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While is Fleet Foxes’ most distinctive record—one that no longer finds them aligned with any particular movement in indie rock—it also positions them within a musical lineage dating back half a century.Prog folk seems like the most inclusive term to describe this kind of music, signifying artists who brought the ambition and intensity of progressive rock to the simplicity of traditional folk songs.On , Fleet Foxes’ first album in six years, they’ve crafted their subtlest music yet, but also their most dynamic.On the multi-part opener “I Am All That I Need / Arroyo Seco / Thumbprint Scar,” they shift between movements with an occasionally jarring restlessness: one minute leader Robin Pecknold is whispering from a distance, then, suddenly, he’s bellowing and backed by strings.A friend of Newsom's passed one of these CDs on to Will Oldham at a show in Nevada City.Oldham was impressed with Newsom's music and asked her to tour with him.Performing with a five-piece band (including two violinists and a trombonist), she was assisted mightily by two chameleonic collaborators.Switching between banjo, electric guitar, mandolin, tamboura and recorder, album-arranger Ryan Francesconi offered both sweetly lyrical counterpoints and eruptive blasts of feedback, while outstanding percussionist Neal Morgan served more as Newsom’s sparring partner than her timekeeper.

Her songwriting incorporates elements of Appalachian music and avant-garde modernism.Her parents eventually agreed to sign her up for harp lessons, but the local harp instructor did not want to take on such a young student and suggested she learn to play the piano first.She did, and later moved on to the harp which she "loved from the first lesson onward." After high school, Newsom studied composition and creative writing at Mills College in Oakland, California.Yet the focus remained fixed on Newson’s plaintive voice throughout, which can recall Kate Bush in its deceptive coyness and Joni Mitchell with its unexpected bursts into the higher register, and which has now been sanded free of the pointedly rough affectations that made her such a love-hate proposition when she first emerged onto the scene in 2004.She could be smoky through the seductive “Easy” and angelic on show-opener ” ’81,” and the once-abrasive bleat of “Peach, Plum, Pear” has been eased into a more tender register.The subgenre distinguishes itself from psych folk with a focus on composition: abrupt shifts, unexpected chord progressions, and multi-part movements that stretch out with ornate arrangements.