A collection of only six songs, much like the original “Gleam” which was released in September 2006, Scott and Seth Avett leave the rest of the band out, swapping strong melodic lead vocals and harmonies. Before you get the wrong impression thinking this is a step backwards by recording these six songs which have been in their library for a few years, listen closely to the vocals. The immense talents of these two have grown over the years, to a point they can tackle these songs about life in an extremely poignant way.

The album begins with “Tear Down The House,” which is somewhat ironic with its message of leaving your roots behind and moving on, just as The Avetts are set to do. From the very first chords, the unique sound these two have created pours out vividly.

“Murder In The City” is a strikingly touching song, and one of the highlights of the album with its strong sense of family. Delivered passionately as always by Scott Avett, the song of the importance of family ties and priorities is well written. Scott’s vocals are perfect for this type of song.

Seth steps up next with “Bella Donna.” While perhaps the weakest of the six songs here, the strengths still far outweigh the pitfalls. Lacking the lyrical depth of the other songs, Seth’s vocals still carry it quite well.

“The Greatest Sum” stands out as another highlight on the album. The strong instrumentals, backed by the powerful harmonies, drive this heartfelt love song. Scott again delivers the lead vocals on this one.

Closing out the album are two songs, each carrying a message of hope. The idea of family togetherness, and being there when needed for each other, is the premise behind “St. Joseph’s.” Trying to leave a sordid past behind describes the final song, “Souls Like The Wheels.”

While The Avett Brothers have released much more energetic and somewhat raucous material in the past, they show the depths of their talents here with this acoustic album. Their strong vocals and harmonies are fully displayed, supported quite well instrumentally. This album is just another stepping stone for these talented musicians.

There are probably going to be a few long time Avett Brothers fans who hear Emotionalism for the first time and think that there�s something missing from this new album in the form of the raw power and rough edges of past recordings. This record doesn�t have a "Please Pardon Yourself" moment as found on Mignonette or a "Talk on Indolence" thrasher like the one found on the Brother�s last full length release Four Thieves Gone. But to say that Emotionalism doesn�t have power would be an understatement. From start to finish, from the opening cut harmonies of "Die, Die, Die" to the last gentle refrain on "Hand Me Down Tune", the Avett Brothers have captured the beauty of Song and in doing so they have crafted an album that will certainly bring comparisons to Everly Brothers harmonies and the early genius song writing of Lennon and McCartney. 

For their first four official studio albums, the Avetts have presented their music in the truest "Do-It-Yourself" fashion. Their records have exhibited a feeling that is quite similar to the unparalleled energy found in their live shows…not every note need be perfect because the expression of the moment will always overcome. That no-frills approach to making music has won the hard-touring trio from Concord, North Carolina a legion of die hard fans. What may catch long time fans of the Avett Brothers off guard as they listen to Emotionalism for the very first time is that the band�s approach to making a record has shifted and the results couldn�t be more rewarding. The entire effort possesses a crisper, cleaner, and more polished sound. Gone, for the most part, are the band�s signature growls and yells from records past, and what is left for the listener to take in may be the most important aspect of this band on the rise…namely the depth and genius that brothers Scott and Seth Avett possess as song writers. It is their ability to write songs that are both memorable and heartfelt that surely what will bring new fans into their ever-growing family of believers.
As you listen again and again, Emotionalism brings to mind words like pure, honest, and passionate. These songs resonate with all of these things and so many more. The record features new sounds in the form of electric guitar, Hammond B3, and mandolin but again what shines above it all are the words, the voices, and a much more focused, complete sound. Songs like "Die, Die, Die", Paranoia in B Flat Major", and "Will You Return" are acoustic modern rock folk songs that are joyous expressions of original, organic pop music in the truest sense of the word. And when things move to the quieter side, the Avetts shine their very brightest. On songs like "Shame, Weight of Lies" and the delicate and tender "Ballad of Love and Hate" the Avetts pick up where they left off on last year�s six song EP The Gleam by illustrating the beating, bleeding, and feeling heart of a band who is not afraid to tell their tales from the inside out.
Always playing by their own rules, the Avett Brothers and their latest release Emotionalism have broadened the very scope of American music and in just under an hour�s worth of music they have managed to create one of the best album�s of the decade. And while the band will continue to draw comparisons to any number of artists that stretches from Buddy Holly to Nirvana, from the Band to the Beatles, and on and on and on, you get the feeling that the Avetts just shrug their shoulders, take a deep breath, and huddle together arm-in-arm-in-arm under the dim backstage lights…for tonight they�ve got another show to do, another song to sing, and another hundred miles to go before they do it all over again. It�s one hell of a beautiful ride and isn�t that what Emotionalism is really all about?

The Avett Brothers are Scott and Seth Avett (Scott plays banjo, brother Seth plays guitar) and Bob Crawford, who plays upright bass on this, the fourth album from the trail blazing trio from Concord, North Carolina. At first glance you might think these guys are a stripped down bluegrass band from the hills of the Tar Heel State, but in reality nothing could be further from the truth. Those bluegrass illusions are gone by the album�s opening cut �Talk on Indolence�, which features the rapid-fire vocal interplay of Scott and Seth, delivered with what could be best be described as the harmony of an oncoming scream. The song soon builds into a rhythmic circus of guitar and banjo (which at one point finds Scott using the banjo head as a percussion instrument) before the whole thing comes to an end with a fury of muted screams and crashing cymbals (yes cymbals!) At this point, you can almost imagine the entire band falling into a heap, covered in sweat. That�s cut 1 and we�ve got sixteen more tunes to go.
By track four, the catchy, gallop-paced, �Distraction #74" we discover yet another facet of this band�s sound. This one bounces along in gentler fashion as the band sings about the trials of juggling the affections of two girls only to lose them both. A tale of woe? Hardly. You�ll be singing along with a smile on your face, reaching for the rewind button just to hear the song�s climax of cascading vocals as all three members weave the lyrics around your speakers and your head. Other highlights include the tongue in cheek ballad �Pretend Love�-delivered with straight-faced elegance, the harmonica and banjo driven good time romp of �The Fall�, and the tender beauty of �Famous Flower of Manhattan�, quite possibly my favorite cut simply because it�s quiet and wonderful, wrapped in Scott�s slow rolling guitar and well-delivered vocals and nothing more .
Four Thieves Gone is sure to please the adventurous music fan looking for something new under the sun and don�t let those banjos and acoustic guitars fool ya…this is much more than just another pickin� party. This is organic, honest, powerful, and at times, graceful music that is filled with punk growlings and soaring harmonies, and enough really catchy, melody-driven pop tunes to keep you coming back time and time again. With the Avett Brothers what you hear is what you get…and I for one, hope it�s just the beginning of what we can expect to hear from these guys in years to come. Add this one to your collection and while you�re at it…go see em live. To hear it may to take your ears to church, but to see it will make you a believer.
 

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Scott and Seth Avett are no strangers to crafting gentle, touching songs that highlight vocal harmonies and inward looking feelings.  Songs like �Pretty Girl at the Airport� from their 2004 release Mignonette and �The Lowering� and �Famous Flower of Manhattan� from this year�s Four Thieves Gone release are just a few examples of the budding songwriting talents and powerful vocal abilities that these two guys possess.  On albums past, these songs have served as turning points or changes of pace from the Avett�s more boisterous and upbeat numbers.  But with the release of The Gleam The Avett Brothers have packaged a brief tour-de-force of aching melodies and heart-felt lyrics into just twenty-one minutes of music from start to finish.
The songs themselves deal with the subjects of love, loss, and self-examination.  The musical arrangements are sparse featuring the tender refrains of banjo and guitar.  (Sarah Avett adds fiddle on �If It�s the Beaches�).  The vocals, while quiet, are just as powerful as any the Avetts have recorded to date.  And as song writers The Gleam showcases two bright, young, budding talents that only seem to be gathering more confidence with each new release.
Many of the album�s highlights are already becoming road-tested favorites at Avett Brother�s concerts.  Song like �When I Drink�, �If It�s the Beaches�, and �Backwards with Time� feature melodies that stick in your head long after listening and once you learn the words you can�t help singing along at the top of your lungs.  These three songs along with the opener �Sanguine� are my personal favorites, but there�s really not a misstep among this short set of songs.  The only real disappointment is that it all ends too soon.  Brief yet lasting in impact, quiet while speaking volumes, The Gleam is another testament to the rising genius of a band that is just beginning to take flight.