Red Earth & Pouring Rain is the second album released in July 2016 by the British alternative rock band, Bear’s Den. Bandmates Andrew Davie and Kevin Jones, who amicably parted with their third bandmate after their debut album, experimented with a more electronic and ambient sound on this album, while still maintaining their folk roots.

The album shares its title with a 1995 novel of the same name written by Vikram Chandra. This is likely due to one of the main influences on the record being a Tamil poem that Davie found in a hotel in India. The title track is also the very first on the record. According to Shazam, it’s the most popular track from the album.

In the Standard’s review of the record, the duo cites that author Raymond Carver, film director Robert Altman, and artist Edward Hopper were also influences on the record’s content. The album explores themes of love, loss, memory, and nostalgia, as well as having an overarching Americana theme.

Critical Reception of ‘Red Earth and Pouring Rain’

Metacritic paints a very mixed review of Bear’s Den’s sophomore effort. Based on 6 critic reviews, it gets a middling score of 56. However, its user score is 8 out of 10. If we dig a bit deeper, though, it seems there are more positive reviews than negative.

When it comes to more negative criticism, one reviewer at the UK’s Guardian dismissed the record as ‘run-of-the-mill riffs on the open road’. My take on this travesty of a brief opinion is that the reviewer’s sense that the album riffs on “the tropes of epic American road music” is an unfortunate oversimplification that offers a narrow view of the record as a whole. Indeed, the record is meant as an Americana tribute of sorts; on that front, it certainly succeeds for me as an American myself.

The brief review pretty much calls Bear’s Den work on their debut record, Islands, and their sophomore album a serviceable knock-off of Mumford and Sons’ album “The War on Drugs.” It’s true that Davie and Jones of Bear’s Den are friends and occasional tour mates with Mumford & Sons, best known for their own smash hit, “The Cave”. Because of this association, and their own folk roots, the two groups are often compared to one another, for better or worse.

Renowned for Sound came to a similar positive view of the record to my own, writing in their review:

“In a time where many recording artists are pandering to what the market will buy, it is refreshing to hear music and poetic lyrics once again as an expressive art form, fusing existing elements from genres like folk, rock and electronica to create something outstanding.” — Sonia de Freitas, Renowned for Sound.

Jacqueline B. of the ArtMagazine on Medium offered a glowing track-by-track review of the record. She notes that despite their departure from their acoustic sound in their Agape EP and debut record Islands to a “more synthesized, electronic instrumentation” their work still retains “a beautiful sound and nuanced lyricism.”

Catherine Sedgwick of the Upcoming had a very positive four-star review of the record, too, also noting that Red Earth and Pouring Rain was recorded at Rockfield Studios in Wales — the same place where Queen recorded Bohemian Rhapsody!

Thanks to this album, Bear’s Den was nominated for the UK Americana Awards in 2017 for UK Artist of the Year, although they did not win the award.

My Track-by-Track Review of ‘Red Earth and Pouring Rain’

While there’s already an excellent track-by-track review of this record on Medium, I like to take a more nuanced look at the lyrics. It seems that said reviewer and I share many of the same takes on individual tracks.

Track 1: Red Earth & Pouring Rain

As I mentioned earlier, the title of this song comes from that Tamil poem Andrew Davie found at a hotel in India. At its core, the song is about a troubled relationship, where the narrator is torn between his love and his fear of hurting the other person. He’s running away from his problems, but he can’t forget what they had together.

The opening lines, “Can’t you hear it in the silence? Can’t you hear me calling out your name?” depict a sense of desperation and a need for connection. We can sense a profound loneliness in these lines, as well as an obvious gap in communication. This theme of longing continues with the lines “I’ve got something burning / Coursing through these cold veins,” suggesting strong, perhaps unrequited, passion.

Overall, the song’s lyrics convey a deep sense of longing and emotional turbulence. His recurring question of “Don’t you remember love?” and the references to “the red Earth and the pouring rain,” suggest a blend of nostalgia and a connection to nature or a specific place that holds significant memories.

The narrator asks the other person to remember their love, using the intense imagery of the red earth and the pouring rain. Other imagery of nature and weather also conveys the emotions of the narrator, including lightning, sparks, darkness, and rain. There’s a definite contrast between the tone of the verses and the chorus; the verses are more pessimistic and the chorus is more hopeful.

Overall, “Red Earth & Pouring Rain” paints a picture of longing, lost love, and the struggle between wanting to reach out and the fear of vulnerability or rejection. The repeated appeals to shared memories suggest that the narrator is clinging to the past as a way to make sense of the present emotional turmoil. It’s a great lead track for the record.

Track 2: Emeralds

The second track from “Red Earth and Pouring Rain” is “Emeralds,” a song which explores themes of loss, grief, and hope. In it, the narrator is struggling with depression and isolation, feeling trapped in his own mind. He longs for someone who used to be his source of light and happiness, but who is no longer with them. “Emeralds” has a melancholic and haunting melody, matching the mood of the lyrics.

The narrator compares this absent person to an emerald in the moon glow, akin to a rare and precious gem that shines in the darkness. It creates a mystical and ethereal atmosphere for the rest of the song. Emeralds, being precious and green, contrast with the pale, ethereal light of the moon, suggesting something rare and valuable amidst darkness and uncertainty.

Storm imagery symbolizes chaos, confusion, and perhaps overwhelming emotions. The song suggests a gentle but irresistible pull towards something unknown or potentially dangerous.

In particular, the repeated chorus (“Don’t lead me away, no, we’ve come so far”) suggests a journey or progress that the speaker fears losing. It’s a plea to not be abandoned or led astray after coming a long way.

There’s a rapid succession of three images with a “careless sun shining brightly,” “crows start circling,” and the “skies cried black lightning.” The careless sun could symbolize an indifferent world, one that’s possibly foreboding or ominous (crows and black lightning). It could symbolize a world entirely unconcerned with the speaker’s plight.

Overall, the lyrics blend imagery of darkness and light, preciousness amidst despair, and a deep sense of longing and searching. There’s a strong emotional undercurrent of desire for salvation, understanding, or connection, set against a backdrop of internal and external chaos.

One possible critique of “Emeralds” is that the lyrics are a bit repetitive, but it’s catchy with a great guitar solo. However, a close reading of the lyrics seems to reveal that the repetition is entirely purposeful. At any rate, it doesn’t quite reach the heights promised by the title track, but we’ll get to a truly great song with the follow-up.

Track 3: Dew on the Vine

The third track on “Red Earth and Pouring Rain” uses the metaphor of dew on the vine to represent the traces of a past relationship that still linger in the present, even though the lovers have parted ways. Dew on a vine can represent something fleeting yet beautiful, possibly mirroring the nature of certain experiences or relationships in life. Its lyrics suggest that the relationship was troubled by lies, false hopes, and broken promises, and that the narrator is struggling to move on from the pain and regret.

The opening lines, “Born to break or to last, is it all in the past? Is that a scar or a birthmark?” suggest a contemplation of one’s purpose and nature. The question of whether something is a scar or a birthmark could symbolize the struggle to understand whether our traits and experiences are inherent to our identity or merely the result of past events. The imagery in the lines speaks to a sense of emotional depletion and vulnerability. There’s imagery of chasing echoes, which could represent a battle with recurring thoughts or memories.

The chorus repeats the line, “I don’t pay any mind to the dew upon the vine”, could symbolize a sense of indifference or resignation. It might suggest that the speaker is choosing to ignore or is unable to appreciate the beauty or significance of small details in life. More literally, the narrator is likely trying to ignore the reminders of their former love, but also acknowledging that they are still there.

While the lyrics are brief, they are powerful. They weave together themes of existential reflection, emotional struggle, indifference, and the beauty and transience of life’s experiences. The use of metaphor and imagery enriches the emotional depth of the song, allowing for multiple interpretations based on the listener’s perspective.

Track 4: Roses on a Breeze

Roses on a Breeze is the fourth track on “Red Earth and Pouring Rain,” a slow ballad with soft piano and a gentle chorus. The song’s title uses the metaphor of roses on a breeze to represent the memories of a past relationship that still haunt the narrator, even though they have tried to forget.

While brief, “Roses on a Breeze” has considerable depth to its lyrics, especially in the verse. “Burn the bridges to our broken hearts” suggests a final, irreversible separation, indicating that the relationship has caused pain. “Lying lonesome in the dark / Begging for light”** depicts a sense of isolation and a longing for clarity or hope. The particularly striking line “Long-up was her destiny” might imply that the partner had ambitions or a path that inevitably led away from the relationship.

The pre-chorus twice repeats the line “I couldn’t see it coming, love” emphasizing the speaker’s lack of awareness or inability to foresee the end of the relationship. The chorus then declares “What was written in the omens / That we couldn’t bear to read”** suggesting that there were signs of the impending end of the relationship that were either too painful to acknowledge or were ignored. It suggests a relationship doomed by fate from the outset.

The rest of the chorus indicates a mutual reluctance to confront deep-seated fears or problems in the relationship. Its closing lines contrast the pain and realization of the relationship’s end with a lingering, deep-seated love and his personal belief in its significance.

Overall, the lyrics paint a picture of a deeply emotional and introspective journey through the aftermath of a meaningful but troubled relationship. The use of metaphors like drowning and burning bridges illustrates the intensity of the emotions involved, while the references to destiny, omens, and unspoken fears add a sense of inevitability and depth to the heartache experienced.

Track 5: New Jerusalem

The opening lines of the fifth track “New Jerusalem” are some of the best lyrics of the entire record for me. It’s a great string-driven song overall, but the opening is what really hooks me in with this track. The first four lines, in particular, set a tone of spiritual and emotional turmoil:

“Patiently waiting for some new Jerusalem” alludes to the biblical concept of the New Jerusalem, often symbolizing a utopian future or a place of salvation and peace. The mention of “patiently waiting” suggests a longing for a transformative or redemptive change. “A sacred time where demons didn’t know you” suggests a nostalgic yearning for an innocent past, a time before personal demons or hardships had an impact. It evokes the loss of innocence or a fall from grace.

“Then, stood on the banks clutching rosary noose” is powerful imagery combining religious symbolism (the rosary) with that of despair or potential self-harm (noose). It could represent a struggle between faith and despair, or the feeling of being trapped between devotion and a sense of suffocation. Finally “Open the floodgates and abandon the sluice” closes out the opening quartet, metaphorically speaking of releasing suppressed emotions or problems (“floodgates”) and abandoning control or structured channels (“sluice”). It suggests a pivotal moment of emotional release or breakdown.

The subsequent lines address the song to someone named Laura, introducing a personal element. This deepens the emotional resonance of the song, suggesting a narrative of personal relationships entwined with the speaker’s inner turmoil. The themes of protection, regret, and owing a debt (“I owe you everything, I owe you my life”) indicate a deep sense of responsibility and guilt toward Laura. The narrator wishes he’d been more supportive or protective, suggesting a complex, possibly strained relationship.

Repeating the lines “I’m trying to find a way back home” emphasizes a journey of return or redemption, both literal and metaphorical. It signifies a desire to return to a state of innocence, peace, or a repaired relationship. Finally, additional repeated lines about love being “just a word” and the plea, “Don’t give up on me yet”, underscore a theme of redemption and the complexity of love and forgiveness. It suggests that love is not just a feeling but an action, a commitment to never say “never,” to not give up despite challenges.

Overall, “New Jerusalem” paints a picture of someone grappling with their past, their relationships, and their inner demons, seeking a way back to a metaphorical “home” – a place of peace, understanding, and redemption.

Track 6: Love Can’t Stand Alone

This track in particular uses synthesizers to give an ethereal, spectral feel to one of the saddest songs on the record. The opening lines, “I remember the night you lost to me / All of the fires still burn within,” suggest a significant event that caused a rift or loss, possibly the death of a loved one. The “fires” could symbolize ongoing pain and unresolved emotions.

The mention of “choking down vitamins” implies an attempt to cope, perhaps in a somewhat mechanical or forced way, with the overwhelming emotions or a deteriorating situation. The lines “If I mentioned his name I was sent to bed / You check if I’d gone to sleep” indicate a strained family environment, where certain topics are taboo, and there’s a lack of open communication.

“I pray for the day my prayers will mend / But nothing ever came that was heaven sent” reflects a longing for healing or resolution, yet being met with disappointment and the absence of divine intervention or relief. The repeated stanza about “Driving in your car…gonna call it all and write it off” could signify a critical moment of decision or realization, perhaps about ending a relationship or giving up on something. Additionally, the act of crying until morning indicates deep emotional distress.

The chorus, “I’ll never leave you out in the cold,” is a powerful promise of steadfastness and support, possibly from one family member to another. It contrasts with the otherwise bleak and sorrowful tone of the lyrics. The lines “I think of him from time to time / Just what it is he left behind” suggest a retrospective view, pondering the impact and legacy of the person who is gone. This contemplation includes both tangible and intangible aspects (“His life alone I’ll always remind / We’ve all the things we have to look to find”).

The final lines, “Love can’t stand alone / Love won’t stand alone,” could imply that love, while powerful, needs support, action, and perhaps the presence of others to truly thrive. It’s a recognition of the interdependence inherent in love and relationships.

Overall, this song takes the listener on a deeply emotional and challenging journey through loss, coping, and ultimately finding strength and reassurance in the bonds of love and commitment.

Track 7: Auld Wives

Considered by many to be one of the best track’s on the record, “Auld Wives” was the first single from “Red Earth and Pouring Rain.” Reportedly, according to Songfacts, guitarist Andrew Davie said this about the song to the website, The Line Of Best Fit (although I can’t find this interview now):

“Pretty much since we started working on it (“Auld Wives”) we were felt it captured that ‘mood’ of driving through the night – that image we wanted to create. It’s a bit new for us, but when I first wrote it a couple of years ago, it was on the guitar – it was quite folky. But then we spent a lot of time messing around and pulling it into a different headspace, and thinking about people like Stevie Nicks and songs like ‘Edge Of Seventeen.’”

Also according to Songfacts, drummer Kevin Jones explained that the song is inspired by a rock formation called the Auld Wives Lifts near Glasgow. “There are myths surrounding the stories and we wanted to create our own stories around them,” Jones says.

The lyrics of “Auld Wives” explore themes of memory, legacy, and the passage of time. The recurring motif of the “Auld Wives” symbolizes a connection to the past or traditional wisdom. This is most evident in lines like “Auld wives lift, how have you gone here,” suggesting an inquiry into the origins and the tales carried by these rocks.

The song also delves into the theme of identity and remembrance, as seen in lines like “I swam across the ocean to find your memory, a trace of all you’ve left behind.” This imagery suggests a journey or quest to uncover or preserve the memory of someone significant, perhaps a loved one or an ancestral figure. The act of swimming across the ocean can be interpreted as a metaphor for a deep, personal quest, traversing great distances or overcoming obstacles to reconnect with the past.

The lines “And the auld wives swore that you were born to die without a child for to call out your name” introduce a sense of predestination or fate. It seems to imply that some stories or legacies are meant to fade with time. This notion is challenged by the narrator’s insistence on remembering and calling out the name, defying the supposed fate that the subject would be forgotten.

Furthermore, the questioning tone in “Who are you? And why do you call me that?” reflects a sense of confusion or loss of identity, possibly suggesting the fading of memories or the changing perceptions over time.

Overall, “Auld Wives” seems to reflect on how memories and legacies are preserved or lost through the generations. It speaks to the human desire to be remembered and to keep alive the memories of those who have passed, challenging the inevitability of being forgotten. The use of the term “Auld Wives,” a traditional Scottish phrase meaning “old wife” or “a fussy nervous person”, adds a layer of cultural depth, potentially referencing folklore or old tales that carry wisdom and historical memory.

Track 8: Greenwoods Bethlehem

The lyrics of “Greenwoods Bethlehem” paint a vivid and emotionally charged picture. Some of the key themes and elements in the song including nostalgia, loss, and misunderstanding. The repeated references to “Greenwoods Bethlehem” suggest a place of significance to the narrator and their love interest. This place seems to hold memories of a past relationship – a sanctuary where they once found happiness and shelter. The phrase “Now it only rains out in the shade, Where our shelter used to be” implies a sense of loss and change, where once comforting memories are now tinged with sadness.

The lines “Can we please just talk it over, love? Won’t you help me out with all of these things That I can’t talk about” highlight a struggle in communication. The narrator is trying to bridge a gap, to address issues that have remained unspoken and are causing a rift in the relationship.

The metaphor of words falling “like empires, Into the ocean” suggests the transient and fragile nature of both human relationships and endeavors. Empires, symbols of strength and supposed permanence, eventually fall, just as the narrator’s words and efforts seem to fail in preserving the relationship.

“Greenwoods Bethlehem” uses nature and weather as metaphors to reflect the emotional landscape of the narrator. Rain, darkness, and the shade of trees are used to depict sadness, loneliness, and the cooling of a once warm relationship. The changing weather at “Greenwoods Bethlehem” mirrors the changing dynamics of the relationship.

References to an “ancient language We both used to know, That’s no longer spoken” suggest a deep regret over a lost connection and a shared past that no longer exists in the present. This sense of something beautiful and understood that has now become foreign and silent adds a layer of melancholy to the song.

Overall, “Greenwoods Bethlehem” is a poignant reflection on lost love, the passage of time, and the enduring pain of memories tied to specific places and moments. The lyrics are rich in metaphor and emotion, conveying a deep sense of longing and the pain of irretrievable loss.

Track 9: Broken Parable

“Broken Parable” is one of my personal favorite tracks on the record. Its lyrics are particularly rich in emotive symbolism, dealing with themes of loss, change, and a quest for renewal.  The repeated lines that make up the core of the song, “Now I’m just a broken parable, Values I used to hold, Somewhere I lost it all,” suggest a deep sense of loss and a feeling of having strayed from one’s values or beliefs.

The term “broken parable” implies that the speaker’s life or experiences, which could have served as a moral or instructive story (a parable), is now fractured or has lost its coherence. The song is rich in imagery reflecting change, decay, and the passage of time. References to “Lost footsteps in the snow” and “seasons may change” evoke feelings of impermanence and the fleeting nature of experiences and relationships.

The repeated phrase “I’m dying to be born again” suggests a strong desire for renewal or transformation. This could be interpreted as a longing to return to a former state or to reinvent oneself in the wake of change or loss. The lines “I feel the raise in my fingers, I feel more just slip away” and “I felt a shiver in my ribcage, And I can feel the fear regrow” indicate a state of inner turmoil and confusion. There’s a palpable sense of something slipping away, perhaps referring to lost opportunities, time, or relationships.

The lyrics repeatedly question the adequacy of the speaker’s love (“Did I not love enough?”), suggesting unresolved feelings and a longing for a past relationship. The plea “Don’t say it was only love, Don’t say I didn’t love enough” reflects a struggle for validation and understanding in the face of lost love.

The use of natural elements like “wind,” “water,” “sun,” and “snow” serves as metaphors for the speaker’s emotional state. For example, “Not a ripple in the water, Not a whisper in the wind” might symbolize a sense of stillness or stagnation in life or emotions.

The song navigates the tension between clinging to the past and moving forward. The lines “No more hanging on, But I can’t let go” encapsulate this conflict, highlighting the difficulty of letting go of past attachments or memories.

In summary, “Broken Parable” is a lyrical journey through feelings of loss, change, the desire for renewal, and the complexity of human emotions in the face of these experiences. The use of rich imagery and repeated phrases enhances the emotional depth and relatability of the song.

Track 10: Fortress

“Fortress” conveys a deep and introspective narrative about love, vulnerability, and self-reflection. The metaphor of a ‘fortress’ seems to symbolize the defenses or barriers someone puts up in a relationship. The narrator speaks of waiting at the gates of this fortress, suggesting a desire to connect deeply with someone who is closely guarding themselves.

Meanwhile, the narrator reflects on their own flaws and limitations. Phrases like “things I thought I could rise above” and “things I thought I was better than” indicate his journey of self-realization and humility. This introspection reveals a sense of vulnerability which is often central to deep, meaningful relationships.

The song contrasts the concepts of a ‘coward’ calling something a conscience and a ‘liar’ calling it the truth. This could be interpreted as an internal struggle with honesty and moral integrity, particularly in the context of how one’s actions affect those they love.

A recurring theme in the song is the intensity of the narrator’s love and the fear of hurting the loved one. Lines like “Nothing could ever make me more frightened than the thought of hurting you” emphasize the deep emotional connection and the fear of causing pain or harm to a significant other. Vivid imagery like “watching you float across the isle of sand,” creates a dreamy, almost ethereal scene. This adds a layer of romanticism and idealization to the song’s portrayal of love.

The repetition of certain lines, like “Do you remember what I whispered, love?” and variations of “This is how it’s meant to be”, emphasizes the depth and constancy of the narrator’s feelings. It creates a sense of longing and an affirmation of the rightness of their emotional state.

Overall, “Fortress” is a lyrical exploration of deep emotional love, the challenges of vulnerability and self-awareness, and the profound impact of relationships on one’s sense of self and truth.

Track 11: Gabriel

The lyrics of “Gabriel” delve into themes of internal struggle, identity, and the search for understanding and acceptance. The song repeatedly mentions “Gabriel” as a part of the narrator, suggesting an internal duality or conflict. Phrases like “He lives inside of me every day of my life” and “In the dark, the two of us combine” indicate a struggle with an inner self or an aspect of one’s personality that is hard to control or understand.

The chorus, with lines like “Won’t you hear me out, Gabriel? Can’t you see the shape I’m in?” speaks to a deep desire for understanding, empathy, and help. The narrator seems to be reaching out for support in dealing with their internal struggles.

The use of light and shadow imagery suggests a contrast between good and bad, known and unknown, or comfort and fear within the self. “It’s just a shadow, cast from all the light” could imply that the struggles or darker aspects of the self are a result of or are highlighted by the brighter, more visible parts of the person.

The repeated plea, “Just don’t leave me alone,” hints at a fear of abandonment or loneliness, underscoring the importance of the connection with ‘Gabriel’, whether that represents another person, a part of the self, or a metaphysical presence.

In summary, “Gabriel” is a poignant exploration of the internal battles one faces and the complexities of self-identity. It also explores the human need for understanding and companionship in navigating these challenges.

Track 12: Napoleon

“Napoleon” tells a story of emotional struggle and a plea for change or redemption. The song opens with a vivid image: “A tall glass of Napoleon and an off-white leather chair.” This could symbolize comfort or escape (possibly through alcohol, with “Napoleon” potentially referring to a brand of cognac). The scene sets a tone of contemplation or resignation.

One of my favorite lines from the song is “I threw it all down the wishing well,” This could symbolize giving up on dreams or aspirations, or possibly a last-ditch effort for change. The repetition of “Don’t throw it all down the wishing well” might be a plea to not give up hope or to reconsider one’s actions. The chorus (“You always say that we’re gonna get there / Show me where”) expresses frustration over vague promises and a desire for concrete plans or evidence of progress.

The repeated lines “It’s not too late to mend / We’ve only got one shot now Napoleon” emphasize the urgency and possibility of change. “Napoleon” here could be a metaphor for a figure of authority or control, suggesting that it’s time to take charge and repair the damage done.

Overall, the song “Napoleon” deals with themes of addiction, denial, the struggle for change, and the pain of watching someone self-destruct while feeling powerless to help. The refrain “It’s not too late to mend” offers a glimmer of hope amidst the despair, suggesting that redemption is still possible.

Final score for “Red Earth and Pouring Rain”: 9/10.

Here’s why this album gets such a high mark from me:

Lyricism and Themes: This album excels in its deep and emotive lyricism. The songs are rich in metaphors and imagery, exploring themes like lost love, existential reflection, identity, and emotional turmoil. The lyrics offering multiple layers of interpretation, a hallmark of great songwriting.

Musical Diversity and Composition: The record demonstrates a good range of musical styles, from the haunting melodies of “Emeralds” to the introspective balladry of “Roses on a Breeze”. The use of different instrumentation like synthesizers and strings adds to the album’s depth and emotional resonance.

Cohesiveness and Flow: Despite the diversity in themes and musical styles, the album maintains a consistent mood and atmosphere throughout. This cohesiveness is important in a full-length LP, providing a unified listening experience.

Standout Tracks: Songs like “Red Earth & Pouring Rain”, “Auld Wives”, and “New Jerusalem” stand out for their compelling storytelling and musical arrangements. “Auld Wives”, in particular, has been highlighted by others as one of the best tracks on the record.

Overall, “Red Earth and Pouring Rain” has introspective and often melancholic themes that personally resonate with me quite strongly. But while the album is very strong overall, some tracks are a bit repetitive in their content, though this seems to be a deliberate artistic choice.

This LP emerges from this deep dive as a deeply emotive and well-crafted album, with strong lyricism, musical diversity, and emotional depth. While there’s room for improvement in terms of variety within the album, its strengths in storytelling and composition make it a commendable work in the indie/folk genre.

While “Red Earth and Pouring Rain” is certainly my favorite of their records so far, Bear’s Den has released quite a bit of new music since then. This includes the 2019 LP “So That You Might Hear Me” and the 2022 LP “Blue Hours,” the latter which peaked at #6 in the UK just like Red Earth and Pouring Rain. In 2023, they released the EP’s First Loves and White Magnolias.

I highly recommend looking up Bear’s Den and their now fairly extensive back catalog on your favorite streaming platform.

~ Artemis Desertsong, The Phoenix Desertsong