Set on Edge is a folky acoustic band whose members cite such influences as Led Zeppelin, the 77s, Phil Keaggy, Bruce Cockburn, Vigilantes of Love, Over the Rhine, Fleetwood Mac, Heart, CCR, Nick Drake, grunge, prog rock, and so on. I suppose it's all in there somewhere, although it might be more accurate to think of them as sounding influenced by demos and unmastered B-sides from those bands. I also hear similarities to the timid alternative of Spooky Tuesday, and even to recent earthy southern rock like Hootie and the Blowfish or early Third Day (without the hooks). Still very interesting and relatively original, however.
Sod Pottage, a creative reference to what Esau sold his birthright to Jacob for, is Set on Edge's second album. A third is in the works, with professional production and possible guest appearances by members of Vigilantes of Love, Filet of Soul, Grace, and Jasper Gate. With the potential present here, it ought to be something to hear.
The winning characteristic of Set on Edge is probably their gentle yet driving momentum, building intensity by pleasantly repetitious classical guitar and percussion--a trait that deserves longer songs and that's undoubtedly given fuller expression live (their shows are said to be their strong point). One unfortunate mixing problem is with the bass tone: it's bass-less. There's no warm throb or resonance to it, just a dull, low sound that occasionally distracts from the rest of the music. Hopefully, the next album will find the bass fuller and more like the firm foundation it ought to be. Another strong point, though, is frontman Shannon Lewis' smooth, emotional tenor, which occasionally breaks with bluesy urgency; it will be to their benefit if he lets loose with more of the energy and passion that often seems restrained within him.
Sod Pottage humbly styles itself in the manner of a '70s prog-folk band, in its instrumentation, poetic lyrics, and structure. The first six tracks are meant to be the main body of the album, with the last three as a "raw and emotional, yet very imperfect and incomplete epilogue." The epilogue has turned out to be my favorite part, with a gorgeous and lengthy piano instrumental, a short classical guitar instrumental, and a love song finale in "Allow Me To," featuring mandolin and didgeridoo.
God is mentioned often in the lyrics, but he's mostly in the midst of more artistic, poetic lines that only those with ears will hear. "Now that the Scales have Fallen" no doubt captures the thoughts of many who've come to Christ after much reluctance:
Though not a believer inside I need
someone somewhere else that can see
the soul inside better than myself
and I always knew it was only you
Anyone looking for something with the flavor of forgotten classic/prog folk rock that shies from pop but is pleasant enough to listen to, ought to check out Set on Edge. Catch them live if you're in the southeast, and keep an eye out for that promising third album.
Similar sounding releases
1998Ashley PeacockGasoline Rainbow
1996Jesse SprinkleSunsites
2002Soulful TerrainThe Days of Truth and Hope
2005ThreeThe Radio Hits
2000FringeFor the Vagabond Believer
2002Bill MalloneeMy Year in Review
