Bluegrass is special to me because it is an uncorrupted, undisguised form of music. Artists claiming any affiliation to this genre are almost always based around acoustic string instruments, and consequently, bluegrass is earthy, natural and unforced. Furthermore, while bluegrass is influenced by both jazz and traditional Gaelic music, it is rooted most deeply in the mountainous regions of the United States.

Bluegrass is American.

A concept album is an ambitious venture for any band; thinking of a worthy idea is difficult enough, and then there’s the matter of producing an entire album’s worth of quality material that is thematically cohesive. It seems like there’s an endless supply of artists lined up to be the next Pink Floyd or The Who, but the albums that are produced in this arena tend to range from "bad" to "laughably bad."

In the pleasantly muddled world of indie music, there are a handful of not-so-descriptive terms that are often branded onto select acts. “Piano rock” is one that gets thrown around a lot, as well as “jangly guitar pop.” Of course there’s also “dance indie,” a la the Happy Mondays. These labels, however, do not come across as a positive portrayal, but rather as an indication of the one-dimensionality that pervades pop music.

Enter Tall Tale, a young Champaign-based band whose debut full-length album Pirate Ship was released last month. With female vocals and piano based verses, listeners will make obvious connections to already established acts such as The Hush Sound and Eisley, but Tall Tale offers a little more innovation and versatility than their more radio friendly contemporaries. Pirate Ship, consequently, is a very impressive first album that is often surreal and surprising.