilton, Zeitgeist (UK),
December 27, 2010
It’s been a couple of years since we heard from Minneapolis/St. Paul rockers, Swallows. That was back when they released the delightfully titled Songs for Strippers (And Other Professions). That was a goodie, “a collection of inspirational songs honouring strippers and burlesque dancers everywhere.” With added cowbell.

Well they’re back with a follow-up, the less delightfully titled Clearskyrelapse, and what it lacks in lotion it makes up for in slightly grubby, blues-tinged, American rock. It’s a wee bit rootsy with lots of acoustic instrumentation, offset by the always listenable, albeit raspy voice of Jeff Crandall.

They’re still in love with the sound of The Bad Seeds / Grinderman / Tom Waits, which is two thirds of a good thing, so tunes like ’Rattle Them Bones’, ’I Will Not Burn’ and ’[Ballad] Of Charon’ make for very pleasant listening. Although never easy.

It’s only a mini-album, 25 minutes long, but good things often come in small packages.

Read original review at Zeitgeist

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Clear Sky Relapse (EP)

KVSC 88.1 FM, St. Cloud State University Radio
September 19, 2010

Swallows maintain an alternative folk sound with a strong influence in rock and roll - making for a very Americana sound complete with piano, acoustic guitars, cello and mellow drums. Jeff Crandall's raspy voice adds a layer of bluesy intimacy to the quintet, making for deeply personal performances.

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Songs for Strippers (and other professions)

Songs for Strippers Makes Top 100 Albums of 2008 List
Swallows' 2008 release "Songs for Strippers (and other professions)" came in at number 57 on Consequence of Sound's Top 100 Albums of 2008 list. Check out the list on the Consequence of Sound Web site.

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Songs for Strippers (and other professions)

Skelly, Borangutan.com
August 20, 2010

Swallows Wrote Some Songs For Strippers
Songs For Strippers; you read me right! This is probably also the first time you've read about this despite the album's release in 2008. Whenever I receive a new record I always assume its newness in more ways than one. This makes sense since bands, artists, and labels typically don't bother pimping out old material. Yet as I so often tell artist friends of mine – "just because it's flippin old to you doesn't mean it's not brand new to anyone (everyone?) else."

Here we have such a case. Who is/are Swallows? Had I not visited a couple of their haunts online I might never have been made aware of Songs for Strippers‘ release two years ago. In fact, a little googlebot indicated that this local band stood altogether unrewarded and unnoticed by local outlets when Songs for Strippers dropped. Hmm… that's puzzling, considering this record is one of the best beginning-to-end creative efforts I've heard out of a local outfit in the last couple years. Did no one care? Was there no promotion? From out of nowhere – where did these guys come from!?

Now are the days of singles and five songs, where music might often be written as much for people’s attention spans as for their tastes. So perhaps now more than ever is the time to revisit some memories. Once upon a time singles reminded me of kisses, and albums reminded me of plans (alright, who caught that one?). The name Swallows might disincline your thinking of kisses (for obvious reasons), but Songs for Strippers should certainly incline you to make plans for swinging into the Fine Line Music Cafe Saturday night.

Rumor has it these guys are working hard in the studio on the follow-up to Songs for Strippers. Hot stuff!...

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Songs for Strippers (and other professions)

David Buchanan, Consequence of Sound, November 3, 2008

It is seldom that one gets to enthusiastically introduce new bands with raw talent, but this is one of those moments. Swallows, an alternative band out of Minnesota has invoked what people are calling “rock and roll, ugly and beautiful, profane and spiritual.” Formed in 2007 and utilizing everything from your basic guitars and musique concrete to electric cello and banjo, Swallows released their 2008 debut album Songs for Strippers and Other Professions to critical acclaim locally:

“Brilliant.the overall effect is a dramatic, nearly operatic build.” - Bob Milton, The Milton Files

“Eleven tracks of vintage rock and roll that will tear you up.” - John Siwicki, The Comfort Comes

McKnight Foundation Fellowship award-winning avant garde composer Aaron Kerr has worked with everything from dance troupes to various other indie bands, and now plays cello for Swallows. He is not in unlikely company either with founding member of Thinland, Jeff Crandall, on guitar and environmental sounds, Tyson Allison of alt-rock ensemble Gliss on percussion, and rural musician Frank Spencer chipping in between banjo and accordion.

This quartet brings a blend of classic blues, a barrage of eclectic instruments, and warm yet gritty Nick Cave vocals to a state otherwise known for Atmosphere and Sage Francis. After receiving a copy of their debut, I noted a shifting of moods from heavy guitar-laden indie crashing in “Not Your Kind of Man” and “Kerouac” to the dark and somber “Come To Me,” right before entering folk trends with “The Last Happy Shot” and “Days Like This” (the latter featuring prevalent cello). The aforementioned operatic description is not far from fact.

If you like something original that doesn’t try to be anything more complex than rich and flavorful art, then Swallows should be your next taste test. There isn’t any analysis to the guys who if in possession of a harmonica could put Blues Traveler to shame; they have a welcoming, organic feel while their first music video for “Come To Me” stands out like a haunting Jaws theme during Finding Nemo.

Trust me, get yourself a copy of Songs for Strippers and just play it for background sound - you will wonder why you had not done so sooner. Also of note, the band’s cellist Aaron Kerr has just recently finished mastering a collection of 10 coffee shop mood instrumentals titled Dissonant Creatures. There you have it, and coming highly recommended I might add. --> Read original review at ConsequenceofSound.net

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Songs for Strippers (and other professions)

Stuart A. Hamilton, Zeitgeist (UK), April 23, 2009
Hailing from Minneapolis/St. Paul in Minnesota, Swallows have a surprisingly filthy name and an album of songs which, in the words of cellist and composer Aaron Kerr is “a collection of inspirational songs honoring strippers and burlesque dancers everywhere.’ Which seems like an absolutely tremendous idea. With added cowbell.

Naturally, it doesn't quite live up to the level of expectation, but anything short of a multi-sensory, 3D lotion fest was always going to fall a wee bit short of the mark. However, there is enough here to keep me happy including the riffy 'Not Your Kind Of Man', the ballad 'Come To Me' and the almost Blues-like 'Days Like This', which are the highlights on this eleven track set.

I'm not overly happy with the running order, although I suspect the slow descent into the darker songs is completely deliberate, and it's the kind of album that Bad Seeds / Grinderman fans would warm to, when Nick Cave is away doing his arty farty stuff. The whole band show themselves to be instrumentally adept, and it's an album well worth checking out. --> Read original review at Zeitgeist

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Songs for Strippers (and other professions)

Marcel Feldmar, The Red Alert, February 27, 2009
Some fairly straight up rock and roll here, touching at times on the edge of the Replacements, but somewhat darker in tone. There are little hints of folk and blues that wind in with the rhythms, keeping the songs from becoming to clichéd, and instrumentations that pull it out from the pile of what you’ve heard before. The moody cello swooning through “I Won’t Let You Down’. These songs are tied to cities and their streets.

Sometimes feeling East Coast in direction, with that raw New York rock sound, but sometimes it crosses the country and slides in with memories of the slight jam band moments you would find in the early sounds of those Seattle grunge ballads.

There are little hints of sounds that take the band and their songs into a more current time, a little post-indie guitar twang that breaks into a gritty vocal line that brings to mind Tom Waits, or probably a little more accurately, Mr. Waits long time acquaintance, Chuck E. Weiss. Off kilter piano hits bring in some points of pleasure, and the appearance of frantic mandolin helps take the album into more interesting areas.

This is definitely an album that you need to let play. If you just listen to the first song and give up, you’re going to miss something that could be very important.

Read the original review at The Red Alert

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Songs for Strippers (and other professions)

Robert Lines, Broken Pencil
Swallows delivers some straight ahead rock and roll; very Headstones-esque.

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Songs for Strippers (and other professions)

Ned Raggett, All Music Guide
Every so often this all gets put together with a sense of truly lovely craft - “Bottom Feeder” becomes a neo-sea shanty, complete with strings, that nearly takes the whole album to a new level on its own - while around the corners there’s bits of random psychedelia creeping out (“I Won't Let You Down” draws on the same late-night moodout that the Darkside’s “Guitar Voodoo” does).

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Songs for Strippers (and other professions)

Bob Milton, The Milton Files, May 2008
Holy S$&#!! Brilliant - the schizophrenic call and response of styles (belligerent to dreamy, repeat, repeat) on first seven tracks, and then the merging of these styles in “The Last Happy Shot” is very compelling; the overall effect is a dramatic, nearly operatic build. Great (extensive, I'll wager) studio work: Swallows fit the more eccentric sounds and instruments in seamlessly (unlike most bands, where it sounds tacked on and gimmicky). Record reviewers love to say that the sophomore album is a daunting, nearly impossible task, but this “Songs for Strippers...” is great; it sounds like Thinland, but it is most definitely all new - it's like a second act that follows a brief intermission. Also, the lead guitar was beautiful - did you guys get that good? I nearly had to pull the car off the road for the rush of memory flashes of various venues and bad behavior triggered by “Undone.”

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Songs for Strippers (and other professions)

John Siwicki, The Comfort Comes, May 2008
[Songs For Strippers and Other Professions] is eleven tracks of vintage rock and roll that will tear you up. “Not Your Kind Of Man” dirties things up with some slimly little riffs and plenty of cowbell. . . . “Come To Me” is the dark and seductive ballad and I think they even use a cash register sound in this song. “Days Like This” shows the bands bluesy side with a very deep and rustic track. Songs For Strippers... even when the subject matter might be a little too in your face for some is still a solid rock record. The band did deliver on what they said by “honoring strippers.” --> Read original review at ComfortComes.com

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Live reviews

Swallows at Chicago’s Elbo Room - October 9, 2011
SouthSide on the Town

Dramatically haunting yet vibrantly melodic ...soulfully organic rock alternative sounds from Minneapolis - that’s basically how SouthSide would describe Swallows after seeing their Chicago debut performance. This quintet of musicians captivated the audience with elements combining a sense of mystery and realism heard in the lyrics, harmonzing rhythms and intense momentum whether the tone was dark and moody or not. The organic side to this band’s music came from the usage of ordinary household items as instruments like a small garbage can, a metal pipe and a kitchen strainer. These items used simply enhanced the percussion side ...plus the bass cello rhythms further deepens Swallows' haunting mystery during certain songs like The Devil’s Hole and Come To Me. And the organ - at times added some soulful blues as heard in Medusa. A good example of all instruments working wonderfully together yet on somewhat opposing ends of melodies and/or rhythms would be Long Long Shadow that had a certain steady Native American tribal feel (off the cello and drums performing together). SouthSide does want to mention how front man Jeff (vocals/guitar) emotionally moved her with his intense vocal performance throughout this set. Looking over her notes, it was hard picking a moment when he didn’t project a realistic tone or emotional expressiveness off the lyrics. His simplistic mantra-like chant "...you’ll come to me..." (during Come To Me) or the forceful "...I won’t back down..." (during Medusa) were almost hypnotically enticing to the ears under his raspy falsetto voice. This reviewer recommends listening to the earnest plea of longing to go home in Home and the emotionally yet powerfully heartfelt falsetto of "...watch over me..." in Eventide. Visit http://www.swallowthemusic.com for tour details and more about this band.

Roots rock with a twist
Dissonant Creatures with Swallows, May 27, 1010
The Metropolitan (Metropolitan State University Newspaper, July 2010)
by Torleif Sorenson (Six-String Bass Guy)

Cellist Aaron Kerr and guitarist Jeff Crandall are like many musicians; both have several projects going these days. Kerr’s own experimental group, Dissonant Creatures, often appears with Crandall’s rootsy, Americana-flavored band, Swallows, both based here in the Twin Cities.

Make no mistake: Kerr’s musical background is solidly classical, but his music with Dissonant Creatures could be described as “atmospheric” rock with a nod toward jazz, and features some interesting work from his five-stringed electric cello, equipped with a low F string.

Among songs the group currently performs is “Head Down Slowly Onward,” in which Kerr makes his cello really sing, and guitarist Jeff Crandall channels The Edge (guitarist Dave Evans) of U2 with his rhythm playing. “Born Bad” is a 6/8 piece with bassist Matt Kanive pulsing underneath, subliminally urging on Aaron’s pizzicato melody, which is colored one octave above by Tyson Allison on synthesizer. “Scorpio Rising” is a C-minor tune in 7/8 time featuring an ostinato bass-line from Kanive; after Crandall’s guitar solo, Kerr uses his cello to signal some distant “lightning strikes” while drummer Justin Deleon echoes him with a few blasts of thunder on his toms.

While the group’s music could have served as the soundtrack to some of NASA’s Apollo documentary films from the late 1960s and early 1970s, the sound definitely contains a more “rootsy” sound than a traditional jazz sound. That said, Kerr’s group still provides some pleasant echoes of the seminal jazz-fusion group Weather Report, spiced with some tasty rhythm guitar from Crandall.

Crandall’s group, Swallows, brings a more Americana-type approach that is eminently radio-friendly. The difference in sound between Swallows and other local bands is evident in songs such as “Clear Sky Relapse,” in which Kerr straddles the line between supplying the bass and providing some melody on electric cello. Likewise, in “Bottom Feeder,” Kerr’s mid-range cello, which replaces the bass, actually helps the song rather than hurting it, while Mike Nordby provides nice accents on mandolin.

Kerr’s pensive bass-line provides the structure for “I Won’t Let You Down,” a catchy piece made even more attractive by drummer Ben Steen, who delivers some thoughtfully placed snare drum flams to spice up the rhythm and lend an organic flavor. “Witch ‘n’ ‘n’ Divin’n” has a subtle flavor of a lullaby and features Crandall on steel-string acoustic guitar, which works beautifully over Kerr’s electric cello. (Extra points to Nordby for his mandolin part that underpins Allison’s xylophone lines.) “Long Long Shadow” finds Allison on melodica, Nordby punctuating the song with some high Ds from his mandolin and Steen powerfully driving the song with an almost tribal feel, courtesy of his intelligent use of mallets on his drum kit.

In “Home,” Crandall delivers a Springsteen-esque vocal, riding atop Kerr’s double-stop cello. Allison goes to work on other instruments here, providing dollops and dashes of harmonica in between B3-style keyboards and solid backup vocals with Nordby accenting, this time on percussion. Two other strong compositions, “Rattle Them Bones” and “Roam,” could both easily fly on modern rock or alternative radio here in the United States.

Swallows’ appeal is more than just that Kerr replaces the traditional bass guitar; his electric five-string cello vaults back and forth from a cello lead to bass underneath. With more than just well-written and eminently listenable music, Swallows also deliver solid musicianship definitely worth hearing in the Twin Cities area and beyond.

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A few words from the other professions

"Music from a dry and dusty roadhouse on a remote highway between Los Angeles and Phoenix." - Mike, Accountant

"It’s like The Cowboy Junkies after rehab." - Bob, Electrical Engineer

"It’s kind of creepy... but I like it." - Leslie, Service Manager

"I like the birdie." - Kallie, Elementary School Student

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The wall where we shot the cover for Tracing the Cracks

Thinland: Tracing the Cracks (2003)

Not Lame Records
"Sometimes you come across 'great music' that just does not conform the way you usually listen to music and which demands a bit more of your focus and attention. Thinland is a band that combines acoustic and orchestral elements, layered guitars, poignant and introspective lyrics, and compelling melodies, giving the band an unique sound that ranges from acoustic folk songs with string and orchestral backing to full-out rockers with loud, aggressive guitars, driving rhythms, and memorable melodies. We could compare them to the very best of moving R.E.M., the beatific landscapes of David Sylvian's solo material, Leonard Cohen and The Eels. That said, no one comparison fully captures the essence of Thinland's sound except the simple fact you should hear this record, sooner as opposed to later. Extremely Highly Recommended. - Not Lame Records

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Thinland: Tracing the Cracks (2003)

Kings of A&R, New York
(April 21, 2003)
"Intelligent, luxuriant & compelling indie rock/pop/folk. Falls somewhere between Elliot Smith, REM, Radiohead, Nick Drake, The Eels, U2, etc. New album Tracing The Cracks is an album that NEEDS to be heard. It's dreamy, imaginative and inspiring. Listen to it again & again & again." - Kings of A&R, New York

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Thinland: Tracing the Cracks (2003)

CDBaby.com Featured CD
April 14-17 2003
"An ethereal, lush and dreamy expedition into the dark, deep and blue crystal crevasses of David Sylvian, R.E.M., Nick Drake, and Elliot Smith, among others, tumbling their listeners into an emotionally exposed and beautifully melancholy existence. If and when you picture yourself floating through the expanses of space, moving stars and planets with a sweep of the hand, feeling the glows of the galaxy imprint your heart, Thinland will be the soundtrack. Dive into the formless dream worlds and the gloriously powerless zero-gravity of fate... and take this CD with you." - Tamara Turner, CDBaby.com

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Thinland: Tracing the Cracks (2003)

The Reader
Omaha, NE, June 26, 2004
"Lush arrangements and arresting harmonies highlight Tracing The Cracks, the debut full-length from St. Paul, Minn., quartet Thinland. Formed in 2001 by songwriter/guitarist Jeff Crandall and bassist Jason Fritts, Thinland quickly added two new members and developed a sound of "atmospheric pop and high-intensity alternative rock" that's reminiscent of both R.E.M. and U2. Tracing The Cracks finds the band alternating from acoustic folk songs to electric rockers, all the while enhancing their material with well-produced string arrangements."

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Thinland: Tracing the Cracks (2003)

In the thick of things with Thinland
Omaha World-Herald
April 22, 2004
"For a group called Thinland, the band sure has a huge sound.

The Minnesota quartet's massive sound - a mix of dreamy, atmospheric pop and high-intensity rock - is due partly to the musicianship of cello player Aaron Kerr.

'It's a surprisingly great instrument to play in a rock band,' said Kerr, an Omaha native who moved to St. Paul, Minn., in 1995. 'It provides a great tone. It can be a background instrument, a melody instrument. You can use it texturally in a lot of ways.'

Kerr, whose background is in jazz and classical music, said having a cellist sets the group apart.

'There's not a lot of cellists playing in rock bands,'said the 32-year-old Kerr. 'I kind of take the place of what a lead guitarist would do.'

In addition to Kerr, a 1990 graduate of Central High School, Thinland includes lead singer-guitarist Jeff Crandall from St. Paul, bass player-vocalist Jason Fritts of Minneapolis and drummer Patrick Hennessey from Anoka, Minn.

Kerr said Thinland's influences include R.E.M., Radiohead, Elliott
Smith and the Eels.

Since releasing Tracing The Cracks, Thinland's debut album in January 2003, the group has toured heavily - especially in Minneapolis, Chicago and Milwaukee - earning rave reviews.

'Any happiness people can derive from hearing us live is why I'm a musician,' Kerr said. 'I just want to put on a great show for them.'

'I want people to walk away going, 'Wow, what a great show. What a great opportunity to hear live music.' I really think that's what it's all about.'"

BY NIZ PROSKOCIL

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Thinland: Tracing the Cracks (2003)

Minneapolis Music Hits the Spot
"While visiting Garageband.com a couple weeks ago, I fell upon Jeff Crandall and Thinland in the number 7 spot of the folk/country section. The featured track was "Rarebird." I couldn't believe my ears. It was like listening to a sponge soaked with originality and little pieces of Nick Drake, Elliot Smith, and Beck. It reminded me of something I had heard while driving around on a fall day (very peaceful). I contacted the band and received their CD entitled, Tracing The Cracks, only a few days later. Lyrically, the album had made a positive impression before listening. When put together with the music I was in awe. On the track, "I Don't Belong to the Sun," a 24-piece orchestra was added making the music untouchable. The entire album, which took approximately 300 hours in the studio, proves Thinland to be very dedicated and very talented individuals. Although Jeff feels the Minneapolis music scene could use some more help from local radio, he said there are many great working bands in Minneapolis, and they are happy being a part of the Minneapolis music scene. Thinland is made up of Jeff Crandall (vocals/guitar), Jason Fritts (bass), Aaron Kerr (cello), Yub Yu (guitar/vocals), and Patrick Hennessey (drums). They've been playing together since 2000, and they are well on there way to turning heads in the near future." - Corrie Minor, The Virus, May-June 2003

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Thinland: Tracing the Cracks (2003)

Indie-Music.com
"Lush and sensual, with haunting influxes of cello and strings." - Tyler Dancy, May 2003

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Thinland: Tracing the Cracks (2003)

Thick and Thinland:
Local band lays it on at the Highland Fest
Look for the indie rock group Thinland to be the musical hit of Highland Fest this weekend. Though few have heard of the St. Paul band, its obscurity won't last long. Thinland's recently released CD, "Tracing The Cracks," has been praised by music moguls and critics from as far away as Chicago, San Francisco, and London, where it is being distributed by the pretigious Minus Zero Records.

Thinland, which will perform from 4:00 to 6:00 p.m. on Saturday, August 9, on Highland Fest's Cleveland Stage, is led by guitarist and singer Jeff Crandall of Summit Hill, who in black plastic glasses, a Hawaiian shirt and Bermuda shorts looks more like an accountant on his day off than a rock musician. Accompanying Crandall are Jason Fritts on bass and vocals, Aaron Kerr on cello, Yub Yu on lead guitar, and Pat Hennessey on drums.

A transplanted Californian, Crandall studied English literature and theology in college. After graduate school he moved to Minnesota to work in graphic arts, and he is currently making his living as a web designer and graphic artist. Four years ago, he and Fritts were playing together as a duo at coffeehouses and other folk venues when they made the decision to pursue a bigger sound.

"I guess you could say we were folkies," Crandall said, "but [modern] rock bands like R.E.M. and U2 were always an inspiration."

Fritts and Crandall played a set in February 2000 at a CD release party for Heyday Records and were later included on the Heyday release "Out of the Gate: Heyday Records' Bay Area Sampler," along with notable local performers like Mellow Drunk, Mandible Chatter, and Missy Roback. After the San Francisco gig, they added Kerr and Hennessey and soon began laying the tracks for what would become "Tracing The Cracks."

"Aaron is absolutely fantastic," Fritts said. "Having a cellist sets us apart from other groups. And Pat has added a stability to the group that's both rhythmic and personal. We went through a lot of drummers - drummers can be strange - before we got Pat. But that's when things really began happening."

The latest addition to Thinland is the Korean-born Yu, a guitar virtuoso who added an edgy, hard-rock quality to Thinland's sound. "Having a strong lead guitar was the one element we were missing," Fritts said. "So we feel very fortunate to have Yub in the group."

The layered arrangements on "Tracing The Cracks" create a thick, almost operatic foundation for the vocals. The chord progressions are simple, often melodic, and Crandall's and Fritt's lyrics are reminiscent of groups like U2. In selections like "Water for the Man" and "I Don't Belong to the Sun," the band wrestles with the nature of the cosmos, God and the desire for, and flight from, wholeness. The lyrics are devoid of the snide irony so commonplace in popular music today, and complex enough to have confused listeners who haven't delved beneath the surface.

"We've somehow been accused of being a Christian rock band," Crandall said, "but we're not. I don't consider myself religious in the strict sense, but I studied philosophy and comparative religion in college, so some of my lyrics lean in that direction." He laughed. "If anything, I'd say I'm a Taoist."

"I'm told we remind people of bands like the Moody Blues, Pink Floyd, U2 and R.E.M.," Crandall said. "In a sense, they're all right. It is all there. I've been writing songs for a long time, so I'm not consciously aware of those early influences anymore. Now I'm largely working off myself, the band and other stuff I hear."

Thinland has had some difficulty replicating its huge studio sound in live performances. "Getting a cello to carry over a loud rock band is difficult," Crandall said. "When we set up to play, we build our sound check around Aaron. We need to make sure he's going to be heard. After Aaron is taken care of, the rest of us can set our sound levels."

Shelly Harris, executive director of the Highland Business Association, first heard Thinland at Grand Old Day in June. "I just loved them," she said. "Thinland has a lot more going on than your average rock band. I decided that they just had to play the Highland Fest." - Bill Stieger, The Highland Villager, August 6, 2003