THE LOW-COUNTRY MESSIAHS: Biscuit Palace

The Low-Country Messiahs

Biscuit Palace

© 2006 Pincushion Star Music (842841022212)

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psychedelic damaged folk-tinged dirty blues & spirituals

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The Low-Country Messiahs is the musical project of Sub Pop recording artist Green Magnet School alumni Robert Hamilton. Hamilton plays a hybrid form of raw country blues using open tunings and bottleneck slide on acoustic and cigar box guitars. The music has been characterized variously as primitive rock, ambient blues, and alt-country.

"The Low-Country Messiahs don't sound like your typical bar band," writes the Boston Herald. "Of course if your typical bar is nestled in Mississippi hill country, then perhaps they would fit right in ... [they] find their muse in the haunting sounds of cult juke joint favorites such as Junior Kimbrough and the raw, unschooled sounds of Robert Pete Williams ... but the Low-Country Messiahs aim for a quieter, more ominous sound ... raw, plaintive, brooding, atmospheric tunes."

Borrowing stylistically from Delta blues, hokum, early rock 'n' roll, American folk music revival, Nuggets-era psychedelia, and African-American spirituals, Hamilton is to some extent alien to his traditional music sources, and leans towards lo-fi experimental textures and impressionistic soundscapes. Simple instruments are recorded on unsophisticated machinery and treated with unconventional production values.

The Low-Country Messiahs made their live debut in 2004 as the opening act for Seekonk (Kimchee Records). Other appearances have included supporting Ditty Bops (Warner Music) and SonyBMG recording artist Blanche, a Detroit-based Gothic Americana outfit whose members appear on the Loretta Lynn album, Van Lear Rose.

The Low-Country Messiahs' June 2007 performance at the 3rd Annual Cigar Box Guitar Festival in Huntsville, Alabama, was captured by film maker Max Shores for a PBS documentary chronicling the cigar box guitar and primitive music. The film is slated for late-2008 release.

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  • INCREDIBLE
    author: HOLLOWBELLY

    EVERYTHING ABOUT THIS BAND IS PERFECT-THE NAME, THE SONGS THE SOUND- A SENSE OF FOREBODING, LIKE A DARK CLOUD ON AN EXPANSIVE HORIZON,PERMEATES MANY OF THE TRACKS-CHRISTIANITY MEETS VOODOO, IF THIS WERE A ROADTRIP YOU JUST KNOW IT'D END UP INVOLVING TEXAS AND A CHAINSAW-DONT GO HITCHING DOWN THIS ROAD SONNY BOY..THE NATIVE AMERICAN RHYTHMS AND SUB BASS OF 'CHURCH' WITH ITS HAUNTING VOCAL DELIVERY IS UTTERLY SUPERB AND WITHOUT PARALLEL-BEAUTIFULLY RECORDED.MILK WHITE HORSE IS A LUMBERING BEHEMOTH OF A TRACK-EFFORTLESS,MESMERISING,TRANCE INDUCING..GOOFER DUST CRUSHES YOU UNDER THE WEIGHT OF ITS MISERY-THE MYSTICAL VOODOO IMAGERY IT EVOKES WORKS SUPERBLY- ABSOLUTELY STUNNING.

  • author: CD Baby

    With dark, creaky slide guitars that echo left to right and loom over the proceedings like the grayest of storm clouds, this album seems an obvious and appropriate soundtrack for these cold and foreboding months. While this can't be considered a traditional delta blues offering, the roots remain grounded while creative liberties are implemented and left free to shoot off in all directions. At times eerily quiet, the songs are melodic but not polished, obscured but not disturbing. The technique here is subtle and consistent, a mix of guitars and percussion that blends perfectly with the quiet vocals and the sincere lyrics, maybe the most traditional aspect of the songs. Fans of the darker side of the blues will find solace in this collection, as it seems to vividly register a time and place, a drive down a rain drenched dirt road on a pitch black night.

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