Fleet, spacious, and impressive, “Riverbank” gathers a solemn momentum through the determined repetition of its underlying finger-picked riff. The riff materializes from the quiet haze at 0:09 in the introduction and it literally doesn’t stop, accompanying the song straight through to the end, with one brief, well-placed shift (heard first at 1:07, repeated just once more at 2:34). The riff, warm and resolute, is augmented by a carefully curated soundscape, including a homey variety of percussion, what sounds briefly like a string section (1:12), a distant murmur of voices (2:08), an intermittent mandolin, and a great bottom-register buzz that sounds familiar but I can’t identify it—it’s often there deep in the background but can be heard a bit more clearly at around 1:50. (Maybe some kind of flanged bass guitar? Amplified mouth harp??)
The end result is an ear-pleasing mystery, at once calm and urgent, simple and complex, organic and manipulated, 1970s and 2020s, blended into a here-and-gone 3:05 composition. Such a spell is cast that the lyrics themselves seem to dissolve into the music, leaving wisps of impressions with little concrete information. Note how the song comes to an all but complete stop around 2:10, itself a somewhat mysterious turn of events. And then, later: bam, the thing ends with an abrupt shutdown.
Pinewood is the performing name of Sam Kempe, a songwriter, producer, and multi-instrumentalist based in Atlanta. “Riverbank” is one of four tracks on the debut Pinewood EP All Things With Symmetry, which comes out May 1.
Photo: Megan Varner