In all my years of writing about music, I don’t believe I’ve ever used the words “twangy” and “classical” in the same sentence. Â Those are the two words, however, that describe the sound on the sophomore album from Edinburgh-based duo, The Jellyman’s Daughter. Â Dead Reckoning is a sort of a study on self-awareness in an era of lowered expectations. Â It’s all set on top of rich vocal harmonies, bluegrass instruments and orchestral strings.
Clearly what sets this apart from other bluegrass and folk records is the use of a 12 piece classical string section.  On Oh Boy, layers of vocals and strings create a richness that would be right at home in a fine arts center.  The title track turns a naval term into a self-assessment, with banjo and violin tussling to set the tone. You Don’t Know Love is an orchestral piece, with some fine cello work.
As unique and enjoyable as the strings are, the album displays its finest work when the instrumental sound is stripped down to emphasize the bluegrass instruments and the duo’s vocal harmonies.  In a trifecta of emotional extremes, The Worst Of It All takes a bleak, cynical view that “we haven’t seen the worst of it all.”  Before you can find something sharp, the group lifts you up out of your funk with a John Hartford-esque syncopated instrumental piece with downright groovy bass line called The Shoogly Peg.  Then it’s on to an anxiety attack with Cry, Cry Darling and its minor keys and bluesy vocals.
The Jellyman’s Daughter first made their presence known in the U.S. a few years ago at a Folk Alliance festival I happened to be attending. Â The duo’s vocal harmonies were what really stood out in my mind, and that was the strength of their first album. Â They’ve really stepped up their game with Dead Reckoning, with layers and layers of sound that make you hit repeat the first time you hear it.
About the author: I've actually driven from Tehatchapee to Tonopah. And I've seen Dallas from a DC-9 at night.