Setting and Brainwolrds play the Earl on Thursday, May 14

Setting. Photo by Graham Tolbert

The North Carolina Piedmont-based outfit Setting finds three deeply intuitive musicians—Nathan Bowles, Jaime Fennelly, and Joe Westerlund—summoning rhythms and textures from deep within the Appalachian soil.

The group’s collective resume boasts contributions to projects such as Mind Over Mirrors, Califone, Pelt, Sylvan Esso, Black Twig Pickers, Acid Birds, and Jake Xerxes Fussell. In Setting, these disparate histories are distilled into a transportive sound that unfolds like an extrasensory conversation among musicians who know when to push and when to leave space in their music.


The album’s meticulous textures underscore the warmth and flow of a group that moves as a single organic unit, blending synths, banjo, zithers, cassette loops, keyboards, and hand percussion into hypnotic patterns that drift between exploration, minimalism, and ecstatic improvisation. The song “Heard a Bubble” shimmers and expands with a patient glow. “Derring-do” builds on a locomotive pulse that gathers force until it rattles the walls and lifts the roof clean off.

“Gum Bump” swirls like a weather system gathering at the horizon. Its slowly blooming pulse of harmonium, guitar, and percussion draws listeners into a meditative state. Each number builds, illustrating a singular gift for making expansive, transcendent music that blurs the lines between ritual and revelation, culminating in an immersive journey where every rhythmic turn opens onto a new horizon.


Director Morgan Maassen’s video for “What Kind of Fish is a Turtle,” offers a visual accompaniment to the song’s slowly-moving synth waves with striking detail.

For Thursday night’s show, Atlanta guitarist Mason Brown of Maserati makes a rare appearance performing under the name Brainworlds.


With Brainworlds, Brown makes music that feels like a transmission from the outer reaches of the cosmos—propelled by a motorik Krautrock drift. Each song unfolds in hypnotic layers of pulsing rhythms and spiraling synthesizers.

Brown’s immersive soundscapes provide an ideal entry point into the night’s meditative terrain.

$20. 7:30 p.m. (doors). 8 p.m. (show). The Earl. 488 Flat Shoals Ave SE.

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RECORD REVIEW: Tortoise sharpens the edges of its hypnotic pulse with new album, ‘Touch’


With Touch (International Anthem/Nonesuch), Tortoise takes a deliberate step forward, refining and reimagining the motoric pulse and Krautrock undercurrents that ran through 2016’s The Catastrophist (Thrill Jockey). The Chicago-Portland-LA-based ensemble has always thrived on subtlety—those interlocking rhythms and textural sleights of hand that reveal new details with every listen. Here, the group hones that language to near perfection. Songs such as “A Title Comes,” “Axial Seamount,” and “Organesson” inhabit familiar terrain, yet each one breathes with renewed clarity and intent. There’s no need for grand reinvention when refinement feels this purposeful.

The album’s cool, monochromatic hue contrasts the warmer analog tones of earlier releases, creating a sense of precision and poise that’s both cerebral and deeply human. The production places every element exactly where it needs to be, crafting an atmosphere that’s minimal yet immersive. “Night Gang,” with its twangy, Morricone-inspired guitar lines, closes the record with an air of cinematic grandeur that is self referential while marking a turn into a brave new world.

Tortoise: From left to right: Jeff Parker, Dan Bitney, Douglas McCombs, John Herndon, and John McEntire. Photo by Heather Cantrell.

With Touch, Tortoise sounds as vital as ever: confident, contemplative, and completely in control of their craft. It’s an album that rewards patience and close listening, unfolding in waves of understated brilliance that reaffirm the band’s quiet mastery of mood and motion.

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