Josiah Altschuler | Murder Ballads and Love Songs for Cello and Voice

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Album Links
A band I get to play in: Moss Mountain Project My brother's CD where I'm on guitar: Emil Altschuler My thesixtyone page My Youtube page My Facebook page My Myspace page

More Artists From
United States - Mass. - Boston

Other Genres You Will Love
Blues: Country Blues Folk: Appalachian Folk Moods: Type: Experimental
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Murder Ballads and Love Songs for Cello and Voice

by Josiah Altschuler

A short experiment in gothic American folk music. Best listened to while relaxing on the front porch.
Genre: Blues: Country Blues
Release Date: 

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Tracks

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1. Country Blues
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2:41 $0.99
2. The Ol' Diamondback Sturgeon
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4:15 $0.99
3. Crow Jane
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3:21 $0.99
4. I Still Miss Someone
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1:40 $0.99
5. Fourteen Rivers Fourteen Floods
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3:12 $0.99
6. Over the Falls
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3:19 $0.99
7. One Cup of Coffee
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2:54 $0.99
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ABOUT THIS ALBUM


Album Notes
Josiah Altschuler is a bioinformatics programmer at Dana-Farber Cancer Institute, Harvard School of Public Health, in Boston, MA. He also plays cello and guitar, accompanying his brother, violinist Emil Altschuler, and the doom folk band, Moss Mountain Project. He occasionally performs solo, playing his cello in an unorthodox guitar-like style. \"Murder Ballads and Love Songs for Cello and Voice\" is his first solo CD.


Reviews


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SUSAN MACDONALD

Interesting
Strangely wonderful

Chrisr at CD Baby


If you’re looking for polished presentation, skin-deep emotion, and well-mannered performances, turn around! Josiah Altschuler’s solo cello and voice pieces are anxious Americana vignettes so sharp they cut through bone and tissue to get to the heart of the music. As a bioinformatics programmer at Harvard by day, you might think his experimental-gothic take on these popular songs would sound scientific or overly academic. Instead, these “Murder Ballads and Love Songs” (smart and precise as they are) peel away the layers of a devastated world to reveal things both disturbing and beautiful beneath the scarred earth. Altschuler’s unorthodox cello technique, more like strumming and fingerpicking a guitar, propels the tunes with percussive pops, pounding, clicks, and finger slaps. His haunting voice, whisper thin and rhaspy, resonates in the darkness, ghostly and distant. Snd yet it feels heavy as a sermon from a fire-and-brimstone preacher just down from the mountaintop. This is a fantastic album of diverse cover songs that find new life and meaning when recontextualized by Josiah’s unique blend of indie-Appalachian influences, Country folk, and Delta blues.