The Starlings: Press

Seattle summers are a short lived, blink of an eye kind of thing. Beer turns a shade lighter, windows roll down, sleeves roll up. There’s really only a two month window to work on the elbow to wrist tan which makes selecting the perfect Augustine album an important thing. It should be one part sing along, one part hip shaking. One part Mercer St. Exit, one part Chuckanut Drive. Following the logic it should probably be the latest release from Seattle band The Starlings, “Bright Light”.

Now, before we go any further I must admit a conflict of interest. I’m absolutely smitten with The Starlings. They were recent guests on my Americana roots show The Outskirts on KBCS and it was as sweet of a gig as I’ve had the pleasure to host. The chemistry between these four crackles. They work themselves into deep country grooves and blend harmonies and instruments into slow rolling low two steps and glorious anthems that could only be born out of 300 days of gray clouds over Ballard skies. The melodies are so strong they, at first, overpower the lyrics, but you’d be doing yourself a disservice to not take another listen. Hearts painted like buoys and smashed pennies and devils and phone booths (something we can define in a later blog, along with carburetors and not paying for air at a filling stations) make up the guts of this album. I keep coming back to the chemistry though, the undefinable defining thing about what makes an album great.

Songwriter, singer, guitarist Joy Mills has a slightly smoked voice, more of a second hand sound then a pack a day habit which gives her a gravelly bottom end when she wants it, but still allows her to turn those pipes upward and soar. She alternately blends near perfect with Tom Parker’s voice and pocket harp. Tom has a country soul voice that should make alt country hearts swoon.

On songs like “Fallen Days” it sits just above the kick drum and the swirl of an organ, vulnerable, but lifted by what I keep coming back to, the harmony of the others. Then there’s his harmonica. He blows it hard, eyes closed, pulling all the dynamics out of it he can. The harp is so close to the voice that the player better believe what he blows. Anything less quickly falls flat. Tom believes it. Speaking of that kick drum, Aimee Zoe Stubbs, plays between a cross of a revival tent tambourine shaker and some old country drummer. The great D.J. Fontana or W.S. Holland come to mind as I listen to her lay down those deceptively simple sounding rhythms. Those shuffle beats and brushes don’t let up at all and I g-u-a-r-a-n-t-e-e you that she’s smiling while she does it too. She’s twice (at least by me) been crammed into the KBCS studio space with her drum and a handful of sticks and has kicked up the energy all around proving why drummers don’t need solos to show how good they are. The newish girl here (at least in this particular line-up) is Moe Provencher. Mandolin-er, producer and a table thumping bassist. I love the bass, it’s the step in the two and nothing puts a pretty girl in some guy’s arms quicker on a hardwood floor than a good one. Now Moe is quite a talent on her own and her last solo album was a favorite of mine, but in the studio with The Starlings, and keeping in the tradition of the best stoic bass players, Moe sat to the side and kept the anchor down. A band can only aspire to good without a rock steady bass player. Give them one who can really play and it frees the others from the downward pull of gravity. It’s been said you don’t rock it if you can swing it and Moe makes me twitch. Frankly, the whole album makes me twitch. Its rumored, due to Sun bursts, that the northern lights are coming south this week. “Bright Light” seems to be our Summer preview.

Marvellous second album of folk-plus-country from Seattle stars...
Seattle’s Starlings second album is that ava raris, a work has the musical development so beloved of critics and reviewers while retaining the sound and style of their debut to keep fans who know what they like happy. That said, “Marveling The While” is older music, with more of a sense of time passing and regret and the opening song, the philosophically musing and world weary “Love and War”, may come as something of a surprise as it sounds unlike anything they’ve recorded before. The band move quickly on to more familiar territory with the desolate “Empty Boxcar” (“My heart’s an outlaw that beats a narrow beat”) before hitting the superlative narrative tale of searching and disappearance that is “Geraldine”.

Driven along by songwriter-in-chief Joy Mills regretful vocals (with guitarist Tom Parker taking the odd song for variety) all the band harmonise and swing with effortless ease and grace and create a beautiful blend of folk and classic rural country. The sweetly swinging “Sliver Thread” belies its lyrics, they manage to make the endless mid-western plains sound exotic in “Iowa” and they keep the spirit of Hank and The Carter Family alive in the back porch “Back To The Land.” There’s even the occasional hint of Australia’s finest The Waifs, notably on Ghost Town where Mills’ feisty vocals recall Vikki Thorn. Their “musician” song “If I’d Ever Change” is also one of the better ones, recognising as it does the inevitably transient nature of their work (“All profound and pointless things I say/Will simultaneously slip away”).

They end with the unrequited longing and regret of “Darkest Hour Of Night” but the only regret “Marveling The While” inspires is the absence of a few gigs on this side of the water as it is truly marvellous music.

Reviewer: Jeremy Searle
Reviewers Rating: 8 out of 10

The Starlings stylishly mesh bluegrass, country, folk and blues in service of that everlasting tune...
Marveling the While is a catchy record; producer Chad Hinman has left almost no room for improvement on the compelling arrangements and crystal-clear production. There is no wandering without purpose and no silence without grace. Joy Mills’ vocals have the lovely timbre of a brass bell, at their best ringing clear to the bone. Tom Parker’s rural affect grounds the harmonies in duet and lead vocals as well. “Geraldine,” with its touching lyrics and perfectly entwined chorus, stands out as a classic American story for the ages...A variety of moods throughout Marveling showcases the band’s creative approach to songwriting. “Bluebird” is an arresting dirge, demanding the listener’s attention with a chord progression like quicksand. Juxtaposed with singalongs like “Back to the Land,” and much appreciated humor, as in “If I’d Ever Change,” Marveling leaves a person feeling thoughtful and relaxed; seriously happy.

It's rootsy music with a simple beauty. It's a Seattle band with a small-town aura...Supporting their first album, "Songbook," the Starlings floored country-folk enthusiasts when they performed at the Record Exchange last June. "The Starlings were one of the five best in-store performances we have ever had," Record Exchange manager John O'Neil declared afterward. "Wherever you are, whomever is reading this, go see this band. They are the real thing." Mills' timeless, gorgeous voice is the driving force behind the Starlings' twangy serenity. Her husband, singer-guitarist Tom Parker, is no slouch, either. When the two harmonize as a banjo gets plucked in the background, it's a truly wonderful blend.

Singing in the choir at the Church of Heavenly Voices...
How do you feel about harmony-rich, wife-and-husband-led Americana? If playing the country-rock avian name game, you'd probably align the Starlings with the Jayhawks—if, that is, Mark Olson and Gary Louris were a couple and they were indebted more to Emmylou Harris than Gram Parsons. Joy Mills' voice can both soothe and sting, and the acoustic backing, built around Tom Parker's string work, also reveals conflicting personalities. Call it lilt with an edge.

The Starlings - Marveling The While (Independent)
The Starlings are an alt. country / Americana outfit from Seattle, and Marveling The While is their second album. Fronted by vocalist Joy Mills, they knock themselves out channelling the spirits of their chosen genre, harmonising earnestly and beautifully behind Mills’ emotive lead. Their songs grow in stature with every listen: “Bluebird” makes room for Mills to soar, “Silver Thread” celebrates the good stuff, but wraps it up in a swathe of heartache and “Geraldine”, with guitarist Tom Parker on vocals, is a classic leaving home, making mistakes, making it right, redemption through suffering song. Can’t get enough of those.

Wow. This is huge. The Starlings are one of the most talented and engaging groups in the Northwest, and their previous releases (including Joy Mills' solo album) were certainly high on the "Best Of..." lists when they came out, but Marveling the While has the group moving to a new level. Call it their Revolver, their Big Pink: they display a maturity and facility whereby the songwriting, the musicianship, and the arrangements strike deep at the emotional and musical subconscious. They use the themes and shards of generations of roots subgenres and an armload of contemporary acoustic music niches to spin a platter that is at once ecstatically new and resonantly recognizable. The opening cut, "Love and War," is simply a work of genius that causes heart palpitations even if listened to twenty times in row. Joy Mills, a great vocalist, turns to the sweet end of her range on this and many of the songs on this album, where before she got more attention when she was hard-nosed; this brightness has the perverse effect of making the songs even edgier, as her usual harrowing tales arrive so innocently. Her "Wild Child" stands out, as does her roiling expatriate's melancholy and uncertain nostalgia on "Iowa." Mills' partner, guitarist Tom Parker, takes the lead on some of the songs, and he finds power in a more relaxed approach, too. These are his best songs yet. The music on the album is gorgeous, with the right touches in the right places. Aimee Zoe Tubbs' percussion work is particularly notable, be it on the skins or, as on "Favorite Song," hubcaps. Figuring heavily in the overall "feel" is some scrumptious pedal steel from Mike Grigoni on several cuts; there's also a nice guest appearance by Truckstop Souvenir's Lauryn Shapter, and producer Chad Hinman pops in a little electric guitar to put a Bakersfield kick in "If I'd Ever Change." So, friends, it's 2008, and here's your "must have." Wow.

Three stars...
A true story teller's album...the Starlings pick up right where they left off at the end of their 2006 offering SONGBOOK, in terms of their ability to tell and retell the stories of folksy north-country types with elegance and sweet-sweet layers of instrumentation...there is a wealth of subtlety here too to marvel at. The silky lead vocals of Joy Mills for a start are emotionally leading yet restrained enough for a third-party narrator. She has a spooky natural vibrato that surfaces beautifully on some of their more down-temp songs and there are some equally startling a cappella moments to be experienced. The interchange between male and female lead vocals is nice and refreshing also. Tom Parker takes the reins on Geraldine, and regales the story of its nomadic, self-destructive protagonist. It's my pick of the bunch, with the gutsy Love and War a close second. Back to the Land is a real toe-tapper and Ghost Town is every bit as haunting as its name suggests.

The Starlings have quietly built a reputation as an authentic and innovative roots-country act. Led by the sterling songwriting of lead vocalist Joy Mills, the quintet has wowed critics and alt-country afficionados alike with earthy, harmony-driven tunes steeped in the traditions of the genre. Their latest album, "Marveling the While," is easily the group's magnum opus...

...classic grassroots country...It's a safe bet that even if you are not a country fan, you'll enjoy the heartfelt nature of this music...Lead vocals are shared by Joy Mills and Tom Parker, both of whom have voices made for songs about railcars and heartache. Mills' sound is reminiscent of the honey-rich vocals of Neko Case, and Parker's smooth tenor voice recalls a young John Denver. When the two harmonize, the notes tug at your heartstrings...the stories told in The Starlings' songs seem lifted from a time of railroads and prairies.

Shining stars...beautiful harmonies and inspired songwriting...nostalgic yet inventive mix of country and folk...

"Geraldine," a melodrama not unlike the ones that made the Grateful Dead great and Willie Nelson a famous countrified hippie. With natural aplomb, The Starlings pick up the reins those old timers dropped...As authentic American revival, their music is without a hint of pretension. They are youth in the process of discovering identity, not copying it...With just the right amount of vocal harmony, Parker accentuates Mills, adding a pleasant blend of harmonica and acoustic guitar that gives The Starlings its distinctive mountain flavor. Appalachian and prairie influences recur periodically in an extraordinarily melodious composition.

“The Starlings were one of the 5 best in-store performances we have ever had. Wherever you are, whomever is reading this, go see this band. They are the real thing.”

“The Starlings hark back to an earlier, simpler time, when folks gathered on front porches with mandolins and harmonicas, singing away the day in dusty twilight. That simple beauty pervades the band’s stellar debut album, “Songbook,” and that easygoing camaraderie personifies the Starlings’ live performances, which find them equally at home playing barnburners and ballads and have made them favorites among Seattle’s twang community.”

"The Starlings' gentle banjo, mandolin, and acoustic guitar raise lilting melodies that evoke the traditional charm of country and folk, and the Seattle outfit finds plenty worth repeating in its throwback tendencies. Joy Mills' voice is just a little refined and just a little twangy, contributing to the band's convincing yet familiar sound on its 2006 album, 'Songbook.'"

“The spirits of Mother Maybelle Carter, Woody Guthrie and John Steinbeck are alive and well in 'Songbook,' a spectacular Americana album by The Starlings. So rich are the harmonies, so honest is the songwriting, so organic is lead singer Joy Mills' timbre that you can practically feel the heat from the wood burning stove and smell the coffee brewing on top of it. Mills, a graduate of Dowling High School and the University of Iowa, formed The Starlings in Seattle, but her soul lies in carrying on the tradition of sparse, melodic Dust Bowl ballads and Appalachian-tinged country-folk music on tunes like 'Bones to Ashes' and 'Take Me to the Fire.' Tom Parker's vocals on 'Workin' Man Blues' and 'Acorn,' and a cover of 'Long Black Veil' also impresses.”

“Organic country…both delicate and edgy… For the lo-fi country enthusiast, the Starlings’ natural charm and raw potential, like the Starlings themselves, are a winning combination. Highly recommended.”

Upon first consideration, naming your band after a bird best known for loud, early-morning chatter outside suburban bedrooms, carrying disease and generally having the personality profile of a pest might seem like a dubious decision. However, starlings are also fond of taking to the sky in large flocks that twist and weave, perfectly in tune, rippling across the sky lik a silk scarf. And they've also developed a system of complex songs and birdcalls, unmatched in pitch and tone. Perhaps the wee bird is an inspired mascot for a musical undertaking, after all.

Who knows if Americana folksters the Starlings considered all these things before determining a moniker, but they do have a couple of things in common with their avian counterparts. They too are defined by their strong vocals, anchored by singer Joy Mills, and inventive harmonies. They also, after playing all over the Northwest, have developed a musical give-and-take that is both seamless and seemingly effortless. The Seattle band, which melds roots, Americana, folk and country music into a sound that's at once traditional and fresh, has been busy touring to support their recent release, [Songbook].

"...an impassioned debut...an engaging set of American roots music...soulful, introspective vocals...those with an ear for an eclectic union and substantive songwriting should delve into the Starlings’ Songbook."

It's a Cracker!
“The nucleus of this folksy, bluegrass infused Americana combo is the duo of Joy Mills (guitar, mandolin) and Tom Parker (guitar, harmonica). The engaging Mills sounds a bit like Kelly Willis on a folk binge, while Parker`s plaintive, mellow voice warms the many harmonies with a most pleasing effect. The supporting players tastefully add Dobro, mandolin, fiddle, banjo, etc., keeping a lively feel throughout. Songbook offers 12 earnest and organic original tunes - most of which penned by Mills - and a straight version of the classic "Long Black Veil", on which the two duet. Capturing the ageless quality of The Carter Family, as in the two Parker penned duets, "Working Man Blues" and "Acorn", The Starlings clearly have a deep appreciation for the classics but are by no means a retro act. Simply a terrific one.”

Although they’re a brand new band, all the members of the Starlings have been around for a while, and it shows in the craft and skill they bring to their debut album. Reminiscent of a lighter, more rural Union Station, they major on the playing of Mick Chegwidden (mandolin, banjo,dobro) and the singing and writing of Joy Mills. Mills has a clear, light voice that can swing as sweetly as a nut, but also take on heavier, more intense songs like “Alaskan Fire”. She has a way with arresting images, whether it’s “the darkness and the tiny little lights/where all the holy ghosts are born” (Alaskan Fire) or a more personal line like “Well, both my hands start trembling when I lose my grace” (Roll On Down). Mainly though she brings a fresh and unaided take to classic subjects, and in a world overpopulated with the world-weary, been there, done that, wrote the song school that’s a blessed relief.”

“For the follow up to her outstanding solo album, Joy Mills was looking for a bigger sound, and so gathered more friends and session help. Things clicked so well that the resulting CD also produced a band, the Starlings. The Starlings are Mills’ longtime collaborator Tom Parker, drummer Aimee Zoe Tubbs, string wizard Mark Chegwidden, and bassist Ryan Farris. Their sound is terrific, a thoughtful mix of strummy folk, chuggin’ blues, and Mills’ trademark daring tinkerings with conventional forms that helped make her last album so exciting. The musicianship is fresh and full of brio, and the CD moves right along. Mills, one of the best songwriters in the Northwest (or anywhere), is contemplating more elemental themes: Death, Freedom, Work, Commitment. The lyrics are wintery, full of clouds and darkness, cold and rain, sleep and silence. There are few mysteries, but much originality: “My true self said to me the other day/Why don’t you let me shelter you?” Mills sings on “Angel to Rise.” On the epic “Bones to Ashes,” she “works the night shift/and breaks sleep in two little pieces of dreams.” It may sound gloomy, but Mills’ songs have a core of strength from which a brave, if challenged, optimism can arise. So too are Parker’s two contributions, the best of which, “Workin’ Man Blues,” harks back to Merle Travis and Bruce Springsteen: the light at the end of the mineshaft is redemption, but it’s a long dusty crawl. Overall, Songbook is an excellent, vital record.”

"If you’re a fan of Neko Case’s clear voice and Americana-tinged folk-pop, you won’t want to miss the Starlings.

This Seattle four-piece revolves around the gorgeous vocals of lead singer Joy Mills, who conveys the same clear, soaring emotion and heart-tugging talent of Ms. Case.

While Case has traded twangst in favor of pop over the past few years, the Starlings continue to flourish in heartland-inspired, banjo-inflected territory."

“Seattle roots-country outfit releases authentic, inventive debut. The music perpetrated by the Starlings on their fine debut Songbook is played and sung honestly enough to qualify as authentic roots or alt-country (whatever the hell that means). The lack of extended solos and the quality of the writing give the dozen original songs a pop accessibility that should expand Joy Mills and company’s audience far beyond their native Seattle.

On the opening track, “Hand to Mouth,” Mills describes a bad situation while adding a note of hope. The up tempo song features some excellent harmonica work by Tom Parker. Overtly poetic lyrics are evident in “Bones to Ashes” — “Do you want to sleep in the cold ground?” — but the tune works thanks to some tasty harmony singing. The dark lyrics of “Alaskan Fire” are offset by Mills’s pleasant voice.”

“Simply put, fans of the Americana genre will be interested in hearing The Starlings debut Songbook. Based out of Seattle, this five-piece expertly blends folk and country, displaying top-notch musicianship at every turn. Songbook is filled with harmonies, flourishes of dobro and mandolin, rolling banjo's, and a nice mix of front-porch foot stomping and back-room balladry.

"Tell me a story..." are the words that open the CD, and indeed main vocalist and primary songwriter Joy Mills has a way of offering a tale that is often poetic, but in an accessible way, steeped in language and subject matter that is familiar to the genre. Vocalist/guitarist Tom Parker contributes two of his songs as well.”