Todd Warner Moore Stays On Course on Latest Release Path Overgrown
Almost anyone who heard Todd Warner Moore’s late 2018 masterpiece, Spark, would be highly anticipating his latest effort, Path Overgrown. Trouble is, much like the legendary 2Pac in his heyday, Moore’s been staying busy eclipsing himself. Repeatedly, that is.
The singer, songwriter, guitarist and poet has dropped at least two albums since Spark, which was unveiled in October of 2018. In addition to April’s Love & Change and August’s Starry Sounds, Path’s at least his third LP of the previous year…and perhaps indicative of what’s to come from him in the New Year.
Moore’s music is so stirring it’s easy to lose sight of time, surroundings, or anything else other than the delicious melding of his voice into that of his chorus of background singers—and the omnipresent strumming of the guitars. These two elements are the principal characteristics of each of the numbers on Path—if not his very discography—, so it’s no surprise he’s joined by three background singers (two females, one male) and a pair of guitar players to match the sonorous notes of his own.
“Book of Sea” is likely the most transcendent tune in the collection. The richness of the guitars, clarity of the percussion and steepness of the melodies peer simultaneously into the depths of the sea and its reflection in the sky. A timeless ode to nature’s endurance, the tune seems to continue on interminably, although clocking in at just under four minutes.
“Little Cobra” could have been an outtake from The Doors with Moore’s poetry, the semi-spooky tones of Issar Schulman’s double bass, and an upbeat tempo that skulks along quickly, darting in and out of shadows. The pairing (and perhaps even tripling) of the guitars grooves in place while Moore spins a yarn reminiscent of the fall from paradise. Cobra showcases the range of his music while still seamlessly fitting into the concept album’s motif of nature’s superiority—or the effect of natural surroundings in unnatural times.
Other moments are reminiscent of the 60’s, perhaps the epoch in which acoustic guitars reached their peak. The folksy, Woodstock Festival feel of the title track is undeniable, exemplifying the perspicacity of Moore’s lyricism while basking in the sheen of the female vocalists egging him on.
This tune and the full moon beauty of “Buildings” reveal the musician for what he truly is: a frank, effervescent artist daring to create the world as it should be, not as it actually is.