It’s not surprising that in this often confusing technological age, there is a large group turning to much simpler music. Acoustic-motivated song is, in some way, able to cut through the electronic capriciousness and alienation that much current music offers. Instead of embracing this alienation, much current folk music is able to challenge it through its lo-fi medium. Folk music has always had a place in the American music scene, and is undoubtedly once again on the rise. Adopting E.M. Forster’s creed of “only connect,” today’s folk music follows an established tradition and applies it to modern themes in order to simplify and remedy struggle.

One proposed reason for this resurgence in folk and bluegrass music is the age of the baby boomers. Roger McGuinn of the Byrds recently said that much of today’s youth is following the lead of their elders. He hypothesises that folk musicians of the 60’s have turned to teaching in their older age and are passing on the folk tradition to their students. Many of today’s musicians are rediscovering and reinventing styles that were, at least for a while, somewhat dormant.

One band that has received much attention as of late is the Avett Brothers. Hailing from Concord, North Carolina, the group mixes aspects of bluegrass, country, ragtime, folk, and punk, and is composed of Seth Avett, Scott Avett and Bob Crawford. For a trio, the group offers an explosive sound. Held together by Bob Crawford’s background in jazz upright bass (which constitutes his solo career), the brothers rollick through catchy melodies and simple yet poignant topics. While manning the high-hat, Seth Avett exhibits precise technical acoustic guitar talent and an ever-strengthening voice that often erupts in wild screaming to back Scott’s more melodic singing. Scott Avett is in charge of banjo and kick drum for most of the band’s repertoire, but jumps on drums for “Die, Die, Die” and other songs.

Boasting an incredible live show, the Avett Brothers have steadily been growing in popularity over the course of the past few years. On stage, Seth and Scott constantly (and without any degradation to the song) break strings. They have also recently added Joe Kwon on cello, who is animated in his bowing, plucking and unmiked yelling. Although their studio albums decently represent the band, on stage is where they truly shine. Their self-produced sound has attracted the attention of the American Recordings/Columbia Records label who has given the group a record deal for their next LP. Under the production of Rick Rubin, the next album is due out in 2009.

The general message of the group is grounded in Southern traditions of family and religion, but is also able to seamlessly identify and incorporate the confusion of modernity. The traditional influence is not overbearing in the group’s sound, but rather serves as a basis for meaning within their songs. This is especially apparent on their newest release The Second Gleam. In this EP the band returns to the slow paced musings of the first Gleam and focuses on an uplifting message. In the song “Murder in the City,” Scott Avett poses the hypothetical scenario: “If I get murdered in the city,” then instantly rebukes any need for retribution with the line, “Don’t go revenging in my name.” He expands upon this theme throughout the song until an overarching viewpoint culminates in the simple statement: “Always remember there was nothing worth sharing like the love that let us share our name.” The tune exhibits a maturity and hope in its reneging of self and celebration of a unifying theme. The Avett Brothers are somewhat rare in that, although they do have their fair share of unrequited love struggle, the general message of their songs is rarely malicious or self serving. They have evolved from their first release, A Carolina Jubilee, which boasts such foot-stompers as “I Killed Sally’s Lover” and “The Traveling Song” – tunes about murderous revenge and unhindered travel, respectively. Perhaps this ever-increasing maturity and wisdom is what defines them as a leader of their genre.