Mile Twelve is back in motion. From the first manic, dissonant downbeat of their virtuosic new record, Close Enough to Hear, you’ll discover a band that is ready to explode from a restless pandemic-induced hiatus. The first track “Romulus,” glides and rages as the narrator wrestles with the ultimate impermanence of the empire he’s forged.
Next comes the magical realism of “Johnny Oklahoma,” the youth who volunteers to be fired out of a cannon for the good of his community, in one big beautiful nihilistic burst. These musicians are clearly working through some hard questions posed by the last few years. You’ll hear the same warmth and innovation that earned the band IBMA’s 2019 Album of the Year nomination and 2020 New Artist of the Year Award, and that’s gained them an international reputation as one of the most dynamic groups in contemporary acoustic music. The title track “Close Enough to Hear,” is a stripped down dream of all that we missed so dearly in those early, terrifying months of lockdown.
Something else is close enough to hear on this new album. You’ll notice the presence of two new members: fiddler and vocalist Ella Jordan and mandolinist Korey Brodsky. Take note of the new dimension they add to the band, and their ability to lock in with founding members Evan Murphy (guitar, vocals), Catherine Bowness (banjo), and Nate Sabat (bass, vocals). These aren’t session players; this album captures the formation of a new coherent unit.Zoe and Cloyd