Have you met Bombadil? Given the band formed in 2006 and has released 7 albums and 2 EPs, it’s definitely possible. But given our present state of low impact indie self-promotion it’s entirely likely you haven’t. Well, get ready for a sonic treat. One where every instrument aims to create a carefully crafted moment. Where the songs are intellectually engaging, though not in some hipster elitist sort of way but in a thoughtful everyday relatable way (e.g. “Perfect”). Where no instrument break is wasted but each is like a perfectly tended garden of sounds, both colourful and creative. Possible musical comparisons abound, from the quirky musicality of They Might Be Giants and Tally Hall to the wordy yet poetic lyrics of The Shins and the Magnetic Fields. Longtime band member Daniel Michalak once described the band’s influences as ‘Ernest Hemingway, Ronald Dahl, or Shel Silverstein’ as well as ‘science/math and computer programming’. One reviewer called the band, ‘obtuse but melodic indie folk pop with a flair for the fantastic,’ while another suggested Bombadil were like a ‘less drunk Pogues.’  Longtime drummer James Phillips described their sound as simply ‘pop-rock.’ That sounds about right to me.

How to describe discovering Bombadil? How about ‘enchanting’? A lot of that has to do with the bracing originality of the songs. The band’s catalogue ably demonstrates the continuing, seemingly endless creative possibilities left in a 3 minute pop song, whatever genre. And these guys definitely push genre boundaries. The folk veneer is there but can easily give way, depending on where the song goes. “Johnny,” from the band’s 2006 debut EP (also included on their 2008 debut long-player A Buzz A Buzz), illustrates this, vibing folk but quickly coming on like an outtake from Will Finn’s Broadway smash, Falsettoland, while from the same album “Get to Getting On” showcases Bombadil’s signature folk/country sound and their distinctive harmony vocals.  

You can dip in anywhere over the band’s next six albums and come up with a treasure. Like “Sad Birthday,” “Kate and Kelsey” and “Matthew” from 2009’s Tarpits and Canyonlands. Check out the exquisite piano turnaround at the 21 second mark of “Matthew” – a killer and unexpected hook. Or the Pogues meets You Won’t aura of the songs on 2011’s All That the Rain Promises, particularly “Laundromat” and the lyrically eccentric “Leather Belt” (with that great banjo). 2013’s Metrics of Affection broadened the sonic palette with the Rogue Wave-ish “Learning to Let Go,” the magisterial “Born at 5:00,” the moving solitary piano balladry of “Have Me,” and the whimsically folky “When We Are Both Cats.” Meanwhile, “One More Ring” sounds like an alternate universe hit with its endearing melodic twists. 2017’s Fences continued the good vibes trend with “Perfect” an aptly named should-be single.

As luck would have it for recent Bombadil converts, a brand new album is out, Beautiful Country, and it may just be their best yet. I love how “Goodwill Socks” starts with an uber folky sound but then quickly adds more instrumental depth and hooky ornamentation. “The Man Who Loves You” is the should-be hit single, with a stirring vocals arrangement and hooky handclaps. And then there’s the lovely duet with Kate Rhudy on the “The Real Thing.”

Did I mention that Bombadil have recorded songs in French (“Framboise” from 2015’s Hold On) and Spanish (“Laurita” from Tarpits and Canyonlands)? Just one more reason to hustle over their Bandcamp page and buy up their whole catalogue.